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singing

Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of both tonality and rhythm. A person who sings is called a singer or vocalist. Singers perform music known as songs that can either be sung a cappella (without accompaniment) or accompanied by musicians and instruments ranging from a single instrumentalist to a full symphony orchestra or big band. Singing is often done in a group of other musicians, such as in a choir of singers with different voice ranges, or in an ensemble with instrumentalists, such as a rock group or baroque ensemble. Nearly anyone who can speak can sing, since singing resembles sustained speech.

Singing can be informal and done for pleasure; for example, singing in the shower or karaoke; or it can be very formal, as in the case of singing during a religious ritual such as a Mass or professional singing performances done on stage or in a recording studio. Singing at a high amateur or professional level usually requires innate talent, instruction, and regular practice.[1] Professional singers usually build their careers around one specific musical genre, such as Classical or rock, they typically take voice training provided by a voice teacher or vocal coach throughout their career.

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[edit] The human voice

A labeled anatomical diagram of the vocal folds or cords.

In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply, or bellows; on the larynx, which acts as a reed or vibrator; on the chest and head cavities, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose consonants and vowels on the amplified sound. Though these four mechanisms function independently, they are nevertheless coordinated in the establishment of a vocal technique and are made to interact upon one another.[2] During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by the abdominal, internal intercostal and lower pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles. The pitch is altered with the vocal cords. With the lips closed, this is called humming.

The sound of each individual's singing voice is entirely unique not only because of the actual shape and size of an individual's vocal cords but also due to the size and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body, and an individual's size and bone structure can affect the sound produced by an individual.

Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of laryngeal function are described as different kinds of vocal registers.[3] The primary method for singers to accomplish this is through the use of the Singer's Formant; which has been shown to match particularly well to the most sensitive part of the ear's frequency range.[4][5]

[edit] Vocal registration

Vocal registers
Highest
Whistle
Falsetto
Modal
Vocal fry

Lowest

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.[6] The term register can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:[7]

  • A particular part of the vocal range such as the upper, middle, or lower registers.
  • A resonance area such as chest voice or head voice.
  • A phonatory process (phonation is the process of producing vocal sound by the vibration of the vocal folds that is in turn modified by the resonance of the vocal tract)
  • A certain vocal timbre or vocal "color"
  • A region of the voice which is defined or delimited by vocal breaks.

In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogists.[7]

[edit] Vocal resonation

Illu01 head neck.jpg

Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound.[7] There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses.[8]

[edit] Chest voice and head voice

Chest voice and head voice are terms used within vocal music. The use of these terms varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regards to these terms. Chest voice can be used in relation to a particular part of the vocal range or type of vocal register; a vocal resonance area; or a specific vocal timbre[7]. Head voice can be used in relation to a particular part of the vocal range or type of vocal register or a vocal resonance area[7].

[edit] History and development

The first recorded mention of the terms chest voice and head voice was around the 13th century, when it was distinguished from the "throat voice" (pectoris, guttoris, capitis — at this time it is likely that head voice referred to the falsetto register) by the writers Johannes de Garlandia and Jerome of Moravia.[9] The terms were later adopted within bel canto, the Italian opera singing method, where chest voice was identified as the lowest and head voice the highest of three vocal registers: the chest, passagio and head registers.[10] This approach is still taught by some vocal pedagogists today. Another current popular approach that is based on the bel canto model is to divide both men and women's voices into three registers. Men's voices are divided into "chest register", "head register", and "falsetto register" and woman's voices into "chest register", "middle register", and "head register". Such pedagogists teach that the head register is a vocal technique used in singing to describe the resonance felt in the singer's head.[11]

However as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists, such as Ralph Appelman at Indiana University and William Vennard at the University of Southern California, have redefined or even abandoned the use of the terms chest voice and head voice.[10] In particular, the use of the terms chest register and head register have become controversial since vocal registration is more commonly seen today as a product of laryngeal function that is unrelated to the physiology of the chest, lungs, and head. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest or head. They argue that the vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance, not to registers. These vocal pedagogists prefer the terms chest voice and head voice over the term register. This view believes that the problems which people identify as register problems are really problems of resonance adjustment. It should be noted that this view is also in alignment with the views of other academic fields that study vocal registration including: speech pathology, phonetics, and linguistics. Although both methods are still in use, current vocal pedagogical practice tends to adopt the newer more scientific view. Also, some vocal pedagogists take ideas from both viewpoints.[7]

The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the modal register or normal voice. Within other forms of singing, chest voice is often applied throughout the modal register. Chest timbre can add a wonderful array of sounds to a singer's vocal interpretive palette.[12] However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.[13]

[edit] Classifying singing voices

Voice type
Female voices
Soprano
Mezzo-soprano
Contralto

Male voices

Countertenor
Tenor
Baritone
Bass

In European classical music and opera, voices are treated like musical instruments. Composers who write vocal music must have an understanding of the skills, talents, and vocal properties of singers. Voice classification is the process by which human singing voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.[14] The science behind voice classification developed within European classical music and has been slow in adapting to more modern forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.[10]

However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering voices of pre-pubescent children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.[7]

It should be noted that within choral music, singers voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB, or soprano, alto, tenor, and bass). As a result, the typical choral situation affords many opportunities for misclassification to occur.[7] Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.[15]

Within comtemporary forms of music (sometimes referred to as Contemporary Commercial Music), singers are classified by the style of music they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music.[16] Attempts have been made to adopt classical voice type terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.[17]

[edit] Vocal pedagogy

Ercole de' Roberti: Concert, c. 1490

Vocal pedagogy, is the study of the teaching of singing. The art and science of vocal pedagogy has a long history that began in Ancient Greece and continues to develop and change today. Professions that practice the art and science of vocal pedagogy include vocal coaches, choral directors, vocal music educators, opera directors, and other teachers of singing.

Vocal pedagogy concepts are a part of developing proper vocal technique. Typical areas of study include the following:[18][19]

  • Vocal styles: for Classical singers, this includes styles ranging from Lieder to opera; for pop singers, styles can include "belted out" a blues ballads; for jazz singers, styles can include Swing ballads and scatting.

[edit] Vocal technique

Singing when done with proper vocal technique is an integrated and coordinated act that effectively coordinates the physical processes of singing. There are four physical processes involved in producing vocal sound: respiration, phonation, resonation, and articulation. These processes occur in the following sequence:

  • 1. Breath is taken
  • 2. Sound is initiated in the larynx
  • 3. The vocal resonators receive the sound and influence it
  • 4. The articulators shape the sound into recognizable units

Although these four processes are often considered separately when studied, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process.[17]

Since singing is a coordinated act, it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in intensively on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.

Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers, will become more concerned with one area of the technique than another. The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:[7]

  • 1. Extending the vocal range to its maximum potential
  • 2. Developing consistent vocal production with a consistent tone quality
  • 3. Developing flexibility and agility
  • 4. Achieving a balanced vibrato

[edit] Developing the singing voice

Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal pedagogists instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.[17] Vocal exercises have several purposes, including[7] warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.

[edit] Extending vocal range

An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any obvious or distracting changes of quality or technique. Vocal pedagogists teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most vocal pedagogists believe in coordinating these processes by (1) establishing good vocal habits in the most comfortable tessitura of the voice, and then (2) slowly expanding the range.[3]

There are three factors that significantly affect the ability to sing higher or lower:

  1. The energy factor — "energy" has several connotations. It refers to the total response of the body to the making of sound; to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism; to the amount of breath pressure delivered to the vocal folds and their resistance to that pressure; and to the dynamic level of the sound.
  2. The space factor — "space" refers to the size of the inside of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher he or she sings. The internal space or position of the soft palate and larynx can be widened by relaxing the throat. Vocal pedagogists describe this as feeling like the "beginning of a yawn".
  3. The depth factor — "depth" has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism, and to mental concepts of depth that are related to tone quality.

McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as you sing lower, you must use less."[7]

[edit] Posture

The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the posture of the various parts of the breathing mechanism. A sunken chest position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the diaphragm. Good posture allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good posture also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Vocal pedagogists have also noted that when singers assume good posture it often provides them with a greater sense of self assurance and poise while performing. Audiences also tend to respond better to singers with good posture. Habitual good posture also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.[3]

There are eight components of the ideal singing posture:

  1. Feet slightly apart
  2. Knees bent
  3. Hips rotated forward
  4. Spine aligned
  5. Abdomen flat
  6. Chest comfortably raised
  7. Shoulders down and back
  8. Head straight ahead
[edit] Breathing and breath support

Natural breathing has three stages: a breathing-in period, a breathing out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing:

  1. a breathing-in period (inhalation)
  2. a setting up controls period (suspension)
  3. a controlled exhalation period (phonation)
  4. a recovery period

When breathing, breathe in from the diaphragm lock the breath in place and control it as you sing.

These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.[20]

[edit] Vibrato

Vibrato is used by singers (and many instrumentalists; for instance, string instruments that are played with a bow usually employ vibrato) in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally, and is the result of proper breath support and a relaxed vocal apparatus. Some singers use vibrato as a means of expression. Many successful artists have built a career on deep, rich vibrato.

[edit] Vocal music

Vocal music is music performed by one or more singers, with or without non-vocal instrumental accompaniment, in which singing provides the main focus of the piece. Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music and there are many long standing singing traditions throughout the world's cultures.

Music which employs singing but does not feature it prominently is generally considered as instrumental music. Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song.

[edit] Genres of vocal music

Rock singer Ian Gillan performing live with Deep Purple in 2006.

Vocal music is written in many different forms and styles which are often labeled within a particular genre of music. These genres include: Art music, Popular music, Traditional music, regional and national music, and fusions of those genres. Within these larger genres are many sub-genres. For example, popular music would encompass blues, jazz, country music, easy listening, hip hop, rock music, and several other genres. There may also be a sub-genre within a sub-genre such as vocalese and scat singing in jazz.

[edit] Popular and traditional music

In many modern pop musical groups, a lead singer performs the primary vocals or melody of a song, as opposed to a backing singer who sings backup vocals or the harmony of a song. Backing vocalists sing some, but usually not all, parts of the song often singing only in a song's refrain or humming in the background. An exception is five-part gospel a cappella music, where the lead is the highest of the five voices and sings a descant, and not the melody. Some artists may sing both lead and backing vocals on audio recordings by overlapping recorded vocal tracks.

Popular music includes a range of vocal styles. Hip-hop uses rapping, the rhythmic delivery of rhymes in a rhythmic speech over a beat or without accompaniment, so this can not really be referred to as singing, as it is more a form of public speaking, such as the toasting from which rapping derives historically. Blues singing is based on the use of the blue notes–notes sung at a slightly lower pitch than that of the major scale for expressive purposes. In heavy metal and hardcore punk subgenres, vocal styles can include techniques such as screams, shouts, and unusual sounds such as the "death growl".

Rapper Busta Rhymes performs in Las Vegas.

[edit] Careers in singing

The salaries and working conditions for vocalists vary a great deal. While jobs in other music fields such as music education tend to be based on full-time, salaried positions, singing jobs tend to be based on contracts for individual shows or performances, or for a sequence of shows (e.g., a two-week series of performances of an opera or musical theater show). Since income from singing jobs can be unsteady, singers often supplement their performing income with other singing-related jobs, such as vocal coaching, voice lessons, or as working as a choral director in a church. Due to the large number of aspiring vocalists, it can be very competitive to get jobs in singing.

Church choir soloists can make from $30 to $500 per performance (all figures in US dollars). Performers in a community choral group can earn from $200–$3,000 yearly; members of a professional concert choral group can make $80 and up per performance. Singers who perform on radio or TV shows can make $75 and up per show on a local station and $125 and up per national network show (e.g., CBS or NBC). Jazz or pop singers who perform with dance bands or nightclub show groups can make $225 and up per week. Professional opera chorus singers can make from $350–$750 per week. Opera soloists, for which the number of job openings is very limited, can make from $350 to $20,000 per performance for the most elite performers. Classical concert soloists, for which the number of job openings is very limited, have approximate earnings of $350 per performance and up.[21]

Aspiring singers and vocalists must have musical talent and skill, an excellent voice, the ability to work with people, and a sense of showmanship and drama. Additionally, singers need to have the ambition and drive to continually study and improve,[21] because the process of studying singing does not end after an initial diploma or degree is finished-even decades after finishing their initial training, professional singers continue to seek out vocal coaching to hone their skills, extend their range, and learn new styles. As well, aspiring singers need to gain specialized skills in the vocal techniques used to interpret songs, learn about the vocal literature from their chosen style of music, and gain skills in choral music techniques, sight singing and memorizing songs, and basic skills at the piano, to aid in learning new songs and in ear training or vocal exercises. In Classical singing and in some other genres, a knowledge of foreign languages such as French, Italian, German, or other languages, is needed. Prior to college or university training, aspiring singers should learn to read music, study basic piano, and gain experience with singing, both in choirs and in solo settings.

College or university degrees are "not always required but the equivalent training is usually necessary".[21] Post-secondary training in singing is available for both Classical and non-Classical singers. In the Classical stream, singing can be studied at conservatories and university music programs; credentials that are available range from diplomas and Bachelor's degrees to Master's degrees and the Doctor of Musical Arts. In popular and jazz styles, college and university degrees are also available, though there are fewer programs.

Once aspiring vocalists have completed their professional training, they must then take steps to market themselves to buyers of vocal talent. Depending on the style of vocal music that a person has trained in, the "talent buyers" that they seek out may be record company A&R representatives, opera or musical theater directors, choir directors, nightclub managers, or concert promoters. In addition preparing a resume or CV listing their training and performance experience, singers typically prepare a promotional kit that includes professionally-taken photographs (head shots); a CD or DVD with excerpts of vocal performances; and copies of reviews from music critics or journalists. Some singers hire an agent or manager to help them to seek out engagements and other performance opportunities; the agent or manager is often paid by receiving a percentage of the fees that the singer gets from performing onstage.

[edit] Health effects

Scientific studies suggest that singing can have positive effects on people's health. A preliminary study based on self-reported data from a survey of students participating in choral singing found perceived benefits including increased lung capacity, improved mood, stress reduction, as well as perceived social and spiritual benefits.[22] However, one much older study of lung capacity compared those with professional vocal training to those without, and failed to back up the claims of increased lung capacity.[23] Singing may positively influence the immune system through the reduction of stress. One study found that both singing and listening to choral music reduces the level of stress hormones and increases immune function.[24] A multinational collaboration to study the connection between singing and health was established in 2009, called Advancing Interdisciplinary Research in Singing (AIRS).[25]

happy birthday

Happy Birthday to You", also known more simply as "Happy Birthday", is a traditional song that is sung to celebrate the anniversary of a person's birth. According to the 1998 Guinness Book of World Records, "Happy Birthday to You" is the most recognized song in the English language, followed by "For He's a Jolly Good Fellow" and "Auld Lang Syne".[1] The song's base lyrics have been translated into at least 18 languages.[2], p. 17

The melody of "Happy Birthday to You" comes from the song "Good Morning to All", which was written and composed by American sisters Patty Hill and Mildred J. Hill in 1893.[3] They were both kindergarten school teachers in Louisville, Kentucky, developing various teaching methods at what is now the Little Loomhouse.[2][4], pp. 4–15 The sisters created "Good Morning to All" as a song that would be easy to sing by young children[2], p. 14. The combination of melody and lyrics in "Happy Birthday to You" first appeared in print in 1912, and probably existed even earlier.[2], pp. 31–32 None of these early appearances included credits or copyright notices. The Summy Company registered for copyright in 1935, crediting authors Preston Ware Orem and Mrs. R.R. Forman. In 1990, Warner Chappell purchased the company owning the copyright for US$15 million, with the value of "Happy Birthday" estimated at US$5 million.[5] Based on the 1935 copyright registration, Warner claims that U.S. copyright will not expire until 2030, and that unauthorized public performances of the song are technically illegal unless royalties are paid to it.

In European Union (EU) countries the copyright in the song will expire December 31, 2016.[citation needed]

The actual U.S. copyright status of "Happy Birthday to You" began to draw more attention with the passage of the Copyright Term Extension Act in 1998. When the U.S. Supreme Court upheld the Act in Eldred v. Ashcroft in 2003, Associate Justice Stephen Breyer specifically mentioned "Happy Birthday to You" in his dissenting opinion.[6] Professor Robert Brauneis went so far as to conclude "It is doubtful that 'Happy Birthday to You', the famous offspring of 'Good Morning to All', is really still under copyright", in his heavily researched 2008 paper.[2]


Contents

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[edit] Lyrics

[edit] "Good Morning to All"

Good morning to you,
Good morning to you,
Good morning, dear children,
Good morning to all.

(Lyrics by Patty Smith Hill.[7])

[edit] "Happy Birthday to You"

Structurally, the song consists of four lines, three of which are identical. The three identical lines are also the song's title. The other line is "Happy birthday, dear name", where name is the name of the person whose birthday is being celebrated, and serves to address the song to them. Thus:

title
title
addressing phrase
title

[edit] Copyright status

[edit] History of the song

The public domain song Good-Morning to All
GoodMorningToAll 1893 song.ogg
Song Good-Morning to All. 22sec.

The origins of "Happy Birthday To You" date back to the mid-nineteenth century, when two sisters, Patty and Mildred J. Hill, began singing the song "Good Morning To All" to their kindergarten class in Kentucky. In 1893, they published the tune in their songbook Song Stories for the Kindergarten. However, many believe that the Hill sisters most likely copied the tune and lyrical idea from other songs from that time period.[citation needed] There were a number of popular and substantially similar nineteenth-century songs that predated the Hill sisters' composition, including Horace Waters' "Happy Greetings to All"; "Good Night to You All", also from 1858; "A Happy New Year to All", from 1875; and "A Happy Greeting to All", published 1885. The copyright for both the words and the music of "Good Morning to All" has since expired and both are now a part of the public domain.

The Hill Sisters' students enjoyed their teachers' version of "Good Morning To All" so much that they began spontaneously singing it at birthday parties, changing the lyrics to "Happy Birthday". In 1924, Robert Coleman included "Good Morning to All" in a songbook with the birthday lyrics as a second verse. Coleman also published "Happy Birthday" in The American Hymnal in 1933. Children's Praise and Worship, edited by Andrew Byers, Bessie L. Byrum and Anna E. Koglin, published the song in 1928.

In 1935 "Happy Birthday to You" was copyrighted as a work for hire by Preston Ware Orem for the Summy Company, the publisher of "Good Morning to All". A new company, Birch Tree Group Limited, was formed to protect and enforce the song's copyright. In 1998[8], the rights to "Happy Birthday to You" and its assets were sold to The Time-Warner Corporation. In March 2004, Warner Music Group was sold to a group of investors led by Edgar Bronfman Jr. The company continues to insist that one cannot sing the "Happy Birthday to You" lyrics for profit without paying extremely high royalties: in 2008, Warner collected about $5000 per day ($2 million per year) in royalties for the song.[2], pp. 4,68 This includes use in film, television, radio, anywhere open to the public, or even among a group where a substantial number of those in attendance are not family or friend to whoever is performing the song.

Except for the splitting of the first note in the melody "Good Morning to All" to accommodate the two syllables in the word "happy", "Happy Birthday to You" and "Good Morning to All" are melodically identical. Precedent (regarding works derived from public domain material, and cases comparing two similar musical works[citation needed]) seems to suggest that the melody used in "Happy Birthday to You" would not merit additional copyright status for one split note. Whether or not changing the words "good morning" to "happy birthday" should be covered by copyright is a different matter. The words "good morning" were replaced with "happy birthday" by others than the authors of "Good Morning to All". Regardless of the fact that "Happy Birthday to You" infringed upon Good Morning to All, there is one theory that because the "Happy Birthday to You" variation was not authored by the Hills, and it was published without notice of copyright under the 1909 U. S. copyright act, that the 1935 registration is invalid.

Many question the validity of the current copyright, as the melody of the song was most likely borrowed from other popular songs of the time, and the lyrics were improvised by a group of five and six-year-old children who never received any compensation. The song is currently set to pass in to the public domain in 2030.

[edit] Copyright issues and public performances

[edit] Unauthorized Public Performances and Legal Action

Whether pursued by the copyright holder or the result of skittish corporate legal teams, some informal public performances of "Happy Birthday to You" have been discouraged. For example, in 2009, Buca di Beppo issued a directive to its employees to immediately stop singing the song to guests at the restaurant, in fear of legal action. Instead, waiters were instructed to lead guests in shouting "Buon Compleanno! It's Buca!"

[edit] Royalty amounts sought

The documentary film The Corporation claims that Warner/Chappell charges up to US$10,000 for the song to appear in a film.

The Walt Disney Company paid the copyright holder US$5,000 to use the song in the birthday scene of the defunct Epcot attraction Horizons.[citation needed]

In the 1987 documentary Eyes on the Prize about Dr. Martin Luther King, Jr., there was a birthday party scene in which Dr. King's discouragement began to lift. After its initial release, the film was unavailable for sale or broadcast for many years because of the cost of clearing many copyrights, of which "Happy Birthday to You" was one. Grants in 2005 for copyright clearances [9] have allowed PBS to rebroadcast the film as recently as February 2008. [10]

[edit] Notable instances of the song in public

One of the most famous performances of "Happy Birthday to You" was Marilyn Monroe's rendition to U.S. President John F. Kennedy in May 1962.

Many restaurants have original, modern, corporate-developed songs that are used instead of the old-fashioned "Happy Birthday to You" when serving patrons the traditional cake on their birthdays. Originally, these songs were specifically developed to prevent copyright infringement and having to pay royalties. In Mike Jittlov's 1989 film The Wizard of Speed and Time, Jittlov avoided all copyright and royalty problems by using a replacement song, "Merry Birthday to You", which he wrote himself.

Due to the copyright issue, filmmakers rarely show complete singalongs of "Happy Birthday" in films, either substituting the public-domain "For He's a Jolly Good Fellow" or avoiding the song entirely. Before the song was copyrighted it was used freely, as in Bosko's Party, a Warner Brothers cartoon of 1932, where a chorus of animals sing it twice through.

[edit] See also

[edit] References

  1. ^ The Guinness Book of World Records 1998, p. 180
  2. ^ a b c d e f Brauneis, Robert (2008-03-21), Copyright and the World's Most Popular Song, http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1111624, retrieved 2008-05-08
  3. ^ Originally published in Song Stories for the Kindergarten (Chicago: Clayton E. Summy Co., 1896), as cited by Snyder, Agnes. Dauntless Women in Childhood Education, 1856-1931. 1972. Washington, D.C.: Association for Childhood Education International. p. 244.
  4. ^ KET - History: Little Loomhouse
  5. ^ Uncorking that Joyful Noise
  6. ^ 537 US 186, Justice Stevens, dissenting, II, C
  7. ^ "Good morning". Time. 27 August 1934. http://www.time.com/time/magazine/article/0,9171,747783,00.html. Retrieved 22 March 2009.
  8. ^ http://entertainment.howstuffworks.com/music-licensing5.htm
  9. ^ Dean, Katie (2005-08-30). "Cash Rescues Eyes on the Prize". wired.com. http://www.wired.com/news/culture/digiwood/0,68664-0.html. Retrieved 2008-05-11.
  10. ^ "PBS News: PBS Celebrates Black History Month with an Extensive Lineup of Special Programming". PBS. 2008-01-10. http://www.pbs.org/aboutpbs/news/20080110_blackhistory.html. Retrieved 2008-05-11.

[edit] External links

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  • This page was last modified on 30 October 2009 at 16:00.