Posts Tagged ‘hearing and singing’

Tinnitus, hyperacusis, and singing techniques

January 6, 2010

It’s well known that the major cause to tinnitus is loud sounds.   Also, a related condition, hyperacusis (painful amplified hearing), is also affected by loud sound.  Lastly, tinnitus and hyperacusis are often precursors to deafness.

Singing techniques can affect the travel of sound throughout the head, and obviously to the ears as well.  The ways of head resonance amplify these sounds as well.

So, it would seem that singing techniques can affect the degree of affected tinnitus and hyperacusis, and possibly even reduce the likelihood of losing one’s hearing.

Though it is known that some tinnitus and hyperacusis suffers’ singning can cause these illnesses, I didn’t find much research on this topic or how singing techniques can reduce tinnitus or hyperacusis.

Does anyone have suggestions, knowledge, resources for research?


Posture and Singing, response to Sally

May 12, 2009

Thank you Sally,

The basics are as you state below. May I add a few more matters:

How a problem originates and how to solve these may be strangely different. And in dealing with people, we’re also dealing with areas such as compulsion and the subconscious–these affect posture in unexpected ways as well. will explain how many of the suppressed emotions are manifested in and can be corrected by posture alignment methods.

Having said this, and agreeing with you on the basics–here’s what I’m suggesting are to be added:

1. Eastern therapeutic arts are good at restoring posture–they’ve been doing this for thousands of years.
2. If the posture is tilted, the sound travels to the ear through the bones and oral cavity differently– one doesn’t hear oneself accurately when the posture is not optimal. You may be correct in that one doesn’t also hear oneself accurately in relation to other people in all cases. I haven’t got to the stage where my posture is good enough that I can hear a recording and say that’s exactly the way I heard myself without the recording. However, as I straighten my posture, my self-hearing accuracy constantly improves.


Notice it is not possible to hear accurately just by simply straightening up one’s posture.   The prior posture had excessive tension and looseness– and when one postures up, the tonicity of these change.   The tensions should be gotten rid of first.   At least, this is my current hypothesis.


Also, much of hearing oneself is mental.   What I’m suggesting is that by correcting the posture to change one’s emotions, one can even mentally hear better.  In Hindu and Buddhist thought, this is alike seeing reality by getting rid of emotional bagge.  Instead, I’m suggesting hearing reality by getting rid of emotional baggage.

3. I don’t see good singing as comparable to speaking. There are lots of speaking skills used in singing that can create all kinds of effects, particularly subtle effects skills learned from daily speaking.  However, in my personal case, a full voice is rarely used in my speaking. My opinion is to first create a good resonanting cavity, then add singing skills, and then add talking nuances.

How do we hear singing?

April 12, 2009

Response to question on singing and hearing….

When singing, I believe the mind uses the ear drum’s sensations together with other bodily sensations and the mind’s own desired heard sound to synthesize the mentally “heard” sound.

If one’s mind can affect one’s hearing of one’s voice, then, it seems
possible to retrain the mind to accurately hear one’s voice better.
If this is possible, it is possible self-teach oneself how to sing.

Let me give a example. I have weak highs, but, when sing highs,
somehow “psychologically hear” my highs’ volume is just right. Is it possible to remap my hearing such that my “heard” highs volume
becomes accurate?

It seem this can be a type of vocal training—training by getting
rid of mishearings instead of practicing one’s voice.  If such trained, all one has to do is to hear how one matches to the music and other singers—in order to sing better.

This is somewhat “Buddhist”, “Hindu”, “meditation” in approach—that is
getting rid of mishearing in order to sing better, instead of
practicing scales to sing better. Can someone advise me how this may
have been tried as a vocal training technique?

Problem with tape recorders is that microphone technology is usually

Chen Sun