Melisma – Voice Science

Definition

Melisma refers to the singing of multiple pitches on a single syllable, representing one of the most technically demanding elements of vocal artistry across musical traditions. The term derives from Ancient Greek μέλισμα (mélisma, “song”), with Grove Music Online defining melismatic text-setting as passages where more than four notes are sung to a single syllable—distinguishing it from neumatic (2–4 notes) and syllabic (one note) settings.

Context

Cross-Cultural Significance

Melismatic singing appears across virtually every major musical tradition, from the jubilus of medieval Gregorian Chant to the runs and riffs of contemporary R&B. This universality reflects both its expressive power and its status as a marker of vocal virtuosity. Different traditions have developed specialized vocabularies: Western classical music uses terms like Coloratura, Fioritura, and Passaggi; Contemporary Commercial Music (CCM) distinguishes between runs (long, flashy sequences), riffs (shorter phrases), and licks (groove-based phrases); while Arabic Maqam tradition employs Layali and Mawwal, Indian classical music uses Gamaka, and Flamenco features the ornaments of Cante Jondo.

Historical Development

In Western tradition, melismatic singing traces to the jubilus—the extended melisma on the final vowel of “Alleluia” in Gregorian chant, understood by patristic writers as allowing “wordless jubilation” (Mahrt, 2014). Different chant genres exhibited characteristic melismatic densities, from nearly syllabic psalm antiphons to highly melismatic Alleluias averaging 9.3 notes per syllable.

The Baroque era elevated melisma to virtuosic display, with the Da Capo Aria structure inviting singers—often Castrati or female virtuosi—to improvise embellishments. The early 19th-century Bel Canto period synthesized smooth singing with agility, while the 20th century saw gospel and R&B traditions develop distinctive melismatic styles. Whitney Houston’s “I Will Always Love You” (1992) and Mariah Carey’s “Vision of Love” (1990) brought heavy melismatic ornamentation into mainstream pop.

Scientific Basis

Physiological Mechanisms

Melismatic singing requires precise coordination of cricothyroid (CT) and thyroarytenoid (TA) muscles. CT contraction stretches the Vocal Folds, raising Fundamental Frequency, while TA activation can either shorten the folds to lower pitch or stiffen them to raise pitch (Zhang, 2013). Research on rapid pitch oscillations demonstrates that trained performers execute pitch changes at rates exceeding 10 Hz—significantly faster than typical vibrato—suggesting the upper limit of voluntary rapid pitch oscillation may be constrained by muscle twitch activation times (Hakes, Shipp, and Doherty, 1988).

Acoustic Properties

Studies distinguish melismatic ornaments by rate and extent: vibrato operates at 5–7 Hz with approximately ±1 semitone variation, trills at similar rates with up to 2.7 semitones, and the trillo (rapid pitch reiteration) at 2–12.4 Hz (Hakes, Shipp, and Doherty, 1988). Professional singers demonstrate substantially greater spectral energy in the Singer’s Formant region during complex passages, with research documenting a 6.4 dB difference in Singing Power Ratio between professionals and non-professionals (Bottalico, Graetzer, and Hunter, 2016). 

Maintaining vowel intelligibility during rapid pitch changes presents articulatory challenges. Sopranos employ Resonance Tuning strategies that vary by pitch range, with vowel modification conditioned by vowel height in mid-ranges and by vowel frontness in higher ranges (Chan and Do, 2021).

Pedagogical Considerations

Technical Demands

Melismatic proficiency depends on several observable factors: intonation accuracy across rapid pitch sequences, flexibility throughout the vocal range, clean onsets and releases, laryngeal flexibility, and relaxed tongue and jaw (Miller, 1986). Research identifies consistent challenges students encounter, including tension from tightening mouth corners (which restricts the vocal tract), breath management difficulties (excess pressure causing register breaks; insufficient support failing phrases), and clarity issues where over-articulation destroys legato while insufficient note separation produces sliding rather than discrete pitches.

Genre-Specific Characteristics

Classical Coloratura Soprano voices are defined by agility in high-lying passages, with distinct acoustic release points varying by voice type—leggiero coloratura at approximately A-flat, lyric at F-sharp, and dramatic coloratura at E above middle C (Pope, 2024). This variation means training approaches effective for one voice type may be ineffective for another.

CCM pedagogy characterizes R&B as employing relatively light vocal delivery with heavy embellishment, melisma, and fast vibrato (Bartlett and Naismith, 2020). The stylistic origins lie in gospel and soul traditions where singers engaged in competitive display, similar to jazz cutting contests.

Breath and Registration

Register management significantly affects melismatic execution. Carrying too much weight up toward the passaggio makes heavier voices unwieldy for agility work. Research documents an inverse relationship between Subglottal Pressure and mean airflow during register changes, requiring singers to manage these aerodynamic shifts while maintaining phrase continuity (Herbst et al., 2015).

Common Misconceptions

Misconception: “Heavy melismatic ornamentation (‘oversinging’) demonstrates inferior artistry”

Reality: The term “oversinging” reflects aesthetic preference rather than technical assessment. Critics apply it to performers including Houston, Carey, and Ariana Grande, describing melismatic display as “vocal gymnastics.” However, the technique requires exceptional CT/TA coordination, breath management, and pitch accuracy. Whether extensive ornamentation serves a musical context is a stylistic judgment; the technical demands are objectively substantial.

Misconception: “African American melismatic techniques derive primarily from West African vocal traditions”

Reality: Analysis of West African vocal music examples shows syllables rarely set to more than two separate notes (Tagg, 2003). The distinctive melismatic character of gospel and R&B more likely developed through the convergence of multiple influences including European hymn traditions, the unique conditions of American musical development, and the improvisatory practices that emerged in Black American churches.

Misconception: “Classical technique provides the necessary foundation for all melismatic singing”

Reality: Research on CCM pedagogy documents fundamental differences from classical approaches, with leading pedagogues emphasizing speech-quality phonation, style-specific production parameters, and rejection of “one size fits all” classical models (Bartlett and Naismith, 2020). The physiological mechanisms are shared, but optimal coordination patterns and aesthetic targets differ significantly by genre.

Related Terms

Also known as: Vocal Runs, Riffs (in CCM contexts)

References

Bartlett, Irene, and Marisa Lee Naismith. 2020. “An Investigation of Contemporary Commercial Music (CCM) Voice Pedagogy: A Class of Its Own?” Journal of Singing 76(3): 273–282.

Bottalico, Pasquale, Simone Graetzer, and Eric J. Hunter. 2016. “Effect of Training and Level of External Auditory Feedback on the Singing Voice: Volume and Quality.” Journal of Voice 30(4): 434–442. https://doi.org/10.1016/j.jvoice.2015.05.010.

Chan, May Pik Yu, and Youngah Do. 2021. “Vowel Modification (Aggiustamento) in Soprano Voices.” Music & Science 4. https://doi.org/10.1177/20592043211055168.

Hakes, Jean, Thomas Shipp, and E. Thomas Doherty. 1988. “Acoustic Characteristics of Vocal Oscillations: Vibrato, Exaggerated Vibrato, Trill and Trillo.” Journal of Voice 1(4): 326–331.

Herbst, Christian T., et al. 2015. “Glottal Adduction and Subglottal Pressure in Singing.” Journal of Voice 29(4): 391–402. https://doi.org/10.1016/j.jvoice.2014.08.009.

Mahrt, William P. 2014. “Jubilare sine verbis: The Liturgical Role of Melisma in Gregorian Chant.” In Chant and Culture: Proceedings of the Conference of the Gregorian Institute of Canada, 1–22. Lions Bay, BC: Institute of Mediaeval Music.

Miller, Richard. 1986. The Structure of Singing: System and Art in Vocal Technique. New York: Schirmer Books.

Tagg, Philip. 2003. “Melisma.” In Encyclopedia of Popular Music of the World, edited by David Horn, 531–534. London: Continuum.

Zhang, Zhaoyan. 2013. “The Influence of Thyroarytenoid and Cricothyroid Muscle Activation on Vocal Fold Stiffness and Eigenfrequencies.” Journal of the Acoustical Society of America 133(5): 2972–2983. https://doi.org/10.1121/1.4799809.