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Chinese Cantonese opera, a UNESCO Intangible Cultural Heritage (ICH) of Humanity, has faced a series of development problems due to diversified entertainment and emerging cultures. While, the management on Cantonese opera data in a scientific manner is conducive to the sustainable development of ICH. Therefore, in this study, a scientific and standardized audio database dedicated to Cantonese opera is established, and a classification method for Cantonese opera singing genres based on the Cantonese opera Genre Classification Networks (CoGCNet) model is proposed given the similarity of the rhythm characteristics of different Cantonese opera singing genres. The original signal of Cantonese opera singing is pre-processed to obtain the Mel-Frequency Cepstrum as the input of the model. The cascade fusion CNN combines each segment’s shallow and deep features; the double-layer LSTM and CNN hybrid network enhance the contextual relevance between signals. This achieves intelligent classification management of Cantonese opera data, meanwhile effectively solving the problem that existing methods are difficult to classify accurately. Experimental results on the customized Cantonese opera dataset show that the method has high classification accuracy with 95.69% Precision, 95.58% Recall and 95.60% F1 value, and the overall performance is better than that of the commonly used neural network models. In addition, this method also provides a new feasible idea for the sustainable development of the study on the singing characteristics of the Cantonese opera genres.

Purpose: Although a global picture exists of teachers' voice demands in general, few studies have compared specific groups of teachers to determine whether some are more at risk than others. This study compared the vocal loadings of kindergarten and elementary school teachers; professional and nonprofessional vocal load were determined for both groups. Method: Twelve kindergarten and 20 elementary school female teachers without voice problems were monitored during 1 workweek using the Ambulatory Phonation Monitor. Vocal loading parameters analyzed were F0, SPL, time dose, distance dose, and cycle dose. Results: Comparisons between the groups showed significantly higher cycle dose and distance dose for kindergarten teachers than for elementary school teachers, in both professional and nonprofessional environments. Professional and nonprofessional voice use comparisons showed significant differences for all parameters, indicating that vocal load was higher in the professional environment for both groups. Conclusions: The higher vocal doses measured in kindergarten teachers suggest that particular attention should be paid to this specific group of teachers. Although nonprofessional vocal load is lower than professional vocal load, it is important to take both into account because of their cumulative effects.

The current study employs a mixed-methods approach, integrating both quantitative and qualitative research, to achieve these objectives: (1) to develop a teaching manual for the mezzo-soprano part in opera for Chinese undergraduate music teaching, and (2) to evaluate and recognize the teaching manual designed for the mezzo-soprano part in opera for Chinese undergraduate music teaching. The study utilizes research methods such as literature review, performance observation, expert interviews, thematic analysis, and statistical evaluation to examine mezzo-soprano training comprehensively. The findings include a textual analysis of mezzo-soprano roles in Chinese and Western opera, expert feedback on the current situation of mezzo-soprano instruction, and an assessment of the newly developed teaching manual by five experts. This research contributes valuable insights to music teaching, providing guidance for both students and educators while promoting the development of bel canto vocal training in China. Additionally, the study highlights potential areas for further research, including expanding the range of examples and incorporating interdisciplinary content to enhance mezzo-soprano pedagogy.

Mexican theatre company Teatro de Ciertos Habitantes are world-renowned for their intensive laboratory processes leading up to unique, interdisciplinary performances that defy expected theatrical conventions. Their piece El Gallo (2009) is a poignant example of this company's capacity for innovation and social action. Here, actors are transformed into opera singers in a piece that is sung – in an entirely invented language – while inciting audiences to consider the anxieties that fuel the act of exposing one's body onstage, as fears over our own perceived differences prevent us from feeling ‘normal’ in a society that constantly judges us as we recognize the discriminatory power of social normativity.

The goal of this study is to define the long-term influence of vocal hygiene education and the effectiveness of voice training in 46 students. Half of the subjects, called the trained group (n = 23), received vocal hygiene education during 1 school year and voice training during 2 school years (18 months). The other half, also 23 subjects, received neither vocal hygiene education nor voice training as such (called the untrained group). The voice training is made up of technical workshops (30 h a year in groups of 5–8 subjects) and vocal coaching in the radio and drama projects (30 h whole class). In the lectures (30 h) a theoretical background on breathing, articulation, voicing and vocal hygiene was discussed. A multidimensional test battery containing the GRBAS scale, videolaryngostroboscopy, maximum phonation time, jitter, lowest intensity, highest frequency, Dysphonia Severity Index (DSI) and Voice Handicap Index (VHI) was applied before and after 18 months to evaluate the effect of voice training over time. A questionnaire on daily habits was presented before the lectures, and after 18 months to detect the long-term effect of the lectures. The objectively measured voice quality (DSI) of the trained group improved significantly over time (p < 0.001) due to training (p = 0.008), which was not the case in the untrained group. The self-assessed VHI, on the other hand, changed over time (p < 0.001) in both groups. For the trained group the VHI changed from 18.4 to 14.4 and in the untrained group from 20.1 to 15.3. It is important to note that the VHI scores of both groups remained high. The interpretation of the results of the daily habit questionnaire is disturbing: the initial high degree of smoking, vocal abuse, stress and late meals was not influenced by the lectures or training and remained high. This study proves the positive outcome and emphasizes the need for a well-organized voice training program in future professional voice users. However, the lectures and training on vocal hygiene failed to improve voice-conserving habits.

Purpose: The purpose of this study was to investigate whether there were indications of restrictions to voice function in our group of gender-diverse people assigned female at birth (GD people[superscript AFAB]) and whether the participants would benefit from professional voice support. Method: We conducted a descriptive, cross-sectional, mixed-methods study combining qualitative content analyses of semistructured interviews, phoniatric examinations, and acoustical voice analyses. Fourteen German-speaking GD peopleAFAB participated. The data were examined for indications of restrictions to voice function according to the results of participant self-evaluation, auditory-perceptual analyses, laryngostroboscopic examinations, and acoustical measurements. Results: All participants presented with indications of restrictions to voice function, with vocal power, voice quality, singing voice, laryngeal function, pitch range/variability, and vocal control having found to be most frequently affected (in over 60% of participants). Sixty-four percent of participants expressed an interest in professional voice support, with clinicians and researchers recommending professional voice support for 67% and 71%, respectively. Conclusions: GD people[superscript AFAB] may experience restrictions to a range of domains of voice function and request or be recommended to participate in professional voice support. Research into this area needs to be intensified so that a more in-depth understanding of the potential voice problems GD people[superscript AFAB] might experience can be produced and members of this group can be provided with more comprehensive, evidence-based, and high-quality professional support if and when they need it.

Despite the advent of voice studies, opera scholars have yet to develop a thoroughgoing conversation about one of the most familiar elements of operatic vocal culture: voice type (categories such as soprano, tenor and the like). To address this, I suggest opera scholars analyse ideologies of voice type: the complex of ideas and practices that guide how individuals understand voice types and their relevance to the operatic experience. I devote the main part of this article to a historical case study of ideologies of voice type in action, focusing on Maurice Ravel, his 1911 opera L'heure espagnole, and the relatively obscure voice type Ravel assigned to Ramiro, the opera's male protagonist, the baryton-Martin. I argue that the characteristically modern ideology of voice type Ravel adopted in L'heure espagnole was unusual for its time and that this helps explains the work's reception.

Zalman expand upon the work of scholars to offer specific examples of musical borrowing in the two rival barber characters in Sweeney Todd--Adolfo Pirelli and the title character, Todd--both of whom sing numbers that contain strong allusions to opera. He explores Pirelli's aria-like number The Contest, which contains a satirical reference to Figaro's \"Largo al factotum\" from Il barbiere di Siviglia, and he also examines Todd's \"Epiphany,\" which contains a more serious reference to Canio's \"Vesti la giubba\" from Pagliacci. Additionally, he points out several other parallels to operas such as L'elisir d'amore and Wozzeck in the character development of Sondheim's two rival barbers. Lastly, he explores additional operatic conventions within Sweeney Todd to demonstrate the ways that Sondheim draws upon the musicodramatic tradition for purposes of musical characterization, as well as to create the structural foundation for his musical thriller.