Brooke Nielsen

Vocal Pedagogy
Isaac Hurtado
17 November 2014

The Psychology of Singing

Many problems associated with singing are related to psychological problems

or insecurities. David Finkle stated that over 90 percent of vocal problems are
caused and/or exacerbated by some form of fear, insecurity, or lack of selfconfidence. In order to correct many problems associated with singing, it is vital to
look at the psychological issues that might be connected to the physical production
of sound. Musical disorders such as amusia (tone deafness), acquired music
agnosia, and musical hallucinations are more easily identifiable problems that stem
from psychological irregularities. However, throat and tongue tension,
Temporomandibular joint dysfunction (TMD), and poor memory are debilitating
factors in singing that stem from psychological issues. A students ability to learn
and grow is frequently inhibited by subconscious psychological distress. Addressing
and correcting psychological problems associated with singing is an effective and
important aspect in pedagogical technique.

In order to correct psychological problems associated with singing, one must first
understand what musical disorders or problems exist and how they are affected by

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ones psychological past or present. One of the most well known musical disorders is
amusia or tone deafness. Many people claim to be tone deaf, but in actuality the
prevalence is assumed to be around 45% of the population (Cuddy). Laura-Lee
Balkwill clarified congenital amusia saying, Congenital amusics display a lifelong
selectively musical handicap that is not explained by low intelligence, impaired hearing,
or lack of music instruction. Congenital amusia is displayed by an inability to distinguish
between pitches, recognize familiar tunes, or carry a tune. It is unaffected by exposure
to music instruction. The genetically constructed brain of a congenital amusical
individual cannot distinguish between the different pitch frequencies at all. While
congenital amusia does inhibit pitch discrimination, it handicaps other functions both
musical and nonmusical. A variety of behavioral tests have confirmed that selfdeclared amusics are deficient in pitch discrimination and pitch pattern recognition,
timing tasks that engage pitch as well as temporal processing, and discrimination of
nonlinguistic analogues of speech intonation (Cuddy).

Acquired amusia is tone deafness that is caused by damage to the middle

cerebral artery (MCA) territory (Srkm). Unlike congenital amusia, acquired amusia
is not genetic. The effects, however, are just as limiting when acquired through injury as
when it is genetic. This cerebral damage inhibits the persons ability to differentiate
different frequencies. This cognitive defect is the predominant cause of amusia. Many
common causes of acquired amusia include stroke, accident, injury, or legions in the
right hemisphere of the brain. Karyn OConnor stated, The truly tone-deaf individual
for whom amusia represents a cognitive deficit - is someone who will never be able to
learn to distinguish between notes and thus correctly sing the melody of a song. These
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two types of amusia still only affect a very small portion of the population. This number
does not account for the larger 18% of the population that claims to be tone deaf. Why
do so many people have a problem with matching pitch if only 4-5% of the population is
affected by congenitalor acquired amusia?

Many people may undervalue their abilities, but may, in fact, function normally
(Cuddy). Although many have not sustained a physical injury that impacted their
cerebellum, many have been told they are unable to sing from a young age and have
developed the mentality that they are physically unable to sing correctly. The majority of
people that claim to be unable to match pitch or carry a tune are actually
subconsciously avoiding a pitch due to a lack of self-confidence or a history of being
told they cannot sing. OConnor explained that If people are self-conscious about
singing in front of, or even along with, others, they may become nervous and begin
hitting sour notes. These pitch errors simply reinforce their belief that they cant sing
well. When they have experienced enough discouragement because of their voices,
they lose confidence in both their voice and their hearing. This negative pitch
reinforcement leads the mind to subconsciously avoid singing the correct pitch even if
they hear it correctly. Their mind is the reinforcing the negative information it has already
been given.

This subconscious pitch avoidance is difficult to correct. These singers are able
to hear different pitch frequencies, can hear and identify melodic lines, and recognize
variance in pitch making it possible for them to acquire the skills necessary to succeed
in music. The mind forms the idea of an action and the muscles instinctively respond.
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But the fact remains that the muscles need to be guided in some way. We do not
perform instinctively many complex actions,writing, dancing, rowing, swimming, etc.
All these actions, and indeed most of the activities of daily life, must be consciously
learned by practice and repeated effort. (Taylor) For singers that have a difficult time
matching pitch, frequency vibrations are one of the most tangible aspects the singer can
understand and match. Often it is easier for a student to match to the vibrations of
another voice, but it could also be helpful to feel the vibrations of a piano. When the
singer is able to consistently feel the vibrations match, it will help them recognize when
those vibrations match and when they are misaligned.

In the case of the self-declared amusic, it is impossible to address the technical

complications until you address the subconscious psychological discrepancies causing
the student to avoid hitting the right note. Poor training and a lack of confidence in one's
ability can be overcome once the singer gains technical skills and improved control
over the vocal instrument. (OConnor) Once the singer realizes that they have control
over their vocal mechanism, they gain confidence and no longer feel as if the ability to
sing is unattainable. Taylor assures us, Whatever the vocal cords are required to do is
performed through an instinctive obedience to the demands of the mental ear. The
human mind naturally knows how to match pitch. Helping a singer recognize that they
have the ability to learn and grow is a crucial first step in initiating change and
establishing healthy vocal technique.

The average singer may not struggle with matching pitch, but most singers
struggle with psychological roadblocks affecting healthy technique in some way. Neck,
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tongue, and jaw tension can all be traced to stress or insecurity. If a singer is plagued by
a psychological stressor, such as depression or post traumatic stress disorder, the
resulting insecurity can be the root of physical tension in the neck, tongue, or jaw, all
causing the larynx to rise and prevent healthy vocal technique. Excessive stress or an
unhealthy state of mind can also engender tension in the vocal tract, disallowing the
voice the work naturally and properly.

Temporomandibular joint dysfunction can be linked to suppressed anger or

nervous tension. Temporomandibular joint dysfunction, more commonly known as TMD,
is characterized by 1) Disc displacement, where the disc of the joint is not in the right
location, 2) Myofascial pain, where the muscles associated with the joint are in pain
from overuse or misuse possibly including attached muscles such as the temporalis
muscle causing headaches, 3) Osteoarthritis of the joint, where the cartilage weakens
and is slowly replaced by bone causing stiffness, limited movement, and pain(Schmidt).
Singing with TMD causes many problems that make it difficult to sing with healthy
technique. Restricted jaw movement, popping and locking of the jaw, pain in the TMJ
muscles, and asymmetric mandibular motion are all signs of TMD.

Jaw tension is the most prominent issue TMD present to the singer. The jaw
directly affects the entire vocal tract. Introducing tension into the jaw also brings tension
to the tongue, throat, and larynx therefore restricting the singers ability to sing with a
relaxed and healthy technique. Most singers must learn to relax their jaw while singing
even when there is no TMD present. Singers who struggle with TMD have an extra
hurdle to overcome because of the extra tension added to the vocal tract. There are
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many causes of TMD, a large portion consisting of things that lead back to mental
health instability, but stress is the main cause of the development of bruxism and TMJ
disorders (Nicandro). Clenching or grinding the teeth during the night or day, genetic,
hormones, bad posture, bruxism, sleep disorders, and a large list of emotional stress
including depression, trauma, anxiety, and anger all contribute to TMD (Nicandro).

Although there are many extreme treatments for TMD, often times the first best
step is attempting to remove any emotional stress that may be present. Neuromuscular
Therapy is a treatment targeted to access the connection between and nervous system
and muscular functions. Neuromuscular Therapy is a non-intrusive treatment that can
aid in relaxing the mandibular joints and relieving other emotional stressors. TMD has
been described as a vicious "anxiety-pain-tension" cycle, in which stress and anxiety
cause grinding of teeth and sustained muscular contraction in the face... [producing]
pain which causes further anxiety which in turn causes prolonged muscular spasm at
trigger points (Psychological Wiki). Breaking the anxiety-pain-tension cycle can help
relieve jaw pain and tension that will aid the singer in reducing tension in the jaw and
vocal tract.

The other emotional stressors associated with TMD can also add tension to the
tongue and throat. Depression, anxiety, trauma, and anger can all affect physical
tension in the vocal tract. Letting go of subconscious tension is difficult when one is still
holding onto the emotional stress causing the tension. Dr. Ben Kim explained,
Emotional stress is immensely harmful to your health because your body reacts to it in
the same way that it would react if you came upon a wild mountain lion. In other words,
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whenever you feel stressed...your sympathetic nervous system increases its output.
This fight or flight reaction puts the body in a defensive and tense state, leaving it unfit
for proper, healthy technique.

According to Maslows Hierarchy of Needs, we cannot satisfy higher artistic

functions until our more basic needs of protection are met. The sympathetic nervous
system increases its output as a method of protection, decreasing our ability to function
on a higher level and produce a healthy vocal technique. Visiting with a psychologist or
mental health professional can help singers identify and manage any emotional stress
that may be inhibiting healthy technique. Maintaining a healthy mental state can help
align the vocal tract and relieve vocal tensions that arise due to emotional instability.

Other singers may struggle with a fear of singing due to cultural pressures for
success, the amount of competition in music classes, and the degree of peer group
evaluation (Cuddy). A fear of singing inhibits the voice and decreases breath support.
When the vocal folds are under supported, there is not enough air pressure to achieve
the desired effect of the Bernoulli Principle. The unsupported sound will be airy, lacking
necessary breath support to achieve the correct technique. William Forde Thompson
stated, Treatment for the fear of singing might involve assessing the contributing
factors and addressing them through cognitive behavioral therapy interventions, such as
cognitive reconstructing or in vivo (real life) exposure. Repeated exposure to
performance opportunities can help a beginning singer gain the confidence needed to
overcome their fear of singing.

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Providing an encouraging atmosphere in vocal lessons can help students

establish habitual technique in a comfortable environment. As the student becomes
more comfortable in a performance setting, the habitual technique will begin to transfer
into performance settings where the student felt insecure before. In his book, On the Art
of Singing, Richard Miller points out that an experienced performer soon learns that
there is no such thing as performance perfection - that it is not possible always to
deliver 100 percent. In fact, an established artist often exhibits greater freedom in
performance after the first mistake of the evening has occurred. Miller goes on to
remind us that reliable performance should replace the goal of perfect performance.
Meeting the expectations of others, or worse yet ourselves, can be a daunting task,
however, one should not let expectations create tension or rob the voice of freedom
despite experience or expertise. Neck, jaw, and tongue tension can also be linked to
feeling a lack of control. In an attempt to gain control in other areas of life, the body will
overcompensate while singing and add extra tension in the vocal tract.

Despite the many vocal problems that are caused by psychological or emotional
distress, singing has many positive psychological effects. Both solo and choral singing
have been linked to psychological improvement and used in behavioral medicine.
Physically, singing increases oxygenation of the bloodstream and engages major
muscle groups in the upper body. Singing contributes to a person's psychological and
emotional health (Taylor). In many ways, singing is very therapeutic. Singing can relax
the mind, release negative feelings, help relieve stress, and even improve memory.
Klaus V. Toyka stated, The role of song memory is addressed in several studies. It
appears that melody helps us encode words. In an experimental setting, aphasics
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exposed to songs with the words incorporated, or to melodies of the same song but with
words given along in a spoken way, did not recall words better when they were an
intrinsic part of the song. Associating pitch with language can aid in pitch recognition
and melodic reproduction.

Choral singing provides added benefits associated with teamwork and cohesive
group unity that doesnt come with soloistic singing. In a study measuring the
psychological effects of choral singing, a participant remarked that [Singing] plays a
significant part in my emotional health and wellbeing. I find music uplifting. When
recovering from a major stroke, singing was one of the ways of lifting my spirits out of
depression (Clift). Choral singing gives singers the opportunity to engage in a
psychological de-stressor while interacting with others and building interpersonal
relationships. While singing in general is therapeutic, singing in a choir can enhance the
singers experience and psychological state of mind.

Although psychological problems cannot account for all of the technical vocal
problems in singing, it can be the subconscious roadblock restricting many singers from
achieving a healthy vocal technique. Maintaining a healthy psychological state can
promote the vocal tract to work in a natural, relaxed, and healthy manner. As a teacher,
it is important to be aware of the possible underlying psychological complications that
may be affecting or limiting proper vocal technique. Addressing and correcting
psychological stressors will enable the voice to function without many of the limiting
factors.

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Works Cited
Cuddy, Lola L. "Musical Difficulties Are Rare A Study of "Tone Deafness" among University
Students." Department of Psychology, Queens University H3C (n.d.): 3J7. Print.
Finkle, David. "Fear of Singing." Backstage.com. N.p., 23 July 2009. Web. 05 Nov. 2014.
Kim, Ben, Dr. "Emotional Stress: How Chronic Emotional Stress Can Ruin Your Health."
Emotional Stress. N.p., n.d. Web. 10 Nov. 2014. <http://drbenkim.com/reducestress.html>.
Miller, Richard. On the Art of Singing. New York: Oxford UP, 1996. Print.
Nicandro, Mara. "Restore Proper Function of the Jaw to Relieve Pain." Mara Nicandro NMT
NeuroMuscularTherapy RSS. Neuromuscular Therapy and Neurokinetic Therapy, n.d.
Web. 06 Nov. 2014.
O'Connor, Karyn. "Tone Deafness (Amusia) and Other Causes of Persistent Pitch Problems."
Singwise -. N.p., 02 July 2013. Web. 06 Nov. 2014.
Schmidt, Katrina. "Jaw Pain and Singing." About. N.p., n.d. Web. 18 Nov. 2014.
Srkm, Teppo. "Auditory and Cognitive Deficits Associated with Acquired Amusia after Stroke:
A Magnetoencephalography and Neuropsychological Follow-Up Study." PLoS ONE 5.12
(2010): E15157. Web. <http://www.ncbi.nlm.nih.gov/pubmed/21152040>.
Taylor, David C. "The Psychology of Singing." A Rational Method of Voice Culture Based on a
Scientific Analysis of All Systems, Ancient and Modern (1922): n. pag. Black Mask. 2007.
Web. 10 Nov. 2014.
Thompson, William Forde. Music in the Social and Behavioral Sciences: An Encyclopedia. N.p.:
n.p., n.d. Print.

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Toyka, Klaus V. "Music, Motor Control and the Brain." Oxford University Press. The Guarantors
of Brain, 25 Sept. 2006. Web. 14 Nov. 2014.

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