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

Simon Cowell
Cowell at the National Television Awards at the Royal Albert Hall, London, October 2006.
Background information
Birth name	Simon Phillip Cowell
Born	(1959-10-07) 7 October 1959 (age 52) Lambeth, London, England
Origin	Elstree, Hertfordshire, England
Occupations	A&R executive, television producer, entrepreneur, television personality
Years active	1979–present
Labels	EMI, E&S Music, Fanfare Records, BMG, S Records, Sony Music Entertainment, Syco
Associated acts	Westlife, Sinitta, Leon Jackson, Jai McDowall, Mighty Morphin Power Rangers, Curiosity Killed the Cat, Sonia, Five, Robson & Jerome, Ultimate Kaos, WWF Wrestlers, Zig and Zag, Leona Lewis, Alexandra Burke, Joe McElderry, Shayne Ward, Il Divo, Susan Boyle, Paul Potts, JLS, One Direction, Melanie Amaro

Simon Phillip Cowell (born 7 October 1959) is an English A&R executive, television producer, entrepreneur, and television personality. He is known in the United Kingdom and United States for his role as a talent judge on TV shows such as Pop Idol, The X Factor, Britain's Got Talent and American Idol. He is also the owner of the television production and music publishing house Syco.

As a judge, Cowell is known for his blunt and often controversial criticisms, insults and wisecracks about contestants and their abilities. He is also known for combining activities in both the television and music industries, having promoted singles and records for various artists, including television personalities. He was most recently featured on the fifth series of Britain's Got Talent and the first season of The X Factor USA.

In 2010, the British magazine New Statesman listed Cowell at number 41 in a list of "The World's 50 Most Influential Figures 2010".^[1]

Early life[link]

Cowell was born in Lambeth, London^[2] and brought up in Elstree, Hertfordshire.^[3] His mother, Julie Brett (née Josie Dalglish), is a former ballet dancer and socialite, and his father, Eric Selig Phillip Cowell (1918–1999),^[2] was an estate agent developer and music industry executive.^[4] Cowell's father was from a mostly Jewish family, though he did not discuss his background with his children (Cowell's paternal grandmother had immigrated from Poland).^[5] Cowell's mother was from a Christian background, and is of part Scottish descent.^[5][6][7] He has one brother and three half-brothers and a half sister; younger brother Nicholas Cowell, half-brother John Cowell, half-brother Tony Cowell, half-brother Michael Cowell and half sister June Cowell.^[8]

Cowell attended Radlett Preparatory School and the independent Dover College as did his brother, but left after taking GCE O levels. He passed in English Language and Literature and then attended Windsor Technical College where he gained another GCE in Sociology.^[9] At the age of 17, he dated model Paula Hamilton.^[10] Cowell took a few menial jobs—including, according to Tony, working as a runner on Stanley Kubrick's The Shining^[11]—but did not get along well with colleagues and bosses, until his father who was executive at the recording giant EMI Music Publishing, managed to get him a job in the mail room.^[12]

Career[link]

Cowell's father's connections originally got him rehired as the assistant to an A&R man. From there onwards, Simon worked his way up and eventually got promoted to a music publishing^[13] position but left during the early 1980s to form E&S Music with his boss at EMI, Ellis Rich (later Chairman of the Performing Right Society). The company had several hit records at one point with five singles in the UK top 40. The offices were in a converted gentleman's washroom in the NCP car park on Brewer Street in London's Soho district. Cowell left by mutual agreement a few years later. He worked for Iain Burton, manager of choreographer Arlene Phillips, co-founder of dance group Hot Gossip and of nascent independent record label Fanfare Records. Cowell worked with Burton for eight years at Fanfare where he achieved his first real success in the music industry, becoming a partner and building Fanfare into a highly successful 'indie' pop label. Fanfare had numerous top ten hits with various pop artists and particularly Sinitta, selling more than 500,000 copies of her debut single "So Macho", and more than 500,000 copies of her album Rondo Veneziano.^[14] Next in 1984, Cowell and Burton met up with Pete Waterman for the first time.

Mike Stock, Matt Aitken and Pete Waterman formed the songwriting and record producing trio known as Stock Aitken Waterman.^[15] Stock Aitken Waterman helped Fanfare during the second half of the 1980s producing several hit singles for Sinitta and licensing The Hit Factory SAW Compilation Albums to Fanfare. Next in 1989, Fanfare's parent, Public Company, found itself in difficulties, forcing Fanfare into the hands of BMG. An in-debt Cowell was forced to move back in with his parents. Later that year, he became an A&R consultant for BMG. In 1990, he appeared as a contestant on the UK gameshow Sale of the Century.^[16][17]

Subsequently, Cowell signed up a number of acts to S-Records that became successful, including Curiosity Killed the Cat, Sonia, Five, Westlife, Robson & Jerome, and Ultimate Kaos. He also released several novelty recordings featuring the likes of Teletubbies, wrestlers of WWE^[18] Zig and Zag and the Mighty Morphin Power Rangers, that were huge successes.^[3] In 2002, Cowell set up another label, Syco Music, which later became part of Columbia Records and Sony BMG Music Entertainment. Artists such as Leona Lewis, Il Divo and contestants from The X Factor and America's Got Talent are released on Syco. Cowell explained, "There has to come a point when I will step down from being on camera and remain behind the scenes because you can't keep doing this forever...I think by [the end of my contract] that the public will be sick to death of me anyway and it will be time to go."^[19]

In 2006, Cowell signed to two more record-breaking deals. In the US, he agreed to remain as a judge on American Idol, earning £20 million (US$33 million) per season for another five years. He also has a deal with FOX which allows his production company to broadcast Got Talent and American Inventor on other networks, but he may not appear on them. In the UK, he signed a "golden handcuffs" deal with ITV, worth approximately £6.5 million a year for three years, which gave ITV rights to his talent show The X Factor, a British singing talent show, and Grease Is the Word, a musical talent show to find the stars of a Grease production in London's West End. In late 2005, he signed a new contract to remain working for Sony BMG.

In 2010, Cowell finalised a deal which secures the long-term business future of Syco with Sony Music Entertainment.^[20] The deal will also see him launching a US version of X Factor on 21 September 2011.^[21]

[edit] Idol franchise and Il Divo

Cowell was given the role of judge on the first series of Pop Idol in the UK by then ITV Controller of Entertainment Claudia Rosencrantz^[22] in 2001, he was then judge on the first season of American Idol in 2002. With his notoriously critical reputation, Cowell is likened to TV personalities such as Judith Sheindlin and Anne Robinson. Though comparable to Robinson, Cowell has expressed his dislike for her and has commented in an interview, "I hate her and I hate her show because it's just an act".^[23] Cowell's prominence grew, fed by his signature phrase, "I don't mean to be rude, but ...", inevitably followed by an unsparingly blunt appraisal of the contestant's talents, personality, or even physical appearance. A lot of these one-liners were the product of coaching that Cowell received from noted publicist Max Clifford.^[24] Cowell also appeared on the one-off World Idol programme in 2003, where it became clear that each country's version of the Idol had attempted to come up with its own "Simon Cowell" type personality. In 2003, Cowell placed No 33 on Channel 4's list of the all-time 100 Worst Britons. Cowell's S Records signed the top two finishers of the first season of Pop Idol, Will Young and Gareth Gates, both of whom went on to have No 1 UK hits. Efforts begun in 2001 materialised in 2004, when Cowell returned to his group manufacturing roots with his latest brainchild, the internationally successful operatic pop group Il Divo,^[25][26] consisting of three opera singers and one pop singer of four different nationalities. Inspired by the success of Il Divo, Simon created a child version, Angelis, beating competition from many similar groups emerging at Christmas 2006.^[27]

On 11 January 2010, Cowell's exit from American Idol was made official. The 2010 season was Cowell's last on the show. It was also announced that FOX had acquired the rights to The X Factor USA, an American version of Cowell's popular British show, The X Factor, which began in September 2011.^[28][29]

[edit] The X Factor

In 2004, with Sharon Osbourne and Louis Walsh, Cowell was a judge on the first series of the British television music competition The X Factor, which he created using his production company, Syco. The X Factor was an instant success with the viewers and began its eighth series in 2011.

Leona Lewis, the winner of the third series of The X Factor, was signed to Cowell's label Syco and has had number one singles and album sales around the world.^[30][31] Cowell returned for a fourth series on 18 August 2007 alongside Osbourne, Walsh and new judge, Dannii Minogue. Walsh had previously been sacked from the judging panel by Cowell for the fourth series, and was subsequently replaced by Brian Friedman, who was a judge on Grease Is the Word. Walsh was later brought back a week into the auditions by Cowell when he and Osbourne realised that they missed Walsh and that without him, there was no chemistry between the judges. Cowell returned for the fifth series in 2008, with Walsh, Minogue and new judge Cheryl Cole, as Osbourne decided to quit before the show began.^[32][33] Cowell returned for series 6 and 7 as well, although series 7 was his to be his last, as he left in 2011 in order to launch The X Factor in America. After placing third in the seventh series of The X Factor in the UK, boyband One Direction signed to Cowell's label in 2011, and the group have gone on to top singles and album charts worldwide.^[34][35]

The X Factor Australia launched in 2005, but was cancelled due to poor ratings. It returned to Australian television for its second season on 30 August 2010, with Kyle Sandilands, Ronan Keating, Guy Sebastian and Natalie Imbruglia as judges.^[36] Season 3 began on 29 August 2010 and ended on 22 November. It featured Ronan Keating, Mel B, Guy Sebastian and Natalie Bassingthwaighte as judges.

Cowell also launched The X Factor USA in September 2011 on American broadcaster Fox. It was originally announced that he would be a judge both on the UK and U.S. editions of the show, which air at similar times of the year,^[20][21] but MTV officially reported on 17 April 2011 that this was not true; Cowell is no longer a judge in the UK version,^[37] but instead will be an enormous presence backstage.^[38] He currently is a judge on The X Factor USA alongside Paula Abdul, L.A. Reid, Nicole Scherzinger and formerly Cheryl Cole.

In October 2010, Cowell signed new three-year deals with ITV for both Britain's Got Talent and The X Factor, renewing both shows until 2013.^[39]

[edit] Got Talent franchise

Following the success of the Idol and X Factor franchises, Cowell, his company Syco, and its business partners developed a talent show format open to performers of any kind, not only singers, but also dancers, instrumentalists, magicians, comedians, novelty acts, and so on. The origins of the Got Talent format can be traced to the British show Opportunity Knocks, which began as a radio programme in the 1940s and later transferred to television, where it was an ITV staple for several decades. Looking further back, Opportunity Knocks had its roots in the variety show traditions of British music hall and American vaudeville.

Cowell is the executive producer of America's Got Talent,^[40] which debuted in June 2006, along with Fremantle producers of the Idol series, but he does not appear on the show due to the terms of his contract with FOX. The show was a huge success for NBC, drawing around 12 million viewers a week, and beating So You Think You Can Dance on FOX (produced by rival and Idol creator Simon Fuller).

Britain's Got Talent^[41] debuted on ITV in June 2007. Cowell appears as a judge alongside Amanda Holden and Piers Morgan. The show was a ratings success and second and third seasons followed in 2008 and 2009. The third series featured a publicity coup when Susan Boyle^[41][42][43] made a global media impact with her regional audition performance comparable to that of any previous talent show series winner.

[edit] American Inventor

On 16 March 2006, Simon Cowell's next competition show, American Inventor,^[44][45] debuted on ABC. Fledgling entrepreneurs from across the United States competed to see who could come up with the best new product concept. The 2006 winner, Janusz Liberkowski,^[46][47] received $1 million and the opportunity to develop his idea into a business. The show returned one more time in 2007 for a second season.

[edit] Celebrity Duets

In 2006, Cowell executive-produced Celebrity Duets,^[48] which was described as "an Idol show for Hollywood superstars." The show was hosted by Wayne Brady, and its judges were Marie Osmond, Little Richard^[49] and David Foster.

[edit] Grease Is the Word

Cowell was also the executive producer of Grease Is the Word for ITV. This show set out to find performers to play Danny and Sandy in the 2007 West End revival of Grease. It was hosted by Zoe Ball and judged by Britons David Ian and Sinitta and Americans David Gest and Brian Friedman. The musical theatre casting concept had already been introduced by the BBC with the ratings hit How Do You Solve A Problem Like Maria?, but Cowell's show was not the hoped for success. He himself said, "It has been slaughtered by the critics – and rightly so. It is far too similar to our other formats."^[50]

[edit] Rock Rivals

Cowell collaborated with UK production company Shed Media to produce 2008 ITV drama series Rock Rivals, which is based on an X Factor type show.^[51]

[edit] Red or Black?

In 2011, Cowell also created his first game show, titled Red or Black? and hosted by Ant & Dec, for ITV.^[52] Series 1 was broadcast over seven nights in one week (excluding Tuesday), from 3 September to 10 September. The show has been recomissioned by ITV for a second series in 2012, which will be aired weekly.^[53]

Other activities[link]

Cowell has been involved in charity work for many years.^[54] He supports children from The Association Of Children's Hospices and invites them backstage to the screenings of The X Factor.^[55] When he can, he stops by some of the hospices to visit the children.^[55] He also supports animal rights and has appeared in a video for PETA in which he reminds drivers of the cruelty to animals that can occur when their pets are locked in cars in the summer.^[56][57] In view of his charitable works, particularly the production of the charity single Everybody Hurts in aid of victims of the 2010 Haiti earthquake, as well as his services to the music industry, there was considerable media speculation as to whether Cowell would receive a knighthood in the Queen's 2010 Birthday Honours, a proposal allegedly put forward by former Prime Minister, Gordon Brown.^[58] Cowell stated that he believed his chances of receiving the honour were "zero" following what he described as being a "royal row";^[59] ultimately Cowell did not receive an honour in the list.

In December 2003, Cowell published his autobiography titled I Don't Mean to be Rude, but.... In it, he told the whole story of his childhood, his years working in music and experiences on Pop Idol, Pop Stars Rivals, and American Idol, and finally, his tips for being successful as a pop star.

Cowell has appeared as a guest voice in an episode of The Simpsons ("Smart and Smarter"), in which he gets beaten up by Homer Simpson (while criticising Homer's punches).^[60][61] His voice was also heard on an episode of Family Guy ("Lois Kills Stewie"), in which he told Stewie that his singing was so awful that he should be dead.^[62][63][64] He made an MTV Movie Award-winning cameo appearance as himself in Scary Movie 3, where he sits in judgment during a battle rap (and subsequently gets killed by gunfire for criticising the rappers). He also appears in the DVD version of Shrek 2 as a judge in Far Far Away Idol, and also provided the voice.^[65]

He appeared on an episode of Who Wants to be a Millionaire? (the original British version) and Saturday Night Live in 2004. Cowell has also guest-starred (filling in for Regis Philbin) in the popular talk show Live with Regis and Kelly during American Idol's finalist week in early 2006. Cowell was once the fastest "Star in a Reasonably Priced Car" on BBC's motoring show Top Gear, driving a Suzuki Liana around the show's test track in a time of 1:47.1. When Top Gear retired the Liana along with its rankings after the eighth series, Cowell was the eighth fastest overall and the third fastest non-professional driver. On 11 November 2007 Cowell yet again appeared on Top Gear, achieving a time of 1:45.9 thus putting him ahead of Gordon Ramsay and back at the top of the table.^[66] Cowell introduced entertainer Dick Clark at the 2006 Primetime Emmy Awards. He was seen on Comic Relief Does The Apprentice where he donated £25,000 for a fun fair ticket. Cowell has also appeared on the MTV shows Cribs and Punk'd. On Punk'd, Ryan Seacrest and Randy Jackson set him up to believe his $400,000 Rolls Royce was stolen and had caused an accident by using a nearly identical car.^[67]

Cowell was chosen as the first subject of the re-launched This Is Your Life in an episode broadcast on 2 June 2007. He was presented with the Red Book by Sir Trevor McDonald while presenting American Idol.^[68]

On 1 July 2007 Cowell appeared alongside Randy Jackson and Ryan Seacrest as a speaker at the Concert For Diana, held at Wembley Stadium.^[69]

Cowell was a partner in the Royal Ascot Racing Club, a thoroughbred horse racing syndicate which owned the 2005 Epsom Derby winner, Motivator.^[70]

In May 2010, he portrayed himself again, in another episode of The Simpsons, "Judge Me Tender".^[71]

In December 2010, he was added as a new entry to the latest edition of Who's Who.^[72]

Personal life[link]

Cowell became engaged to make up artist Mezhgan Hussainy in February 2010, however the couple separated in 2012.^[73] They met on the set of American Idol.^[74] Cowell is the godfather of pop singer Sinitta's adopted children.^[75]

Upon his appearance on Top Gear, it was revealed that Cowell pays more than £21.7m per year in income tax, suggesting that his taxable income is over £54.25m per year with income tax at the time approximately 40%.^[76][77] (NB: UK Income Tax 40% for earnings over £34,600). Cowell was estimated to have a fortune of £200 million in the Sunday Times Rich List of 2011, making him the sixth richest person in the British music industry.^[78] Cowell splits his time between homes in London and Los Angeles.^[79] He owns a £9million home in Holland Park, West London,^[79] and has a £13.7million ($22 m), 11,550 sq ft (1,073 m²) home in Beverly Hills, Los Angeles.^[80]

In April 2012 he said that he had an affair with fellow The X Factor judge Dannii Minogue during her time on the show.^[73]

Political views[link]

Cowell is a supporter of the Conservative Party. In 2010, Cowell endorsed David Cameron to be Prime Minister and claimed that he has the 'substance and the stomach to navigate us through difficult times'.^[81] In the aftermath of the election, it was reported that he had fallen out with fellow X Factor judge Cheryl Cole (who had declared her support for Labour and Gordon Brown) in a telephone conversation about politics.^[82]

References[link]

External links[link]

Wikimedia Commons has media related to: Simon Cowell

Wikiquote has a collection of quotations related to: Simon Cowell

• Simon Cowell at itv.com/xfactor
• Simon Cowell at the Internet Movie Database
• Simon Cowell at People.com
• Simon Cowell for PETA
• Simon Cowell on World Top 100 A&R Chart
• New York Times: How a Hit Almost Failed Its Own Audition
• Reviews and short bio of Simon Cowell
• Playboy Interview: Simon Cowell, February 2007
• Interview, HitQuarters Oct 2001
• 2011 radio interview with Simon Cowell