American singer Harry Belafonte in 1954.

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.^[1] 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 careers.

The human voice[link]

A labeled anatomical diagram of the vocal folds or cords.

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.^[2] 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 (loudness), 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.^[3] 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.^[4][5]

Vocal registration[link]

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.^[6] 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:^[7]

• 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.^[7]

Vocal resonation[link]

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.^[7] 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.^[8]

Chest voice and head voice[link]

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.^[7] 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.^[7]

History and development[link]

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.^[9] 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.^[10] 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.^[11]

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.^[10] 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.^[7]

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.^[12] 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.^[13]

Classifying singing voices[link]

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.^[14] 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.^[10]

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.^[7]

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.^[7] 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.^[15]

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.^[16] 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.^[17]

Vocal pedagogy[link]

Ercole de' Roberti: Concert, c. 1490

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^{[citation needed]} 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:^[18][19]

• 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[link]

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:

1. Breath is taken
2. Sound is initiated in the larynx
3. The vocal resonators receive the sound and influence it
4. 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.^[17]

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:^[7]

1. Extending the vocal range to its maximum potential
2. Developing consistent vocal production with a consistent tone quality
3. Developing flexibility and agility
4. Achieving a balanced vibrato

Developing the singing voice[link]

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.^[17] Vocal exercises have several purposes, including^[7] 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[link]

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.^[3]

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

1. 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.
2. 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".
3. 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."^[7]

Posture[link]

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.^[3]

There are eight components of the ideal singing posture:

1. Feet slightly apart
2. Legs straight but knees unlocked
3. Hips facing straight forward
4. Spine aligned
5. Abdomen flat
6. Chest comfortably forward
7. Shoulders down and back
8. Head facing straight forward

Breathing and breath support[link]

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.^[20]

Vibrato[link]

Vibrato is used by singers 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.^[21] Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

Vocal music[link]

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[link]

Rock singer Ian Gillan performing live with Deep Purple in Montreux in 2006.

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[link]

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".

Rapper Busta Rhymes performs in Las Vegas.

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[link]

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.

Maria Callas during her final tour in Amsterdam in 1973.

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.^[22]

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,^[22] 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".^[22] 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[link]

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.^[23] 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.^[24] 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.^[25] A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS).^[26]

Singing in non-human species[link]

Scholars agree that singing is strongly present in many non-human species.^[27][28] 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.^[29] In some animal species singing is a group activity (see, for example, singing in gibbon families.^[30])

Singing in different natural environments[link]

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).^[31] 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^[32] 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.^[33] Therefore, predator threat might be a primary reason why tree living species are generally much noisier than ground living species.^[34]

See also[link]

Art music[link]

Popular music[link]

• Beat boxing
• Belt (music)
• Death growl
• Humming
• Lead vocalist
• Rapping
• Screaming (music)
• Vocoder

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Singing

Look up vocal or singing in Wiktionary, the free dictionary.

Wikibooks has more on the topic of Singing

• A Brief History of Singing
• Singing and Health: A systematic mapping and review of non-clinical research

David Guetta
David Guetta at the 2011 MuchMusic Video Awards
Background information
Birth name	Pierre David Guetta
Born	(1967-11-07) 7 November 1967 (age 44) Paris, France
Genres	House, electro house, hip house
Occupations	DJ, record producer, songwriter
Years active	1984–present
Labels	EMI Music France, Virgin, Positiva, Astralwerks, Jack Back Records
Website	DavidGuetta.com

Pierre David Guetta (7 November 1967), known professionally as David Guetta (French pronunciation: [daˌvid ɡɛˈta]), is a French house music producer and DJ.^[1] Originally a DJ at nightclubs during the 1980s and 1990s, he co-founded Gum Productions and released his first album, Just a Little More Love, in 2002. Later, he released Guetta Blaster (2004) and Pop Life (2007). His 2009 album One Love included the hit singles "When Love Takes Over" (featuring Kelly Rowland), "Gettin' Over You" (featuring Chris Willis, Fergie & LMFAO) and "Sexy Bitch" (featuring Akon), the last becoming a top five hit in the United States and all three reaching #1 in the United Kingdom, as well as another internationally known single called "Memories" featuring Kid Cudi which became a top five hit in many countries. Guetta has sold over three million albums and 15 million singles worldwide.^[2] He is currently one of the most sought-after music producers.^[3] As at 2012 David Guetta is the world's most popular DJ, claiming the #1 poll position of the DJ Mag 100 popularity poll.^[4]

Biography[link]

1984–2000: Early life and career[link]

At age 17, Guetta began DJing at the Broad Club in Paris.^[5] He first played popular songs, and he discovered house music when he heard a Farley master Funk track on French radio in 1987. The next year, he began hosting his own club nights.^[6] In 1990, he released "Nation Rap", a hip-hop collaboration with French rapper Sidney Duteil.^[7]

In the mid 1990s Guetta played in clubs including Le Centrale, the Rex, Le Boy, and Folies Pigalle.^[5][8] Released in 1994^[7] Guetta's second single, a collaboration with American house vocalist Robert Owens titled "Up & Away", was a minor club hit.^[6] In 1994, David Guetta became the manager of Le Palace nightclub and he continued to organise parties there and in other clubs, such as the "Scream" parties in Les Bains Douches.^[9]

[edit] 2001–2006: Just a Little More Love and Guetta Blaster

In 2001, David Guetta along with Joachim Garraud founded Gum Productions, and in the same year Guetta's first hit single, "Just a Little More Love", featuring American singer Chris Willis was released. Willis was vacationing in France when he met Guetta.^[6] Guetta's debut album Just a Little More Love was released in 2002 on Virgin Records and sold over 300,000 copies. The follow-up singles, ("Love Don't Let Me Go", "People Come People Go" and "Give Me Something"), were released in 2002. Guetta released a compilation, Fuck Me I'm Famous, in 2003, named after his party in Ibiza. It included "Just for One Day (Heroes)", a remix of David Bowie's song "Heroes".^[6] Later in his career, Guetta continued recording compilations under that title.

Guetta's second album, Guetta Blaster, was released in 2004. It released four singles: "Money" and "Stay" featuring Chris Willis and "The World Is Mine" and "In Love With Myself" featuring JD Davis. In 2006 the Just a Little More Love single "Love Don't Let Me Go" was re-released as a mash-up with the Tocadisco remix of "Walking Away" by The Egg. The mash-up single entitled "Love Don't Let Me Go (Walking Away)" was charted higher than the original release of the song.

[edit] 2007–2008: Pop Life

Guetta performing, May 2007

In 2007, Guetta's third album Pop Life was released. The album was successful in the UK and Ireland as well as in mainland Europe. According to EMI in 2010, the album has sold a total of 530,000 copies worldwide. The lead single "Love Is Gone" reached Number 1 on the American Dance Chart and charted on the Billboard Hot 100.

He played in many countries around the world to promote the album. He played in Mauritius in January 2008, accompanied by French rapper JoeyStarr. In the same year, he and his wife Cathy also planned a new event which took place in the Stade de France on 5 July 2008. The event was called "UNIGHTED", he performed with Tiësto, Carl Cox, Joachim Garraud and Martin Solveig in front of a crowd of 40,000.^[10]

In 2009, he was placed third in the "Top 100 DJs" poll by DJ Magazine,^[11] and was elected "Best House DJ" by DJ Awards in 2008. Since April 2009, Guetta had his own radio show on the internet radio station RauteMusik on Saturday evening. The show was afterwards moved into Radio 538, being aired every Friday evening after Tiësto's Club Life. Its name is DJ Mix. Guetta performs a one-hour set of house music, presenting mainly new talents inside.

[edit] 2009–2010: One Love and international breakthrough

David Guetta's fourth studio album, One Love, was released in August 2009. Its first single "When Love Takes Over", which featured Kelly Rowland, peaked at #1 on the UK Singles Chart and topped many other countries worldwide. His second single from the album, "Sexy Bitch" featuring Akon, became his second #1 in the UK. "One Love" featuring Estelle, "Memories" featuring Kid Cudi and "Gettin' Over You" featuring Chris Willis, Fergie and LMFAO followed. As of May 2011 the album had sold three million copies worldwide.^[12] Guetta's fourth studio album One Love was nominated as "Best Electronic/Dance Album" at the 52nd Grammy Awards.^[13] His song "When Love Takes Over" featuring American R&B singer Kelly Rowland received two nominations; Best Dance Recording and Best Remixed Recording, Non-Classical, and won the latter. After conflicts over whether or not an album re-issue should go ahead, One More Love was released on 29 November 2010. First single, titled "Who's That Chick?" featuring Rihanna was released a few weeks prior.^[14]

On 16 June 2009, The Black Eyed Peas released the David Guetta-produced "I Gotta Feeling" as their second single from their fifth studio album, The E.N.D.. It became a worldwide hit topping the charts in seventeen countries. It became the most downloaded song of all-time in the United States with almost 7.5 million downloads and in the United Kingdom selling more than 1 million copies.^[15][16] He was nominated twice for his work with The Black Eyed Peas at the 52nd Grammy Awards; in the category Record of the Year for "I Gotta Feeling" and Album of the Year for their album The E.N.D.. In 2010, David Guetta co-wrote and produced Kelly Rowland's "Commander" from her third album Here I Am. It peaked at number one on Billboard's Hot Dance Club Songs chart in the United States, and reached top ten positions in Belgium and the United Kingdom. Guetta has also co-produced "Forever and a Day", which was Kelly's next UK single from that album.^[17][18] Guetta also produced the singles "Acapella" and "Scream" for American singer-songwriter Kelis's fifth studio album, Flesh Tone, released on 14 May 2010. "Acapella" was released as the lead single on 23 February 2010 and topped the dance charts in the United Kingdom and United States. On 28 June 2010 American rapper Flo Rida released the single "Club Can't Handle Me" featuring David Guetta. The song is included on the soundtrack album to the American 3D dance film Step Up 3D.

Guetta on the One Love Tour, January 2010.

[edit] 2011–present: Nothing But the Beat

Guetta's fifth studio album, Nothing But the Beat was released on August 30, 2011. It was released as a double-disc album; one disc being vocal and the other being electronic.^[19] The French DJ was inspired by rock bands such as Kings of Leon and Coldplay to add rock influences to his dance productions.^[20] "Where Them Girls At" featuring Nicki Minaj and Flo Rida, the first single off the album, was released worldwide on May 2, 2011.^[21][22] "Little Bad Girl" featuring Ludacris and Taio Cruz, was released as the second single on June 28, 2011.^[19][23] The third single "Without You" featuring Usher was released on September 27, 2011. Guetta also released three promotional singles for Nothing But the Beat, "Titanium" featuring Sia, "Lunar" with Afrojack and "Night of Your Life" featuring Jennifer Hudson. The album also features the hit single "Sweat" with Snoop Dogg.

Guetta is also scheduled to perform alongside Nicky Romero and Nervo at London's Alexandra Palace on June 1, 2012.^[24]

Personal life[link]

Guetta and his wife Cathy in January 2012 at the NRJ Music Awards ceremony.

His father was a restaurateur of Moroccan Jewish descent,^[25] and his mother is of Belgian descent.^[26][27][28] He is married to socialite and night club manager Cathy Guetta; they have two children, Tim Elvis Eric (born 2004) and Angie (born 2007).^[29]

Discography[link]

• Just a Little More Love (2002)
• Guetta Blaster (2004)
• Pop Life (2007)
• One Love (2009)
• Nothing but the Beat (2011)

Awards and nominations[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

References[link]

External links[link]

• David Guetta on Myspace
• David Guetta on Twitter
• David Guetta's channel on YouTube
• David Guetta at the Internet Movie Database
• David Guetta official store
• David Guetta information at Ultra Records
• Review of 'Memories' on the Daily Music Guide
• David Jeffries. "David Guetta biography". Allmusic. http://www.allmusic.com/artist/p572357. Retrieved 2008-09-22. 
• David Guetta in PACHA NEWS
• David Guetta at Billboard.com
• Review of 'Gettin Over you' on the Daily Music Guide

This article may contain improper references to self-published sources. Please help improve it by removing references to unreliable sources, where they are used inappropriately. (May 2012)

Christina Grimmie
Background information
Birth name	Christina Victoria Grimmie
Also known as	zeldaxlove64
Born	(1994-03-12) March 12, 1994 (age 18)
Origin	Marlton, New Jersey, U.S.
Genres	Pop, R&B, pop rock, dance-pop, hip-hop
Occupations	Singer, songwriter, pianist
Instruments	Vocals, Piano
Years active	2009–present
Labels	Creative Artists Agency
Associated acts	Selena Gomez & The Scene, Sam Tsui, Allstar Weekend
Website	www.christinagrimmieofficial.com
Notable instruments
Keyboard, piano

Christina Victoria Grimmie (born March 12, 1994), known on YouTube as zeldaxlove64,^[1] is a pianist and singer/songwriter known for her covers of hit songs by artists such as Demi Lovato, Selena Gomez, Christina Aguilera, Miley Cyrus, Justin Bieber, Katy Perry and many more. In June 2011, she released her debut EP, Find Me.

YouTube recognition[link]

Christina Grimmie is best known for her cover with fellow Youtuber, Sam Tsui, of Nelly's "Just a Dream" which has had about 60 million views between the two official versions of the video as of May 15, 2012.^[2][3] Her first video was "I Don't Wanna Be Torn", originally by Hannah Montana. She first reached YouTube stardom early on with her cover of Miley Cyrus's "Party in the U.S.A." on August 2009.^[4] Since, she's had over 289 million views and over 1.5 million subscribers on her channel as of May 15, 2012, which has made her the 4th most subscribed musician on YouTube.^[5] She also placed at number 2 at the top 5 of the MyYoutube competition, behind Selena Gomez, and in front of Rihanna, Nicki Minaj and Justin Bieber.^[6]

Career[link]

Grimmie has performed in the UNICEF charity concert,^[7][8] and has also performed backup vocals for Selena Gomez & the Scene, and was on the 2011 first ever Digitour, specially designed for YouTube artists. She has appeared on the Billboard Social 50.^[9] Christina is currently being managed by stepfather of Selena Gomez, Brian Teefey. She also opened for Selena Gomez & the Scene, Allstar Weekend and the Jonas Brothers during the Concert of Hope. She toured for six weeks with Selena Gomez & the Scene opening for them in the We Own the Night Tour.^[10] She released an EP, entitled Find Me, on June 14, 2011.^[10] Her debut single 'Advice' was released to Radio Disney on June 11,^[11] with the music video, directed by Sean Babas, being released on July 19 on her Youtube channel. She appeared on The Ellen DeGeneres Show performing with fellow YouTuber, Tyler Ward, a cover to Lil Wayne's "How to Love" that aired on October 10, 2011.^[12] On November 20, 2011, Grimmie performed at the 39th American Music Awards of 2011 Pre-show alongside with Taio Cruz to a special rendition of "Higher". She also performed her song 'Not Fragile' at the American Music Awards of 2011 Coca-Cola Red Carpet Show along with Selena Gomez's band the Scene. Christina Grimmie was the special musical guest performing her hit song 'Advice' on Disney Channel's So Random! which premiered on December 11, 2011.^[13] In January 2012 she moved to Los Angeles to pursue her singing career, as she told fans on Facebook and Twitter. Grimmie was signed to Creative Artists Agency who have signed the likes of Chris Brown and Christina Aguilera in early April 2012 after moving to LA; she is currently working on a new album, as she told fans on Facebook and Twitter.

Discography[link]

• Find Me (2011)

Singles[link]

• 1."Advice"

Released: June 11, 2011

• 2."Liar Liar"

Released: October 3, 2011

Songs covered[link]

2009[link]

• "I Don't Wanna Be Torn" by Hannah Montana
• "Dear Friend" by Stacie Orrico
• "Party in the U.S.A." by Miley Cyrus
• "Catch Me" by Demi Lovato
• "Energy" by Keri Hilson
• "Don't Forget" by Demi Lovato
• "Never Say Never" by The Fray
• "Crazier" by Taylor Swift
• "Everytime You Lie" by Demi Lovato
• "When You Look Me in the Eyes" by Jonas Brothers
• "One Time" by Justin Bieber
• "Unfaithful" by Rihanna
• "My Heart Will Go On" by Céline Dion
• "What Hurts the Most" by Rascal Flatts
• "Apology" by Cristina Marie
• "Fireflies" by Owl City
• "Only Hope" by Switchfoot
• "The Way I Loved You" by Selena Gomez & The Scene
• "White Christmas" by Bing Crosby
• "When I Look at You" by Miley Cyrus

2010[link]

• "Everytime We Touch" by Cascada
• "Lift Me Up" by Christina Aguilera
• "The Voice Within" by Christina Aguilera
• "Naturally" by Selena Gomez & the Scene
• "Hey, Soul Sister" by Train
• "Baby" by Justin Bieber
• "Break Your Heart" (featuring Tiffany Alvord) by Taio Cruz
• "Hallelujah" by Leonard Cohen
• "Halo" by Beyoncé
• Medley: When I Look at You / Goodbye / 7 Things / See You Again / The Climb / If We Were a Movie / Before The Storm / Breakout / The Best of Both Worlds by Miley Cyrus
• "Telephone" by Lady Gaga feat. Beyoncé
• "Impossible" by Shontelle
• "Pyramid" by Charice feat. Iyaz
• "You Lost Me" by Christina Aguilera
• "Shark in the Water" by V V Brown
• Medley: Fallin' (Alicia Keys) / Walk Away (Christina Aguilera) / Alejandro (Lady Gaga) / Billionaire (Travie McCoy feat. Bruno Mars) / Airplanes (B.o.B feat. Hayley Williams) / Dynamite (Taio Cruz) / Tik Tok (Kesha) / California Gurls (Katy Perry feat. Snoop Dogg)
• Medley: Never Say Never (Justin Bieber) / Stay (Miley Cyrus)
• "A Year Without Rain" by Selena Gomez & the Scene
• "DJ Got Us Fallin' in Love" (featuring Alex Goot) by Usher feat. Pitbull
• "Beat It" by Michael Jackson
• "Hurt" by Christina Aguilera
• Medley: Just a Dream (Nelly) / Just the Way You Are (Bruno Mars) / Teenage Dream (Katy Perry) / Animal (Neon Trees) / Firework (Katy Perry)
• "Just a Dream" (featuring Sam Tsui) by Nelly
• "Grenade" by Bruno Mars
• "All I Want for Christmas Is You" by Mariah Carey
• "A Little More Of Us" by Stereo Skyline

2011[link]

• "Firework" by Katy Perry
• "Jar of Hearts" by Christina Perri
• "Only Girl (In the World)" by Rihanna
• "Back to December" by Taylor Swift
• "Bad Romance" by Lady Gaga
• "F**kin' Perfect" by Pink
• "Through Glass" (featuring Mark Grimmie) by Stone Sour
• "Rolling in the Deep" by Adele
• "Pray" by Justin Bieber
• "Who Says" by Selena Gomez & the Scene
• "E.T." by Katy Perry
• "Forget You" by Cee Lo Green
• "Price Tag" by Jessie J feat. B.o.B
• "Bound to You" by Christina Aguilera
• "The Edge of Glory" by Lady Gaga
• "Set Fire to the Rain" by Adele
• Medley: Crushcrushcrush / The Only Exception / Decode / Misery Business by Paramore
• "Someone Like You" Adele
• "Skyscraper" by Demi Lovato
• "Billie Jean" (featuring Noah Guthrie) by Michael Jackson
• "Lonely Day" (featuring Mark Grimmie) by System of a Down
• "How to Love" (featuring Tyler Ward) by Lil Wayne
• "One and Only" by Adele
• "Your Song" by Elton John
• "Stereo Hearts" by Gym Class Heroes feat. Adam Levine
• "We Found Love" by Rihanna feat. Calvin Harris
• "It Will Rain" by Bruno Mars
• "The One That Got Away" by Katy Perry
• "O Holy Night" (Christmas carol)