Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. One who sings is called a singer or vocalist. Singers perform music known as songs that can be sung either with or without accompaniment by musical instruments. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. As in many respects human song is a form of sustained speech, nearly anyone able to speak can also sing. Singing can be formal or informal, arranged or improvised. It may be done for pleasure, comfort, ritual, education, or profit. Excellence in singing requires time, dedication, instruction, and regular practice. Professional singers usually build their careers around one specific musical genre, such as classical or rock. They typically take voice training provided by voice teachers or vocal coaches throughout their career.

The human voice

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.

Vocal registration

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds. The term "register" can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:

A particular part of the vocal range such as the upper, middle, or lower registers.

A resonance area such as chest voice or head voice.

A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)

A certain vocal timbre or vocal "colour"

A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.

Vocal resonation

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.

Chest voice and head voice

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area.

History and development

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia. The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice. In particular, the use of the terms ''chest register'' and ''head register'' have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms ''chest voice'' and ''head voice'' over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. This view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette. However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.

Classifying singing voices

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration. The science behind voice classification developed within European classical music has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German ''Fach'' system and the choral music system among many others. No system is universally applied or accepted.

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.

It should be noted that within choral music, singers' voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.

Within contemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.

Vocal pedagogy

Vocal pedagogy is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:

Human anatomy and physiology as it relates to the physical process of singing

*Vocal health and voice disorders related to singing

*Breathing and air support for singing

*Phonation

* Vocal resonation or Voice projection

*Vocal registration: a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality, which originate in laryngeal function, because each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

* Voice classification

Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.

* Techniques used in styles such as sostenuto and legato, range extension, tone quality, vibrato, and coloratura

Vocal technique

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence: #Breath is taken #Sound is initiated in the larynx #The vocal resonators receive the sound and influence it #The articulators shape the sound into recognizable units Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are: : #Extending the vocal range to its maximum potential #Developing consistent vocal production with a consistent tone quality #Developing flexibility and agility #Achieving a balanced vibrato

Developing the singing voice

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

Extending vocal range

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.

There are three factors that significantly affect the ability to sing higher or lower:

# The ''energy'' factor — "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound. # The ''space'' factor — "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn". # The ''depth'' factor — "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."

Posture

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.

There are eight components of the ideal singing posture:

# Feet slightly apart # Legs straight but knees unlocked # Hips facing straight forward # Spine aligned # Abdomen flat # Chest comfortably forward # Shoulders down and back # Head facing straight forward

Breathing and breath support

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension);a controlled exhalation period (phonation); and a recovery period.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.

Vibrato

Vibrato is used by singers (and many instrumentalists; for instance, string instruments that are played with a bow can produce vibrato tones) in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus. Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music

Vocal music is music performed by one or more singers, with or without instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. For example, some blues rock songs may have a simple call-and-response chorus, but the emphasis in the song is on the instrumental melodies and improvisation. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

Genres of vocal music

Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

Popular and traditional music

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both the lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment. Some types of rapping consist mostly or entirely of speech and chanting, like the Jamaican "toasting". In some types of rapping, the performers may interpolate short sung or half-sung passages. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

One difference between live performances in the popular and Classical genres is that whereas Classical performers often sing without amplification in small- to mid-size halls, in popular music, a microphone and PA system (amplifier and speakers) are used in almost all performance venues, even a small coffee house. The use of the microphone has had several impacts on popular music. For one, it facilitated the development of intimate, expressive singing styles such as "crooning" which would not have enough projection and volume if done without a microphone. As well, pop singers who use microphones can do a range of other vocal styles that would not project without amplification, such as making whispering sounds, humming, and mixing half-sung and sung tones. As well, some performers use the microphone's response patterns to create effects, such as bringing the mic very close to the mouth to get an enhanced bass response, or, in the case of hip-hop beatboxers, doing plosive "p" and "b" sounds into the mic to create percussive effects.

While some bands use backup singers who only sing when they are onstage, it is common for backup singers in popular music to have other roles. In many rock and metal bands, the musicians doing backup vocals also play instruments, such as rhythm guitar, electric bass, or drums. In Latin or Afro-Cuban groups, backup singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backup singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones.

Careers in singing

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing. Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve, because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary". Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent, by doing auditions in front of an opera director, choirmaster, or conductor. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R; representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

Health benefits

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits. However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity. Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function. A multinational collaboration to study the connection between singing and health was established in 2009, called ''Advancing Interdisciplinary Research in Singing'' (AIRS).

Singing in non-human species

Scholars agree that singing is strongly present in many non-human species. Wide dispersal of singing behavior among very different animal species (like birds, gibbons, whales, and humans) strongly suggests that singing appeared independently in different species. Currently there are about 5400 species of animals that can sing. At least some singing species demonstrate the ability to learn their songs, to improvise and even to compose new melodies. In some animal species singing is a group activity (see, for example, singing in gibbon families.)

Singing in different natural environments

Joseph Jordania suggested that singing behavior is very unevenly distributed among animal species, living in different environments (on the ground, in the water, in trees). Most of the singing species live on the trees (like many bird species, or gibbons), some live in the water (whales, dolphins, seals, sea lions), and there are no animal species who live on the ground and sing except for humans. This uneven distribution of singing can be crucial for our understanding of the origins of the singing behavior in animals and humans. Jordania explains this fact as the result of the pressure from natural selection. Singing is a very costly behavior, not only because of the energy to produce sounds, but primarily for the security reasons, as all the possible predators can easily learn the whereabouts of a singing animal. Singing species that live on the trees are in a much more favourable situation, as trees allow different species to live according to their body weight. So different animals with different body weight live on different "levels" of the tree branches. For example, a 50 kilo leopard can see and hear the sounds produced by a 15 kilo monkey, but as a lighter monkey can live much higher on the tree branches, it is out of reach of a heavier leopard. Therefore tree living (or arboreal) species feel quite secure to sing or to communicate with a wide range of vocal signals. On the other hand, all the ground living (or terrestrial) animal species, despite the huge weight differences between them (ranging from rabbits to lions and elephants) live on the same "ground level", and maintaining silence is crucially important for them. Even most of the birds, the most ardent singers, stop singing and producing other sounds when they sit on the ground. Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.

See also: art music

A cappella

Aria

Bel canto

Chanson

Chiaroscuro (music)

Choral music

Fach

Group singing

Human voice

Opera

Overtone singing

Recitative

Singer–songwriter

Sprechgesang

Throat singing

Voice pedagogy

Voice projection

Voice type

Yodeling

Winsingad

See also: popular music

Beat boxing

Belt (music)

Death growl

Humming

Lead vocalist

Rapping

Screaming (music)

Vocoder

References

External links

A Brief History of Singing

Category:Occupations in music *

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Coordinates	43°11′″N141°0′″N
name	Adriana Evans
background	solo_singer
birth name	Adriana Evans
alias	Adriana Madera
born	1974 San Francisco, California, United States
origin	Los Angeles, California, United States
instrument	Vocals, Scatting
genre	R&B;, funk, jazzhip hop, soul, rock
occupation	Musician, songwriter, producer
years active	1994-present
label	Loud, Expansion, Guerilla
associated acts	Dred Scott, The RebirthSy Smith, Pharoah Sanders
website	adrianaevans.com
notable instruments	}}

Adriana Evans, also known as Adriana Madera, is an American R&B;/soul singer-songwriter. She was born 1974 in San Francisco, California and was one of the first neo soul artists in the 1990's, along with Erykah Badu, D'Angelo and Maxwell. Her debut album ''Adriana Evans'' was released in 1997 and reached the No. 33 position on the ''Billboard'' Top R&B;/Hip-Hop Albums chart.

Adriana Evans was immersed in music from a young age, with her mother Mary Stallings singing with jazz artists like Count Basie, and her godfather being jazz saxophonist Pharoah Sanders. As such, Evans finds a great deal of her musical upbringing in jazz music.

At the age of 18, Adriana moved to Los Angeles where she planned to attend college. While living in the city, she met rapper Dred Scott and the two quickly became friends. As their friendship grew, the two began working together in music. Because of this relationship, Adriana Evans appeared on Dred Scott's "Check the Vibe" in 1993 and Evans relied heavily on Scott for production on her debut album.

Paul Stewart, CEO of PMP records, played a crucial role in helping Adriana Evans get a deal with Capitol Records during the 1990s. Stewart was attracted to Evans after hearing a demo featuring her and having seen her in the video for Scott's "Check the Vibe." As Capitol Records folded, Stewart brought Evans onto his PMP Records where she released her self-titled debut album.

Adriana's self-titled debut album featured two singles, "Love Is All Around" and "Seein Is Believing." The two singles charted, with the former reaching #65 on the R&B; charts and the latter reaching #50.

Discography

Albums

''Adriana Evans'' (1997)

''Nomadic'' (2004)

''Kismet'' (2005)

''El Camino'' (2007)

''Walking With the Night'' (2010)

Singles

"Love is All Around", 1997

"Seein' is Believing", 1997

"Remember the Love", 2005

"7 Days", 2005

"Hey Now", 2007

"Weatherman", 2010

References

External links

Expansion Records: Adriana Evans

Loud Records: Adriana Evans (archived)

Adriana Evans Bio

Category:American female singers Category:American rhythm and blues singers Category:Rhythm and blues musicians Category:Living people Category:Neo soul singers Category:1974 births

es:Adriana Evans

Coordinates	43°11′″N141°0′″N
name	YolanDa Brown
background	non_vocal_instrumentalist
birth name	Yolanda Faye Brown
born	October 04, 1982 Barking, east London, England
instrument	Tenor, Soprano and Alto Saxophone
genre	Jazz, Urban Contemporary, R&B;, Gospel
| years active	2007–present
website	yolandabrown.co.uk
notable instruments	}}

YolanDa Brown born to Jamaican parents in Barking, London, England (4 October 1982) is a British jazz urban contemporary saxophonist and composer. .

A past student of Bancroft's School, Beal High School and the University of Kent, Kent Business School in Canterbury, England. Her Undergraduate Master's Dissertation was on "Combining SSM (Soft systems methodology) and DESM (Discrete event simulation) in an Athletics Club." She also fronted a TV talk show on a Sky Channel and appeared in inspirational idents for BET network.(Black Entertainment Television)

She is a 2008 MOBO“Best Jazz” winner and UMA nominee. In 2009, YolanDa became the first musician to not only be nominated in the "Best Jazz" category of the MOBO's in consecutive years, but also the first to win it two years running. In 2009 she also won "Best Jazz" at the UMA's.

YolanDa has worked with musicians such as Monty Alexander, Ramon Vallé, Michel Camilo, Hilario Duran, Dean Fraser, Sonny Bradshaw, Otis Williams and the Temptations along with their manager Shelly Berger.

As a solo artist/saxophonist has worked in genres from straight ahead jazz to grime, performing front and centre alongside various artists including Sway DaSafo, Bashy, Omar Lye-Fook, Soweto Kinch, Alexander O'Neal, Mica Paris, Terri Walker, Dean Fraser, Sonny Bradshaw and Desi Jones, to name but a few. In late 2008, she toured the UK, opening for The Temptations.

YolanDa's pivotal performances of 2010 included an invitation to take part in PanJazz 2010 on its transfer from the Lincoln Center in New York to the UK This saw her performing alongside musicians including Etienne Charles and Leon Foster Thomas. Her November 19 concert at Indig02 at the 02 Arena, London continued her record of musically excellent and uniquely entertaining sold out events.

On December 2, 2010, YolanDa was presented with an Honorary Doctor of the Arts by the University of East London in a ceremony at the Barbican Theatre, London.

For YolanDa music has always been a theraputic and enabling force which promotes 360 degree communication and empowering links across all humankind. In striving to share and involve the many rather than an elite few through the wonder of music, YolanDa was honoured to become a Celebrity Ambassador for HRH The Prince of Wales and His Prince’s Trust Charity.

YolanDa is a Yamaha endorsed artist and was also appointed the UK's class band ambassador in February 2011. Yamaha Class Band is a whole-class wind band teaching method, currently being piloted, until July 2012, in a collaboration between Yamaha UK and two of the UK's leading music services.

YolanDa is also a Patron of The Mayor of London’s Fund for Young Musicians,which provides outstanding progression and development opportunities to young people who demonstrate significant musical talent and commitment.

Awards and nominations

{| class=wikitable |- !Year !Category !Award !Result |- !colspan=4|Music Awards |- | rowspan=3|2008 | WIEA Awards | Best Musician 2008 | |- | | Urban Music Awards | Best Jazz Act 2008 | |- | Music of Black Origin Awards | Best Jazz Act 2008 | |- | rowspan=4|2009 | Marlborough Jazz Festival | Best Performer 2009 | |- | Urban Music Awards | Best Jazz Act 2009 | |- | Urban Music Awards | Most Inspiring Act 2009 | |- | Music of Black Origin Awards | Best Jazz Act 2009 | |}

References

External links

YolanDa Brown Website

YolanDa Brown interview by Pete Lewis, 'Blues & Soul', June 2009

YolanDa Brown on The One to One Show

Yolanda Live at the Hackney Empire (video)

YolanDa Brown Live at the Jazz Cafe (April 9th 2008) (video)

YolanDa Brown Showreel from EPK February 2009 (video)

Category:Living people Category:1982 births Category:Jazz fusion saxophonists Category:Women in jazz Category:Smooth jazz saxophonists Category:English jazz saxophonists Category:Musicians from London Category:Black British musicians Category:English people of Jamaican descent Category:Jamaican jazz saxophonists

Coordinates	43°11′″N141°0′″N
name	India.Arie
background	solo_singer
landscape	yes
birth name	India Arie Simpson
born	October 03, 1975Denver, Colorado.
instrument	Vocals, guitar, flute, keyboard
genre	Soul, R&B;, neo soul, blues, folk, pop
occupation	Musician, songwriter, record producer
years active	2000–present
label	Motown (1999–2007)SoulBird / Universal Republic (2007–present)
website	www.indiaarie.com www.soulbird.com }}

India.Arie (born India Arie Simpson; October 3, 1975) is a Grammy Award-winning American soul, R&B;, and neo soul musician, songwriter, and producer. She has sold over 3.3 million records in the U.S. and 10 million worldwide. She has won four Grammy Awards and received 18 nominations, including Album of the Year, Record of the Year, Song of the Year, Best New Artist.

Background

Simpson was born in Denver, Colorado. She absorbed musical skills early in life as she was encouraged by both parents. Her mother Joyce is a former singer (she was signed to Motown as a teenager and opened for Stevie Wonder and Al Green) and is now her stylist. She has an older brother named J'On. After her parents divorced, Simpson's mother moved the family to Atlanta, Georgia when she was thirteen. Simpson had taken up a succession of musical instruments throughout her schooling in Denver, but her interest in the guitar while attending the Savannah College of Art and Design, in Savannah, led to a personal revelation about songwriting and performing. "When I started tapping into my own sensitivity, I started to understand people better. It was a direct result of writing songs", she said at the press release of her debut album, ''Acoustic Soul''.

Co-founding the Atlanta-based independent music collective Groovement EarthShare (Groovement was the collective artists' name and EarthShare was their independent label name), her one-song turn on a locally-released compilation led to a second-stage gig at the 1998 Lilith Fair. In 1999, a Universal/Motown music scout spotted her and made an introduction to former Motown CEO Kedar Massenberg. Arie currently resides in Atlanta, Georgia.

Musical career

''Acoustic Soul'' (2001)

''Acoustic Soul'' was released on March 27, 2001 and debuted at number ten on the U.S. ''Billboard'' 200 and number three on the Top R&B;/Hip-Hop Albums. Within months, without the concentrated radio airplay that typically powers pop and rap albums, ''Acoustic Soul'' was certified double platinum, selling 2,180,000 copies in the U.S. and 3,000,000 copies worldwide. While Arie and the album were nominated for seven Grammy awards in 2002, they won no awards, losing in five of seven categories to Alicia Keys. She closed the ceremony with a performance of her song "Video".

''Voyage to India'' (2002)

Arie followed the success of her debut on 24 September 2002 with the release of ''Voyage to India''. It debuted at number six on the ''Billboard'' 200 and number one on the R&B; chart. In 2003 it won her two Grammy Awards in 2003—"Best R&B; Album" and Best Urban/Alternative Performance" for the song "Little Things". Soon after its release, ''Voyage to India'' was certified platinum selling 1,400,000 copies in the U.S. and 2,300,000 worldwide .

''Testimony: Vol. 1, Life & Relationship'' (2006)

Arie's third studio album, ''Testimony: Vol. 1, Life & Relationship'', was released on June 27, 2006. It gave Arie her first number-one spot on the ''Billboard'' 200 and was her second chart-topper on the R&B; chart. This album was also the first number-one album for Motown in twelve years . Its first-week sales of 161,000 copies are Arie's best sales week to date and was certified gold in August 2006, selling 730,000 in US and 1,300,000 worldwide. "I Am Not My Hair" was the most successful release from ''Testimony: Vol. 1.'', reaching the U.S. ''Billboard'' Hot 100 at #97 and the UK Singles Chart at #65.

Her cover of Don Henley's "The Heart of the Matter" from Testimony: Vol. 1 was used in 2008 as a feature in the trailers to the film ''Sex and the City: The Movie''.

''Testimony: Vol. 2, Love & Politics'' (2009)

Her highly anticipated next album, ''Testimony: Vol. 2, Love & Politics'' was released on Tuesday, February 10, 2009. It debuted at No. 3 on the ''Billboard'' 200, and No. 2 on the R&B; chart. Within this CD, Arie collaborated with such artists as Sezen Aksu, Keb Mo, Gramps Morgan and Musiq Soulchild to fulfill her self-proclaimed desire to "do projects with people who are making music that is meaningful, with a lot of integrity and a lot of sonic diversity". Arie, in the cited interview, also identified this CD as the first of her collection to come directly from her own point of view, without feeling any necessity to fulfill fan or media needs. Arie was able to achieve this newfound ability to write and sing songs without worrying about public opinion after a much-needed vacation to Hawaii. This CD was Arie's first CD produced after her change from Motown to Universal Records.

''Open Door''

India.Arie's new album, a work produced in collaboration with Israeli singer Idan Raichel is due to be released in October 2011.

Collaborations

Arie performed a duet with rock singer-guitarist John Mellencamp on the song "Peaceful World" for his 2001 album ''Cuttin' Heads''.

Arie performed a duet with jazz singer Cassandra Wilson on the song "Just Another Parade" for her 2002 album ''Belly of the Sun''.

On the September 12, 2005 premiere of ''The Tyra Banks Show'', Arie performed "Just 4 2day", a song she wrote especially for Tyra's show. She also performed "What About the Child", a song that did not air but was made available as a one-dollar Internet download to support child victims of Hurricanes Katrina and Rita.

Arie is also featured on Stevie Wonder's album ''A Time to Love'', released on October 18, 2005. Arie and Wonder duet on the title track "A Time to Love", written by Arie, which was nominated for "Best Pop Collaboration with Vocals" at the 2006 Grammy Awards. Three years earlier, their rendition of Mel Tormé's 1944 classic "The Christmas Song", recorded for the holiday TV commercial for retailer Target, had been nominated for the same category, making it the first song created and financed exclusively for a commercial to be nominated for a Grammy Award.

Arie performed a duet with Brazilian musician Sérgio Mendes on the title song "Timeless" for his 2006 album ''Timeless''.

Arie performed the vocals for "It Might Be You" on Dave Koz's 2007 album ''At the Movies''.

Arie collaborated with Akon for her song "I Am Not My Hair". On the April 16, 2007 episode of ''The Oprah Winfrey Show'' entitled "After Imus: Now What?", Arie guest-starred as a panelist. She stated that she was not completely crazy about the duet partner, but the label suggested that it would make the album more commercial. Versions without Akon on the song were made available.

Arie performed the song "She Is" for Ellen Johnson Sirleaf, inspired by the PBS Independent Lens documentary ''Iron Ladies of Liberia''.

Arie performed a duet with singer Anthony David for his song "Words" for his 2008 album ''Acey Duecy''.

Arie performed "Self-Fulfilling" in duet with Beate S. Lech of Beady Belle on the band's 2008 album ''Belvedere''.

Arie sang the Alphabet song with Elmo on ''Sesame Street''.

Arie appeared with Leona on ''Between the Lions'' singing a song about outlaw words.

Arie performed "Video" with British singer Adele at the 2009 VH1 Divas

Arie is one of over 70 artists singing on "We Are the World: 25 for Haiti", a charity single in aid of the 2010 Haiti earthquake.

Arie performed a duet with Marc Cohn on the song "Make It With You" for his 2010 album ''Listening Booth: 1970''.

Arie collaborated in 2010 with Santana for the Beatles' cover, While My Guitar Gently Weeps.

Arie contributed vocals to "Imagine" for the 2010 Herbie Hancock album, ''The Imagine Project'' along with Seal, P!nk, Jeff Beck, Konono N°1, Oumou Sangare and others.

Arie collaborated with Idan Raichel to create a series of different songs including a performance at the Noble Peace Prize

Discography

Studio albums

2001: ''Acoustic Soul''

2002: ''Voyage to India''

2006: ''Testimony: Vol. 1, Life & Relationship''

2009: ''Testimony: Vol. 2, Love & Politics''

2011: ''Open Door''

Awards

;Grammy Awards

Year	Category	Genre	Recording	Result
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;BET Awards :2002 - ''Best Female R&B; Artist'' (Won) :2003 - ''Best Female R&B; Artist'' (Won) ;'''MTV Video Music Award'' :2001 - ''MTV2 Award for "Video"'' (Nominated) ;'''Soul Train Music Award'' :2003 - ''Female R&B;/Soul Single'' for "Little Things" (Nominated)

Filmography

2002: ''Soul Food - Herself "Lovers and Other Strangers"

2003: ''American Dreams'' - ....Nina Simone "Act of Contrition"

2003: ''The Bernie Mac Show'' - Herself "Raging Election"

2004: ''Tinseltown TV'' - Herself

2006: ''One on One'' - Herself "I Love L.A"

2011: ''Pastor Brown'' - Lateefah

References

External links

Official website

India.Aire interview by Pete Lewis, 'Blues & Soul' April 2009

India.Arie on Motown Records website

India.Arie at NPR Music

Category:1975 births Category:African American female singer-songwriters Category:American contraltos Category:American female guitarists Category:American flautists Category:American record producers Category:American songwriters Category:American rhythm and blues guitarists Category:American rhythm and blues singer-songwriters Category:American soul singers Category:Musicians from Colorado Category:English-language singers Category:Feminist musicians Category:Grammy Award winners Category:Living people Category:Motown artists Category:Neo soul singers Category:People from Atlanta, Georgia Category:People from Denver, Colorado Category:People from Savannah, Georgia

de:India.Arie es:India.Arie fa:ایندیا.ارای fr:India.Arie he:אינדיה ארי nl:India.Arie pl:India.Arie pt:India.Arie sv:India.Arie zh:印蒂雅·艾瑞

Coordinates	43°11′″N141°0′″N
name	Raúl Midón
background	solo_singer
birth date	March 14, 1966
origin	New Mexico, United States
instrument	Guitar, Vocals
genre	Soul, Flamenco, Latin, Jazz
years active	1993–present
label	Universal
website	www.raulmidon.com
notable instruments	}}

Raúl Midón (born March 14, 1966) is a singer-songwriter and guitarist from New Mexico, based in New York City. He combines his distinct voice, strumming, beats, and vocal mouth trumpet sounds to create a one-man performance. His unique style shows influence of virtually every musical genre which came before him, including jazz, blues, R&B;, and folk. Midón is blind from infancy.

Biography

Early life

Midón was born prematurely in a rural hospital in Embudo, New Mexico, to parents of Argentine and African American descent. His father was a folkloric dancer from Argentina. Midón and his twin brother Marco (now a NASA engineer) were blinded as infants after spending time in an incubator without adequate eye protection. The sounds of music became integral to Midón's life around age 4, when his father introduced him to the drum. Midón became an avid music lover and learned how to play the guitar while performing in rigorous educational programs, first at a school for the blind and then at an elite Santa Fe academy while completing his last two years of high school. Midón then attended the University of Miami, which he selected for its prestigious jazz curriculum. He graduated from the University of Miami in 1990. In 2008 he purchased a home in Maryland and currently resides there.

Career

Midón began his career as a session singer for numerous Latin recording artists including Shakira, Alejandro Sanz, Julio Iglesias and Jose Feliciano. After touring with Shakira, he set aside this career to pursue a solo career and moved to New York City. In New York City he focused completely on his solo career with the exception of working with producer and renowned DJ Little Louie Vega. He wrote and recorded several songs including "Cerca De Mi" with Louie and his production team under the band name "Elements of Life." Elements of Life, led by Louie Vega toured Europe, Japan and Australia in 2003/2004.

During this time Midón was shopped to record labels in a unique manner. His management at the time arranged meetings where Midon would perform live in front of whichever music executive the meeting was with. This led to Midón being signed by Grammy Award-winning producer Arif Mardin (Norah Jones, Aretha Franklin) to Manhattan Records, a subsidiary of Capitol Records owned by EMI. In Mardin's long career, Midón was his first signing of an artist. Mardin, along with his son, Joe, produced the critically acclaimed debut album of Midón entitled ''State of Mind''.

Midón also did the song for the end credits Spike Lee's 2004 LGBT film, ''She Hate Me'', titled "Adam n' Eve n' Eve". His song "Everybody" was featured in the soundtrack of the movie, "The Peaceful Warrior" starring Nick Nolte.

Midón's album ''State of Mind'' was released on May 10, 2005. The album features a guest performance with Stevie Wonder, one of his idols, another one with Jason Mraz, and a song written in tribute to Donny Hathaway entitled "Sittin' In The Middle." Midón is an avid amateur radio enthusiast, and in this song he also incorporates his call sign (KB5ZOT) by using Morse code. The title track was released on 12 September 2006 as the free single of the week on the UK version of the iTunes Store.

Midón's national television debut was on ''Late Show with David Letterman'' on June 28, 2005. He later went on to appear on other late night television shows in the U.S. and abroad. Herbie Hancock also featured Raul Midon on his compilation album "Possibilities", which was released in 2006, performing his rendition of Stevie Wonder's "I Just Called to Say I Love You". On July 24, 2007, a single named "Pick Somebody Up" was released on the iTunes Store in the new iTunes Plus format. Midón released the album "A World Within A World" on September 25, 2007.

In 2008 he built a home studio with the help of Cakewalk, and a company called Dancing Dots who design technology specifically for use by the blind. This has enabled Raul to successfully produce tracks from his home without the aid of a sighted engineer. His song "Everyone Deserves A Second Chance" which appears on Cuban pianist Roberto Fonseca's album was recorded at his home. He also recorded two songs for the "Generosity Water" project at his home studio which he calls "The Basement Studio."

He was featured in the 2009 film ''Still Bill''. In March 2009, Midón began working with Grammy Award Winning Producer, Larry Klein on his latest album "Synthesis" for the Universal Decca Label. He temporarily relocated to Santa Monica and worked closely with Klein on the overall tenor of the album. The album features Midón together with music industry veterans Vinnie Colaiuta, Dean Parks, Jamie Muhoberac, Larry Goldings, and Paulihno Da Costa with Larry Klein on bass. It is currently slated to be released in Europe in the fall of 2009 and in the spring of 2010 in the U.S.

Discography

Albums

"gracias a la vida" 1999, BMG MUSIC

"Blind To Reality" 2001 self-released album

"Raul Midon Live EP" 2003 self released album

''State of Mind'' (2005), Manhattan Records

''A World Within a World'' (2007), Manhattan Records EMI

''Synthesis'' (2009) Universal Decca

Compilations

''Suddenly'' appears on the compilation ''He Sings The Blues'' (2005)

''State of Mind'' appears on the compilation ''Blue Note Trip 5: Mashed (Jazzanova)'' (2006)

''Pick Somebody Up'' appears on the official album of ''15th International Istanbul Jazz Festival'' (2008)

References

External links

Raul Midon: The Reason I Stand - interview

Raul Midón's official website

Interview on BBC Radio 4, 2 January 2007

TED Talks: Raul Midon plays "All the Answers" and "Tembererana" at TED in 2007

TED Talks: Raul Midon plays "Everybody" and "Peace on Earth" at TED in 2007

Still Bill Midón appears in 2009 Bill Withers bio documentary

Category:American singer-songwriters Category:American jazz guitarists Category:American people of Argentine descent Category:American rhythm and blues guitarists Category:American soul guitarists Category:Blind musicians Category:Amateur radio people Category:Living people Category:1966 births

de:Raul Midón fr:Raul Midón it:Raul Midón nl:Raul Midón ja:ラウル・ミドン