Activity Patterns in Latissimus Dorsi and Sternocleidomastoid in Classical Singers

Abstract

SummaryObjectivesThe aim of this study was to investigate and compare the roles of the accessory respiratory muscles, latissimus dorsi (LD), and sternocleidomastoid, in classical singing.MethodsElectromyography was used to record the activity of these muscles in six classically trained female singers carrying out a number of singing and nonsinging tasks. Movements of the chest and abdominal walls were monitored simultaneously using inductive plethysmography, and the sound of the phonations was recorded.ResultsIn normal breathing, LD is active transiently during very deep inhalations and in inhalation against resistance. During exhalation it becomes active again as residual capacity is approached or when air is expelled with great force. Sternocleidomastoid (SCM) supports inhalation when lung volume nears 100% vital capacity or when this is very rapid. All singers engaged LD in supported singing where it was associated with maintaining an expanded thorax. In coloratura singing, pulses of activity of increasing amplitude were often seen in LD toward the end of the breath. These were synchronized with each note. During a short phrase typical of the end of an aria, which was sung at full volume with the projected voice, both LD and SCM were active simultaneously. Spectral analysis of muscle activity demonstrated that in some singers, activity in LD and more rarely SCM, fluctuated in phase with vibrato.ConclusionsLD appears to play a significant role in maintaining chest expansion and the dynamic processes underlying vibrato and coloratura singing in classically trained singers.

The effect of standing and sitting postures on breathing in brass players

“…This is frequently hidden because what performers actually do may not match what they think they are doing. Classical singers (and indeed wind players) may be taught to keep the chest expanded when performing, but its circumference always declines considerable during exhalation regardless of what performers believe (see Watson et al 2012 ). Amongst our brass players, we also saw considerable variation, for example in how soon after the onset of a long note, inward abdominal wall movement was initiated.…”

The Dynamic Basis of Respiratory Rhythm Generation: One Breath at a Time

“…( a ) Respiratory-related electromyographic activity of the latissimus dorsi (LD) muscle during a single breath in a trained classical singer performing an exercise from “Una voce poco fa” from The Barber of Seville by Gioachino Rossini. Note the repeated bouts of LD activity during postinspiration ( arrows in expanded view) that correlate with vibrato visible in the corresponding sonogram (figure adapted with permission from Watson et al 2012). ( b ) Experiment from an in situ arterially perfused rat preparation showing recordings of activity from the phrenic (Ph) nerve, innervating the diaphragm; cervical vagal nerve (cVN), containing a branch that innervates laryngeal muscles; and hypoglossal (XII) nerve, innervating the tongue, under normoxic and hypoxic conditions.…”

“…To prolong gas exchange, inspiration is typically followed by postinspiration, an expiratory phase that slows the release of air through the activation of upper airway muscles (Dutschmann et al 2014). Postinspiration is an active process, which is most evident during singing, when muscles can be rhythmically activated multiple times during the postinspiratory phase of a single respiratory cycle (Watson et al 2012) (Figure 1 a ). This suggests that postinspiration can be independently rhythmic and not strictly dependent on a preceding inspiration.…”

The physiology of singing and implications for ‘Singing for Lung Health’ as a therapy for individuals with chronic obstructive pulmonary disease

“…Respiratory muscle strength can be improved with specific training 27 28 or as a result of pulmonary rehabilitation. 29 Watson et al 30 studied professional singers comparing singing and non-singing ventilatory tasks. The study found that vocalisation required activation of additional muscles, such as latissimus dorsi, compared with non-singing ventilatory tasks, which may be relevant in relation to respiratory muscle strength.…”