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 self-

confidence.” 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 student’s 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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one’s 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 4–5% 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 self-

declared 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” (Särkämö). 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 O’Connor 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. O’Connor 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 can’t 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.” (O’Connor) 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 singer’s 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 Maslow’s 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 doesn’t 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

singer’s 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/reduce-

stress.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.

Särkämö, 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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