Stimmärztliche Betreuung und Behandlung von Sängern

Abstract

ENT/phoniatrics specialists are frequently the primary reference persons for patients who have problems with the professional use of their voice. Singers show the highest risk factors for voice disorders among all professional voice users. The treatment and care of singers requires specific knowledge and competence of the physician, as well as a treatment setting adapted to the needs of this special group of patients, whose existence depends on the use of their voice. To some extent, evidence based concepts can be taken into account when treating professional singers. In cases for which no concepts have yet been developed and evaluated, recourse to clinical experience is necessary. In the present paper, current concepts for the treatment of singers are discussed on the basis of scientific publications and on long-standing experience of consultations in musician's medicine and ENT, under the aspects of diagnosis, therapy as well as prevention, taking into account the most frequent voice problems in professional singers.

Harnessing Machine Learning in Vocal Arts Medicine: A Random Forest Application for “Fach” Classification in Opera

“…Moreover, the SC and PHE means of lyric mezzo-sopranos were close to those of dramatic sopranos. An overlap of the 95% RR was found for the easily comprehensible and communicable parameter FHE, which can be well translated into the figurative language of vocal pedagogy as well as vocal arts medicine in the context of professional singers’ counseling [ 53 ]. Thus, fach changes from lyric mezzo-sopranos to dramatic sopranos like in the famous singer Waltraud Meier [ 54 ] (pp.…”

New objective timbre parameters for classification of voice type and fach in professional opera singers

“…In order to describe the timbre even more precisely, SC was introduced as an additional feature, since it can be used very well to represent the energetic center of sound within the specified limits. However, since the mathematical description of this feature is much www.nature.com/scientificreports/ more complex compared to FHE, and thus the demands on voice teachers as "translators" between voice science and the "singer's world" increase significantly 14 , this study focuses on the FHE as a more comprehensible communication tool, because it is easier to explain and understand in pedagogical practice. The methodology presented in this paper can be used both to objectively verify the previous assumptions about timbre described in the introduction, as well as classify any sound samples in terms of voice type or voice structure (lyric vs. dramatic).…”

“…Following Ling 13 , we use the term “voice structure” for this distinction. The differentiation of lyric vs. dramatic is often essential to professional opera singers because of the different demands on vocal performance 14 . Dramatic voices require great carrying power and projection, because the orchestral accompaniment for dramatic roles is often characterized by high sound pressure levels.…”

Diagnostic and therapeutic pitfalls in benign vocal fold diseases

“…An otolaryngologist who focuses only on the surgical, intraoperative details will not provide optimal care to his patient [150], [151]. …”