成为一名歌剧歌手：需要健康、性格、技能

Abstract摘要

本论文探讨的因素和过程的歌剧歌手的艺术专业发展有关。歌剧歌手的职业有一个很长的故事衍生起源于17世纪早期在意大利。在歌剧舞台上表演的是第十八和第十九世纪的音乐成绩，这一问题引起了现代京剧演员如何生活、学习和超越其当代追求，以满足对性能的高要求。最初的研究发现健康问题的歌剧歌手的职业活动有关。定性和定量的测量表明，心理问题是带有明显的担心可能的负面评价重要他人的恐惧，声带不相关。一系列的健康促进活动，以防止发生了问题，，可能导致声带不适体。心理问题难以维持一家人的生活，由于工作时间的关系。研究二歌唱课的心理和生理的影响研究与业余和专业水平的歌唱经验。业余歌手经历更多的幸福感测量自我报告的情绪状态和降低压力荷尔蒙水平比专业人士。研究三叙事收集高等戏曲教育中艺术发展的因素和过程的识别。描述性模型的创建，接受各种技能的发展，演唱技巧、表现力和人际关系的手段。从教育结果变量为艺术自主性、艺术能力和改变自我。研究四，人格特征评估中的精英学生在歌剧和艺术与商业教育较传统教育流。歌剧中的女学生，男学生女业务和业务共享的人格特征对感觉寻求倾向外向性指示。男性的京剧演员表现出情绪性水平升高的轮廓。总的来说，研究结果在研究表明，歌剧艺术的个性发展是一个复杂的健康相关的问题，个性的过程中，技能的习得和社会文化价值的关键成分。一个主要的结果是明显的关注本身的乐器，声音。在歌唱发声功能被描述为使曲艺的一种手段，为健康的艺术表达和指示模式。承认，在准备论文的几个人有贡献的进步。The present thesis explores factors and processes associated with the artisticprofession and development of opera singers. The profession of opera singershas a long story deriving its origin in early 1600s in Italy. What is performed onopera stages today is written in the musical scores in the 18th and 19th century.The question arises how the modern opera singers live, learn and excel in theircontemporary pursuit in order to meet the high demands on performance. Theinitial study identified health issues related to the professional activity of operasingers. Qualitative and quantitative measurements indicated that psychologicalproblems were associated with a distinct worry for possible negative evaluationfrom significant others and a fear of vocal indisposition. A range of healthpromotingactivities was demonstrated aiming at preventing the occurrence ofsomatic problems that could cause vocal indisposition. Psychosocial problemsconcerned difficulties to maintain a family life and relations due to irregularworking hours. In Study II, the psychological and physiological effects of singinglessons were investigated with respect to amateur and professional levels ofsinging experiences. Amateur singers experienced more well-being measured byself-reports of emotional states and by lower levels of stress hormones thanprofessionals. In Study III, narrative accounts were collected to identify factorsand processes in the artistic development during higher opera education. Adescriptive model was created that embraced the development of various skillssuch as singing technique, means of expressiveness and interpersonal skills.Outcome variables from the education were artistic autonomy, artisticcompetence and change in self-concept. In Study IV, personality characteristicswere assessed among elite students in opera and business education representingan artistic versus a traditional educational streaming. Female opera students,female business and male business students shared the personality characteristicof extraversion indicating a disposition towards sensation seeking. Male operasingers exhibited a profile of elevated levels of emotionality. In general, thefindings across the studies demonstrate that the individual development ofoperatic artistry is a complex process where health-related issues, personalitycharacteristics, skills acquisition and sociocultural values are critical constituents.A major result was the marked focus on the instrument per se, the voice. Vocalfunctioning in singing was described as a means of enabling operatic singing, amode for artistic expression and indicator of health.AcknowledgementsDuring the preparation of this thesis several persons have contributedto the progress. I am particularly indebted to my supervisor professorHenry Montgomery for his invaluable guidance and inspiration. Henryhas a way of transmitting a particular attitude, that is how to keep up afresh and open intellectual mind. In our discussions, what was staticand rigid in scientific work became creative and dynamic, and whatwas intricate shone soon with clarity in its complexity.I am also deeply obliged to my associate supervisor professor Brittaf Klinteberg who was the one who initially introduced me to thedoctoral work at the Department of Psychology, Stockholm. Sheshowed me also the field of research on personality from apsychobiological view. As myself a so-called psychosomatician, Iappreciate this knowledge very much. I have been privileged to havehad two supervisors, Henry Montgomery and Britt af Klinteberg.Although they work in different scientific fields, it turned out to be agood mix and to broaden my thinking.Professor Alf Gabrielsson was however my supervisor in the firstpart of the research work at the Department of Psychology inUppsala. I am very grateful for his stimulating support and open mindin methodological questions. Somehow, I experienced artistic freedomin scientific work. This experience has given me confidence inconducting scientific work.I would also like to express my appreciation to professor TöresTheorell and the nurse Tina Grape who invited me to be involved in astudy about singing lessons.All participants in the studies are greatly acknowledged for theircontribution. Most of them are public persons, and yet they acceptedto share their experience from artistic work.The thesis was supported financially by The Bank of SwedenTercentary through a grant to professor Alf Gabrielsson. I am alsovery grateful for financial support from Operahögskolan in Stockholmin an important phase of the doctoral work and also support from theDepartment of Psychology in Stockholm.

Contents目录
1. Introduction ..................................................................................................... 1
Overview of the thesis ..................................................................................... 2
2. Historical background of opera tradition ............................................... 4
The origins of opera ......................................................................................... 4
The Swedish opera tradition and education ................................................ 14
3. Transitional factors and processes in musical development .......... 17
Perspectives on giftedness and skills ............................................................ 17
Features of musical development ................................................................. 20
Social factors ........................................................................................... 22
Motivation ............................................................................................... 23
Practice strategies ................................................................................... 24
Expressivity ............................................................................................. 26
4. Personality ....................................................................................................... 28
Major personality traits .................................................................................. 28
Personality and athletic activities .................................................................. 31
Personality and creativity ............................................................................... 33
Personality and vocational interests ............................................................. 34
5. The performing professional and health issues .................................. 37
Aspects of vocal production ......................................................................... 37
A psychological view of artists and health ................................................... 39
A medical view of the professional singing voice ....................................... 42
6. Research objectives ...................................................................................... 46
7. Methods and materials ................................................................................ 47
Study design .................................................................................................... 47
Study groups ................................................................................................... 47
Inclusion procedure ............................................................................... 50
Response rate .......................................................................................... 51
Measurements .................................................................................................. 51
Qualitative measurements ...................................................................... 51
Quantitative measurements ................................................................... 53
Procedures ....................................................................................................... 54
Data analyses ................................................................................................... 56
Ethics ............................................................................................................... 57
8. Overview of empirical studies .................................................................. 58
Study I: Voice, soma, and psyche
- A qualitative and quantitative study of opera singers ............ 58
Study II: Does singing promote well-being? An empirical study of
professional and amateur singers during a singing lesson ........ 60
Study III: Learning experiences and motivation in artistic development.. 61
Study IV: Personality characteristics among elite students in opera
and business education ................................................................. 63
9. General discussion ........................................................................................ 65
Main findings and contributions ................................................................... 65
Shortcomings and limitations ....................................................................... 71
Concluding remarks and future directions .................................................. 73
References ............................................................................................................ 77
Original studies (I-IV)

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