Financial Disclosure: Ms. Popeil has no financial relationships to disclose.
Non-Financial Disclosure: Ms. Popeil has no non-financial relationships to disclose.
Lisa Popeil, MFA
Lisa Popeil, MFA in Voice, has studied voice for nearly 60 years, has taught singing for over 40 years and is the creator of the Voiceworks® Method, the Total Singer DVD and the Total Singer Workshop.
Lisa has written on commercial vocal genres for the ‘Oxford Handbook of Singing’ and ‘Oxford Handbook of Music Education’, Journal of Voice and the Journal of Singing and has contributed to numerous books on the pedagogy of commercial singing. She has conducted voice research for 25 years including the use of high-speed videography, MRI, CT scans, and video-fluoroscopy analyzing classical and commercial vocal styles and mechanisms.
In addition to having performed and recorded with Frank Zappa and toured with ‘Weird Al’ Yankovic, her 1984 self-titled album was a Billboard ‘Top Album Pick’.
Based in the Los Angeles area, Ms. Popeil is on the Advisory Board of the Voice Foundation, is a member of NATS (N’tl Association of Teachers of Singing) and is an invited member of both BVA (British Voice Association) and CoMeT (Collegium Medicorum Teatri). She lectures frequently at voice conferences and is a life-long learner in all aspects of voice use and vocal health.
Paper Presentation - Using High-Speed Video to Investigate Vocal Register
In previous vocal research investigating vocal registers, M1 (modal, chest voice) has been assumed to be on lower pitches and M2 (head voice/falsetto) on higher pitches. The goal of a recent high-speed video project investigated the hypothesis that M1 & M2 can be produced on all 41 pitches (3 1/3 octaves) of one singer’s vocal range. Another objective was to determine if vocal fold vibrational patterns could be visually identified as M1 & M2 regardless of pitch or if vibrational patterns changed substantially as pitch ascended. Using high-speed video at 7200 and 13,6000 fps connected to a rigid endoscope, a professional female singer (LP) performed short phonations from A2 (110 Hz) to C#6 (1109 Hz) in M1, then in M2. These phonations were performed at similar amplitudes, adductions, and with an attempt to not change laryngeal height. An attempt was made to eliminate stylistic and vocal tract changes, meaning that M1 was not produced as a “belting” sound and M2 was not produced as an operatic sound. In this presentation, eight videos will be shared: M1 & M2 on C3, C4, C5, and C6. Results visually show noticeable, identifiable differences; specifically a clapping pattern with a longer closed phase for M1 in contrast to an undulating pattern with shorter closed phase for M2, regardless of pitch. These findings might upend traditional views that singing registers, specifically as vocal fold vibrational patterns, are limited by pitch in singers.
Interactive Presentation - Safe and Beautiful Belting: An Interactive Workshop
For singers and non-singers, experience the keys to safe and naturalistic belting technique including: “belter’s bite”, the 4 crucial support jobs for consistent airflow pressure control, “laryngeal lean”, separating of resonance from laryngeal function, learn how to take chest voice to the top of your range using vocal fold thinning without changing register, and that there is no one belting sound (an introduction to the “multiplicity of belting”). Get ready to belt higher than you ever thought possible!