Analysis of stylistic differences in vocal technique in academic and popular singing

Abstract

The purpose of the article is to compare academic and pop vocal techniques in the context of contemporary music culture in order to identify patterns in sound formation in each of them. The relevance of the study is determined by processes of genre convergence, the growing demand for vocal versatility, and the need to clearly differentiate stylistic and physiological principles of singing in order to preserve vocal health. Vocal performance is considered as a complex psychophysiological process in which the instrument is the living human body, constantly responding to physical, psychological, and external factors. The research methodology is based on a comprehensive approach that combines theoretical analysis of sources, comparison of academic and pop techniques, and systematization of singing characteristics. The physiological foundations of vocal production are analyzed as the interaction of the respiratory, phonatory, and resonatory subsystems, and the leading role of the psycho-emotional state and inner hearing in the formation of high-quality vocal sound is substantiated. It is determined that vocal technique represents a universal system for controlling breathing, phonation, and resonance; however, the specific realization of these elements differs significantly depending on the singing style. Academic vocal technique is characterized by a «domed» configuration of the vocal tract, an orientation toward acoustic self-amplification, register balance, cantilena, and natural vibrato. Popular vocal technique, in contrast, is based on a speech-oriented position, microphone aesthetics, flexible register balance, and the use of specific timbral effects. It is demonstrated that academic and popular singing represent different artistic strategies and models of vocal communication. The study concludes that these singing styles should be regarded as autonomous and equivalent systems, the conscious differentiation of which is a necessary condition for the professional training of the contemporary vocalist. The obtained results may be applied in vocal pedagogy, theoretical courses on singing methodology, and interdisciplinary voice research.