![]() Some teachers of contemporary methods are convinced that classical technique instructors oppose belting not solely because they believe it to be dangerous, but also because they don't like listening to and singing contemporary genres. They push to legitimize the technique, arguing that belting is safe and that classical technique doesn't adequately prepare singers to compete in the contemporary music industry because classical training doesn't produce the 'natural' sound that is desirable in today's styles of music, while classical instructors express concern about the safety of having a longer closed phase of the vibratory cycle and of the greater muscular body tension and constriction during belted singing. Teachers of contemporary styles believe that the technique is worthy of medical and scientific study, pedagogic support, and critical artistic review. Unfortunately, the belting debate has now become a war between contemporary and classical schools (methods), with each side having harsh criticisms of the other, some founded on scientific fact and some not, and neither side being willing to budge on its position or embrace the possibility that there may be room in the singing world for two different approaches to singing. The subject of belting has become a matter of heated controversy amongst singers, singing teachers, and methodologies. Others may listen for a distinctive quality in the sound or resonance tuning (e.g., first formant-second harmonic resonance coupling). For example, some may view belting as little more than singing loudly, which requires no special technique or training, just increasing air pressure to create more loudness, as one naturally would. This also creates some confusion (if not further debate) about how to accurately define belt, and it may be defined differently by different people. There are several types of belt production, created with different vocal tract configurations and making different use of the breath and glottal closure, and therefore producing slightly different qualities or aesthetics. It can therefore be assumed that belt singing has survived now for centuries in the 'non-classical' singing world because there is a quality in the sound that the audience likes and now expects to hear. Today, because of the standard use of amplification in all contemporary genres, belting is no longer considered necessary in order for a singer to be heard. microphones) and other sound equipment either weren't available or simply weren't used. This manner of singing may once have served the purpose of allowing the female vocalist's low-middle range to be heard over a brassy orchestra at a time when amplification (e.g. However, not all singers of these genres belt when performing or recording. Belted singing can be found in all contemporary genres and styles of singing, including jazz, folk, pop and rock, although it is most commonly associated with musical theatre (sometimes referred to as ' Broadway belt'). 'Belting' is a contemporary singing technique that produces a high-intensity, 'big', 'powerful' (e.g., loud) vocal sound.
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