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

Corey Taylor
Background information
Birth name	Corey Todd Taylor
Also known as	#8, The Great Big Mouth, Faith, The Sickness, Todd Tigger
Born	(1973-12-08) December 8, 1973 (age 38)
Origin	Des Moines, Iowa, United States
Genres	Alternative metal, heavy metal, post-grunge, hard rock, alternative rock, nu metal
Occupations	Musician, songwriter, author
Instruments	Vocals, guitar, bass, piano, keyboards
Years active	1990–present
Labels	Roadrunner, Great Big Mouth
Associated acts	Slipknot, Stone Sour, Soulfly, Junk Beer Kidnap Band
Website	www.thecoreytaylor.com

Corey Todd Taylor (born December 8, 1973) sometimes known by the number 8,^[1] is an American musician best known as the lead vocalist and lyricist of Slipknot and Stone Sour.^[2]

Corey Taylor is a founding member of Stone Sour, and has released three studio albums with that band. Taylor joined Slipknot in 1997 to replace their original singer Anders Colsefni. He has released four studio albums with them. Taylor constantly alternates between bands, since 2001, after the release of Iowa, where he reformed Stone Sour immediately after touring. He has worked with several bands, including Junk Beer Kidnap Band, Apocalyptica, Anthrax, Aaron Lewis of Staind, and Soulfly. Taylor writes and sings in styles that vary by genre. Taylor was ranked number 86 in Hit Parader's Top 100 Metal Vocalists of All Time.^[3]

Personal life[link]

Corey Taylor was born in Des Moines, Iowa on December 8, 1973,^[4][5][6][7] the first of three children. He lived in Orlando briefly with his uncle, George Robson though Taylor was mostly raised by his mother in Waterloo, Iowa, a place described by Taylor as a "hole in the ground with buildings around it."^[7] He is of Belgian, Polish and Danish background from his father's side.

Taylor was raised by his single mother. He developed a fond feeling toward classic rock after his grandmother introduced him to it.

In 1979, Taylor and his mother saw the science fiction series Buck Rogers in the 25th Century. Before the series, there was a trailer for the 1978 horror film Halloween. Taylor said this "developed some sense of Slipknot in [himself]."^[7] While Halloween introduced Taylor to masks and horror themes, Taylor's grandmother introduced him to rock music, showing him a collection of Elvis Presley records from the mid-fifties to late seventies. He especially found some songs like "Teddy Bear", "In the Ghetto", and "Suspicious Minds", to appeal to his interests the most, describing them as "good times."^[7] Taylor also began listening to Black Sabbath at a young age, beginning with their early work.^[7]

Taylor, along with his mother and sister, lived in an "old dilapidated farmhouse," which on days in late autumn would "look like Black Sabbath album covers."^[8][9] By age fifteen, Taylor had developed a drug addiction and had overdosed on cocaine twice.^[8][10] By this time, Taylor was living in Waterloo, Iowa, but later set out on his own and ended up at his grandmother's trailer in Ohio. She took legal custody of him and helped him buy musical equipment.^[9] When Taylor was eighteen, he left his grandmother's trailer and went to various places, Des Moines being a place to which he frequently returned.^[11]

Taylor and his father first met when Taylor was an adult, and now have a strong relationship.^[12] On September 17, 2002, Corey's then-fiancée, Scarlett Stone, gave birth to their son Griffin Parker.^[13] Taylor also has a daughter named Angie, born on October 29, 1992 from an earlier relationship.^[13] Taylor and Stone married on March 11, 2004, and divorced three years later.^[14] On November 13, 2009, he married Stephanie Luby.^[14]

Taylor has also had alcohol abuse problems, which his ex-wife, Scarlett, helped him through as well as keeping him from committing suicide.^[15] In 2006, Taylor told MTV that he had attempted to jump off a balcony of the eighth floor of the Hyatt on Sunset Boulevard in 2003, but "somehow [Scarlett] stopped me". This was later recanted by Taylor in an interview with Kerrang! radio and stated that it was, in fact, his friend Thom Hazaert who stopped him from jumping.^[16] Scarlett then told him that either he would have to get sober or she would annul their marriage.^[15] Before Stone Sour started recording Come What(ever) May in January 2006, Taylor was sober.^[15][17]

On August 3, 2009, he co-hosted the 2009 Kerrang! Awards alongside Scott Ian of Anthrax.^[18][19] The following year, they both once again co-hosted The Kerrang Awards, where Corey collected the K! Services to Metal award on behalf of Paul Gray who died after an accidental overdose of morphine and fentanyl, and had also shown signs of "significant heart disease".^[20][21] In early September, 2010, Taylor announced that his book, Seven Deadly Sins: Settling The Argument Between Born Bad And Damaged Good would be released on July 12, 2011 through Da Capo Press.^[22]

Music career[link]

Slipknot[link]

In Des Moines, Iowa, Joey Jordison, Shawn Crahan, and Mick Thomson approached him asking him to join Slipknot.^[23] He agreed to go to one of their practices, and ended up singing in front of them. They asked him to join the band because of his melodic vocals. Taylor became lead vocalist for the band, when their previous vocalist, Anders Colsefini, left for religious reasons. Of Slipknot's nine members, Corey was the sixth to join the band.^[24]

Taylor performing with Slipknot in 2005

Feeling he could expand more in Slipknot than in Stone Sour, Taylor temporarily quit Stone Sour, even though they were recording an album with Sean McMahon.^[25] Taylor's first gig with Slipknot was on August 22, 1997, which according to band members did not go well. During his first gig, Taylor did not perform wearing a mask; however, for his second show nearly a month later, Corey wore a mask that resembles his debut album mask.^[24] Taylor's current mask was described by MTV's Chris Harris as looking "as though it were made of dried, human flesh—like Leatherface, if only he used moisturizer."^[26] One of the old dreadlocked masks is now in the possession of Dom Howard of British rock band Muse, after the two bands both played MetalFest. He was apparently subjected to Taylor's "sit the fuck down!" routine face-to-face during Slipknot's set and can be seen reliving the experience (wearing the mask) on Muse's Hullabaloo . Despite rumours that Howard had stolen the mask, he in fact received it from a fan afterwards.

Taylor has recorded with Slipknot since the release of their second demo album, a self-titled demo used to promote the band to prospective labels and producers.^[27] As permanent vocalist, he recorded with Slipknot at Indigo Ranch in Malibu, California and released Slipknot, the band's debut album that peaked number one on the Top Heatseekers chart,^[28][29] went 2× Platinum in the United States,^[30] and was included in the 2006 book 1001 Albums You Must Hear Before You Die.^[31] Taylor was accused of copyright infringement, regarding the lyrics of the song "Purity". But this turned out to be a lie.^[32] Taylor began recording for their second studio album, Iowa, in 2001 at Sound City and Sound Image in Van Nuys, Los Angeles, California.^[33] It was released August 28, 2001 and peaked number one on the UK Albums Chart,^[34] as well as number three on the Billboard 200.^[35] While writing Vol. 3: (The Subliminal Verses), Taylor decided to write lyrics that would not warrant an explicit label.^[36] It peaked number two on the Billboard 200.^[37] All Hope Is Gone was the first Slipknot album to peak number one on the Billboard 200.^[38]

Stone Sour[link]

Corey Taylor unmasked with Stone Sour

Taylor is a founding member of the American hard rock band Stone Sour. After he formed the band with drummer Joel Ekman, Shawn Economaki joined filling in the bass position, leaving the electric guitar position to be filled by Josh Rand. Stone Sour recorded a demo album in 1992, and another in 1994. In 1997, Taylor was approached by the metal band, Slipknot, resulting in him abandoning Stone Sour while they were recording a demo album with Sean McMahon at SR studios.^[23][25] Taylor did not return until five years later to record their debut album, Stone Sour in 2002. Both Taylor and guitarist Josh Rand contacted Jim Root, Slipknot's guitarist, and Shawn Economaki, Stone Sour's original bassist, to begin writing songs for their debut album.^[39] Drummer Joel Ekman came back on board as well.^[40][41] This "reformation" later resulted in Stone Sour recording at Catamount Studios in Cedar Falls, Iowa.^[40][42]

Their self-titled debut album was released August 27, 2002, and it debuted at number 46 on the Billboard 200.^[43] Their second album, Come What(ever) May debuted at number four on the Billboard 200.^[43] It was released August 1, 2006, and charted on several different charts.^[43][44][45] Live in Moscow is currently their only album specifically released only for music download.^[46] During the recording of the album, drummer Joel Ekman left the band for personal reasons. As a result, drummer Roy Mayorga was recruited, taking his place.^[47] The group released their third studio album, Audio Secrecy, on September 7, 2010. Corey Taylor announced he will do a Concept Double album with Stone Sour. It's going to be the first Stone Sour to be back to back with an album.^[48][49][50]

Other work[link]

Taylor has appeared as a guest musician on albums by Soulfly, Apocalyptica and Damageplan. At one point, he was heavily involved in the recording of thrash metal band Anthrax's album, Worship Music, but the sessions remain unreleased.^[51] He also contributed to the Roadrunner United all-star album in 2005, providing vocals for the song "Rich Man".^[52] Taylor has also made a brief appearance in Steel Panther's singles "Death to All but Metal", "Eyes of a Panther", and "Asian Hooker".^[53] In 2006, Taylor founded the record company Great Big Mouth Records.^[54] Taylor has produced two albums: Face Cage's self-titled album and Walls of Jericho's Redemption.^[55][56] Taylor provided guest narration on the track "Repentance" for Dream Theater's 2007 album Systematic Chaos. In an interview with Billboard magazine, Taylor confirmed that on January 13, 2009, he was planning on making a solo album, as well as returning to his side project Stone Sour after Slipknot's All Hope Is Gone World Tour.^[57] Taylor has stated that he is currently been writing songs that states "don't fit either of his main bands."^[57] He describes them as a cross between Foo Fighters, Johnny Cash, and Social Distortion, saying that there's "a country background that comes built-in with living in Iowa".^[57]

On the March 30, 2009, it was confirmed that Taylor and the Junk Beer Kidnap Band would be performing at Rockfest in 2009.^[58] The group performed on April 24, 2009 at People's Court in Des Moines, Iowa, marking Taylor's first official solo show.^[59] Taylor constantly performs with his band the Dum Fux, who make covers for 1970s punk rock and 1980s hair metal.^[60] Taylor also performs with Audacious P, a band that is primarily a Tenacious D covers band.^[61] Rapper Tech N9ne confirmed that Taylor was to perform on his album K.O.D., but was removed because Taylor did not submit his vocals in time.^[62][63] Taylor recently admitted that he tried out for the vacant singer spot in the band Velvet Revolver, but said that it just did not work out.^[64] However, according to a recent Billboard article, it seems likely that he may in fact become the vocalist for Velvet Revolver, though no official confirmation has been made.^[65] Duff McKagan added that they can neither "confirm or deny" Taylor's membership in the band but believes that Taylor is the "real deal".^[66] Slash has since ruled Corey out as the possible new vocalist explaining that "[it] just wasn't right" although he does love him.^[67] He however, has recorded 10 new songs with the band, drummer Matt Sorum stated it's unlikely it will ever be released.^[68] Taylor explained to Mark Hoppus on Hoppus on Music that McKagan and he were writing new music for a possible new supergroup.^[69]

In July 2011 Taylor collaborated with Aaron Lewis while promoting Lewis' solo album, Town Line for a one night only acoustic duet show covering songs such as, Pearl Jam's "Black", Pink Floyd's Comfortably Numb, and Alice In Chains' Down In A Hole, videos from this show with Taylor and Lewis can be found on YouTube.

As a solo artist he recently recorded a new song, "X-M@$", for The Teenage Cancer Trust. The video itself is dedicated to those who hate Christmas. The single was made available to digital retailers on December 12, 2010.^[70] It debuted at number thirty-seven in the UK.^[71]

In 2011, Taylor collaborated with Blink-182 drummer Travis Barker on Barker's solo album Give The Drummer Some on the song "On My Own".

Style and influence[link]

The first two Slipknot albums with Taylor's vocals, Slipknot and Iowa, both contain gratuitous explicit content. Many critics claimed Taylor relied on the profanity, which is why Slipknot's third album, Vol. 3: (The Subliminal Verses) is profanity free and did not warrant the explicit label.^[36] Compared with the previous vocalist for Slipknot, Anders Colsefini, Taylor has a vocal style that was characterized by drummer Joey Jordison as "really good melodic singing".^[72] Taylor's vocal style, which contains at times melodic singing, growling, screaming, shouting, and rapping, led him to place at number 86 on the Hit Parader’s Top 100 Metal Vocalists of All Time.^[73]

Taylor's two major projects have contrasting temperament.^[40] Slipknot is considered to be heavy metal, nu metal and alternative metal, and express moods such as depression, hostility, anger, and rebellion.^[74] Stone Sour is classed as hard rock, alternative metal, heavy metal, and post-grunge, expressing moods of bleakness and somberness as well as anger and rebellion.^[75] Taylor cites Mötley Crüe, Iron Maiden, Metallica, Nine Inch Nails, Dokken, Misfits, Black Sabbath, Black Flag, Slayer, Def Leppard, Sex Pistols, Lynyrd Skynyrd, Cheap Trick, Pearl Jam, The Damned, The Cramps, Journey, Mike Patton and Bob Dylan as influences.^[76]

Discography[link]

Stone Sour[link]

Slipknot[link]

Other works[link]

Solo singles[link]

Filmography[link]

Equipment[link]

References[link]

Literature

• Arnopp, Jason (2001), Slipknot: Inside the Sickness, Behind the Masks, Ebury, ISBN 0-09-187933-7 
• McIver, Joel (2001), Slipknot: Unmasked, Omnibus, ISBN 0-7119-8677-0 

Cited