Becoming and Being an Opera Singer: Health, Personality, and Skills

Abstract

The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18 th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of healthpromoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.

How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges

“…However, the complete sample was relatively homogenous in musical competence, as the music students had passed entrance exams in high competition at prestigious music colleges. In accordance with the literature, vocal students started taking formal lessons later compared to instrumental students (Jørgensen, 2001, Sandgren, 2005). A point to note is the fairly late start of taking music lessons in this group of highly accomplished music students.…”

“…The difference might depend on the tradition of music tuition for vocalists. Vocalists in classical music often engage in choral singing in childhood and only later in the teens start taking singing lessons (Sandgren, 2005).…”

“…Instrumentalist conservatoire students started earlier than vocalists did (Jørgensen, 2001). Opera students reported taking regular singing lessons from the age of 19.5 years (Sandgren, 2005). Concerning genre affiliation, classical musicians started earlier to engage with music of any kind and to take formal lessons compared to non-classical musicians (Creech et al, 2008).…”

Exploring personality and musical self-perceptions among vocalists and instrumentalists at music colleges

“…A number of studies have found increased levels of neuroticism, or emotionality, among professional vocalists (Marchant-Haycox & Wilson, 1992), vocal students (Kokotsaki & Davidson, 2003;Sandgren, 2005), elite chorus artists (Kenny, Davis & Oates, 2004), and musicians (Cooper & Wills, 1989;Dyce & O'Connor, 1994;Gillespie & Myors, 2000;Kemp, 1996;Wills, 1984). While assessing the role of neuroticism, it is important to consider the domain of work.…”

Identity in crisis: The role of work in the formation and renegotiation of a musical identity

“…Several studies are now beginning to emerge that explore the careers of professional musicians, such as the diversity of skills required by the contemporary musician (Mills, 2006; Bennett, 2007, 2008, 2009); the connection between music education and a musician's ability to earn a living (Coulson, 2010); factors contributing to stress in the lives of professional orchestral musicians (Brodsky, 2006; Dobson, 2011); and career development for professional opera singers (Sandgren, 2005). According to Bennett (2007), the majority of musicians spend more time teaching than performing and many supplement their income with low paid, unskilled or non-music related jobs.…”