Page 56 - CJOct25

On the Voice

ty before or after the singers had warmed up. However, cus attention on the body and sound production, and
all participants felt their voices responded positively to even begin to move psychologically into “performance
a five or ten-minute warm-up. Perhaps the differences mode.” In addition, for choirs, warming up is an op-
in these results between measures, ratings, and self-per- portunity for singers to tune into the group sound and
ception, may relate to the singers’ kinaesthetic aware- focus on becoming part of the collective. While not nec-
ness and a perceived improvement in the ease of their essarily denying the physiological benefits of warm-ups,
vocal delivery which are beyond objective measures. Stuart Barr asserts that preparation for singing requires
Comparisons are often made in the literature and nurturing both the body and the mind: “We have a vocal
in practice between singers and dancers or athletes, instrument that follows physiological rules, but which
41
who warm-up muscles before their practices and per- is controlled by a brain that follows emotional ones.”
formances. The underlying assumption here is that Webb agrees, stating, “While singing is physical, it also
warming up the vocal folds stimulates blood circula- requires a great deal of mental effort. Mental warm-
36
tion and enhances overall function. However, Rima ups are a great way to get singers’ minds involved.”
42
DeFatta and Robert T. Sataloff examined research that Edward Byrom concurs and emphasizes that fostering
compared the muscles of athletes and singers. Follow- a collective mindset takes precedence over technical ob-
ing a comprehensive view of the available literature, jectives in the choral warm-up process. Highlighting
43
they concluded that making a comparison of results the engagement of both mental and physical abilities in
37
was “challenging.” Nonetheless, the authors proposed a choral context, Robert Briggs suggests that the term
that incorporating warm-up (and cooldown) exercises, “activation exercises” may be more fitting for the choral
as suggested by experienced voice pedagogues, remains warm-up process. This encompasses the concept that
38
“appropriate and prudent.” one of the purposes of the warm-up is to enhance fo-
44
While warming up for singing remains “hotly con- cus. In line with this perspective, Peter Hunt recog-
tested,” the disparity in the research findings reported nizes that some groups may require additional support
39
above may be influenced by a lack of consistency in aligning their mental focus with their physical presence.
research parameters, participant abilities and experi- Hunt, therefore, advocates for a group warm-up that
ence, and musical styles. This inconsistency makes it not only establishes a musical connection but also serves
difficult to align results in such a broad field. Further- as a focusing activity. Similarly, John Hylton recom-
45
more, while some uncertainty surrounds the specific mends the use of focusing activities to encourage sing-
physiological benefits of warming up, it is important ers to think as a cohesive ensemble.
46
to highlight that none of the studies examined in this
discussion reported any serious adverse outcomes as-
sociated with engaging in appropriate vocal warm-up. Recommendations and Considerations
While the prevailing belief among singers supports the in Defining Vocal Warm-Ups for Choirs
relevance of vocal warm-ups and further to the kinaes- Despite the distinct pedagogical differences between
thetic reasoning offered above, a psychological factor choral singing and solo singing, the choral director is
may also influence singers’ beliefs in the positive impact in a position to address and accommodate dual goals
of vocal warm-ups. Confirmation bias may also play a by supporting individuals within the group setting by
role here, as singers may interpret their experiences in focusing on essential vocal concepts and techniques.
47
line with the commonly held belief that warm-ups are However, Duane Cottrell reports that choral directors
beneficial. 40 express a sense of being underprepared to integrate the
most recent discoveries in voice science and pedagogy
48
into their practice. Frauke Haasemann and James
Beyond the Physiological Mark Jordan highlight the convergence of teachings,
Perhaps significant merit in warming up lies in its emphasizing that both voice instructors and choral in-
psychological advantages. For solo singers, warming up structors prioritize key aspects such as proper breathing,
provides an ideal opportunity to quieten the mind, fo- posture, vocal range, creating resonating capacity, and

54 CHORAL JOURNAL October 2025 Volume 66 Number 3