Editing Singing (section)

=== Chest voice and head voice ===
{{Main|Chest voice|Head voice|Passagio}}

''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.<ref name="McKinney 1994" /> 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.<ref name="McKinney 1994" /> In Men, the head voice is commonly referred to as the falsetto. The transition from and combination of chest voice and head voice is referred to as vocal mix or vocal mixing in the singer's performance.<ref>"What is Chest Voice, Head Voice, and Mix?" by KO NAKAMURA. SWVS journal. MARCH 11, 2017. [https://www.spencerwelch.com/chest-voice-head-voice-mix/]</ref> Vocal mixing can be inflected in specific modalities of artists who may concentrate on smooth transitions between chest voice and head voice, and those who may use a [[Mariah Carey (album)|"flip"]]<ref>{{citation|last=Nickson|first=Chris|title=Mariah Carey revisited: her story|year=1998|publisher=[[St. Martin's Press]]|page = 32|isbn=978-0-312-19512-0}}</ref> to describe the sudden transition from chest voice to head voice for artistic reasons and enhancement of vocal performances.

==== History and development ====
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 (music theorist)|Johannes de Garlandia]] and [[Jerome of Moravia]].<ref name="groveONE">{{cite book
 |title=The New Grove Dictionary of Music & Musicians
  |editor1-last=Grove |editor1-first=George | editor1-link =George Grove
 |editor2-last=Sadie |editor2-first=Stanley | editor2-link =Stanley Sadie
 |volume=6: Edmund to Fryklunde
 |isbn=978-1-56159-174-9
 |oclc=191123244
 |publisher=Macmillan
 |year=1980
|title-link=The New Grove Dictionary of Music & Musicians }}</ref> 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.<ref name=Stark /> 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.<ref name="Headv">{{cite book
 |last=Clippinger |first=David Alva
 |title=The head voice and other problems: Practical talks on singing
 |url=https://archive.org/details/in.ernet.dli.2015.156980 |publisher=[[Oliver Ditson]]
 |year=1917
 |page=[https://archive.org/details/in.ernet.dli.2015.156980/page/n28 12]
 }}{{Gutenberg|no=19493|name=Singing}}</ref>

However, as knowledge of 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.<ref name=Stark /> 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 [[Larynx|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.<ref name="McKinney 1994" />

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.<ref name="Miller">{{cite book
 |title= Solutions for singers
 |last=Miller |first=Richard | author-link =Richard Miller (singer)
 |year=2004
 |location=Oxford
 |publisher=[[Oxford University Press]]
 |pages=286
 |isbn=978-0-19-516005-5
 |oclc=51258100
}}</ref>
However, the use of an 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.<ref name="oxfordDictOperaOne">{{cite book
 |title=The Oxford dictionary of opera
 |last1=Warrack
 |first1=John Hamilton
 |author1-link=John Warrack
 |last2=West
 |first2=Ewan
 |year=1992
 |location=Oxford
 |publisher=Oxford University Press
 |isbn=978-0-19-869164-8
 |oclc=25409395
 |url-access=registration
 |url=https://archive.org/details/oxforddictionary00warr
 }}</ref>