The purpose of this study is to capture the formal knowledge of the growth of the singing voices from the students in the College of Education, and to clarify its relationship to the tacit knowledge of professional classical music singers. A set of growth assessment items expressed in Japanese was created to evaluate the growth of the beginners, and four professional classical music singers used these items to evaluate the growth of their singing voice by listening. The growth evaluation item set consists of 27 items that are organized into three categories: vocal source factor, resonance factor, and breathing factor. A special evaluation sheet was designed to collect the data from the singing voices. We also clarify the usefulness and limitations of the growth assessment by features extracted by acoustic spectrum analysis.

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Hoarseness in children is a voice disorder mainly caused by vocal nodules in children. Until now, there has been no aggressive treatment for vocal nodules in children, as they are expected to resolve spontaneously. In most cases, children themselves are unaware of their vocal nodules and their parents or guardians are unaware of their occurrence, and even in the school health care, it is difficult to detect the onset of vocal nodules in current physical examinations. However, children with hoarseness often suffer for a long period of time. In their school life, they have difficulty in reading aloud and singing, which require the use of their voices. There is also concern about the psychological harm caused by the learning stress and its effect on communication with others. The psychological and emotional effects during the growth period may be even greater than in adults. Therefore, the aim of this project is to focus on singing learning, which is considered to be the most difficult to learn in school classes, to spread the correct recognition and understanding of hoarseness in children in school education, and to explore the direction of the response as a music department.

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Abstract The purpose of this study is to examine the contemporary significance of Shibata's Vocal Technique Theory (1954), a highly acclaimed vocalist who remained highly regarded for 36 years after his death, and to consider the prospects for vocal technique research. The research method is to first confirm the official performance experience that is the basis of Professor Shibata's vocal theory, and then to examine Shibata's interim report, Vocal Techniques. Next, the mechanism of vocalization is confinned mainly from the literature of Dr. Yoneyama Fumiaki. The basic structure of Shibata's vocal technique theory consists of a <basic vocal method< based on objective perspectives such as physical education and sports, and an <applied vocal method< based on subjective perspectives such as performance experience. There is no description of scientific experimental verification in Shibata's Vocal Techniques. In addition, although it was written that <the final report will be published at a later date,<　it has not yet been published. Shibata recognized the need for an objective perspective, i.e., scientific experimental verification, and stated that this is one of the basic structures of voice research, but at the time, non-invasive scientific experimental verification was difficult. For Shibata, who had experienced voice disorders, surgery, and recovery, it was natural that he was anxious about the effects of experiments on his body. In this study, we present the results of a non-invasive experiment measuring body surface vibration and an experiment using EGG to verify the <good resonance　< and <good posture< that Shibata described in <Vocal Techniques <　as means to demonstrate and achieve a <good voice<. We believe that research into improving the abilities of individual singers and collaboration with various sciences will bring new perspectives to voice research, resulting in more <comprehensive knowledge,　< which will in tum create <well-being.<

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