This is a purely individual approach. Since ear for music is a psychophysiological concept, the effect of the cycle on hearing is as non-identical as the perception of one sound by different people.
In fact, a sufficient number of factors affect the ear for music: general well-being, fatigue, overload hearing aid, even, in some way, minor illnesses (for example, during the flu, the lower case is perceived weaker than the upper).
No, not really. We hear no worse in "these" days. But it affects the vocal apparatus and the general physical condition. Therefore, the singer may sing a little worse during her period only because of swollen ligaments and an unhealthy condition.
For the first time I hear, I worked with many pivits and communicated closely, no one has ever complained about it, atmospheric pressure affects the ears and perception, but I do not think of hearing.
True. There is such a concept in medicine as voice hygiene. Any otolaryngologist - phoniatrist will tell you about it in more detail.
First of all, you need to find out when the main phases of the menstrual cycle begin. Every woman and menstrual cycle is unique in its own way. Its usual duration is 28 days. The first day is the separation of the intrauterine membrane. Menstruation usually ends on the fifth day, and the uterus begins to prepare to receive the egg. The phase from the first day to ovulation (usually 15 days) is called follicular or menstrual. The luteal or secretory phase lasts from ovulation to the next menstrual period. The menstrual cycle is a physiological factor that is important for the voice.
During menstruation, a woman's body shows slight swelling of some organs, including the vocal cords and larynx. Because of singing during menstruation, the artist runs the risk of getting serious complications: the voice may become dull, the range of sound reproduction may narrow, and in the future, you can fall out of normal mode for two weeks. From the point of view of normal physiology, in the first three days of the menstrual cycle, the capillary network on the vocal cords becomes more pronounced due to a stronger than usual blood flow. The consequence of this blood flow inevitably becomes swelling of the vocal cords and their poor mobility, therefore there is a danger of non-closure. When singing, this can damage the ligaments (tiny tears, knots or even hemorrhages in the vocal muscle). Moreover, the first two days before menstruation are also dangerous for voice breakdowns.
For example, in opera houses and philharmonic societies, all the first three days of the menstrual cycle for singers are inactive. All vocalists should take a break from singing on these days, and opera house soloists have the first three days of their period as an official day off.
There is a golden rule to keep the voice clear: do not sing the day before your period and all subsequent days, including one day after. To prevent speech disorder, it is necessary to reduce the load on the vocal apparatus as much as possible for the entire period of menstruation.
Scientists have proven that artists, for example, are strongly contraindicated on critical days not only to sing, but also to listen to others sing. There is also a scientific explanation for the fact that even when listening to singing, the artists experience phonation, the closing of the vocal folds. They sing to themselves, and this is also a load. Anyone who has ever communicated with a person who has an unpleasant voice can agree: the sensations after that are such as if "a lump in the throat was stuck." And when a professional singer listens to a non-professional, it often causes rejection not only on the emotional, but also on the physical level.
In connection with the "commercialization" of creative activity and the signing of long-term contracts, rest for artists becomes an impossible obstacle. Then the vocalist should use the breathing technique with great skill, avoid forced notes and very carefully select her repertoire, lay downcue for execution during critical days. In extreme cases, you must very strictly follow the prescriptions of your phoniatrist and obstetrician-gynecologist these days (sing "under the mask" of medicines). But this is still a violation of the hygiene of the voice, which can lead to the formation of pathology in the future.
In any case, you decide how to manage your voice and observe its hygiene! Self-medication can be hazardous to your health! Consult your experts! Be healthy!
What Constantine described is manna from heaven. Unfortunately, I have never met such a person during my work in theaters in Germany and Italy. I also did not meet any serious consequences due to the performances these days.
My device sounds exceptionally good the day before, especially the high notes, but “during” I am out of tune by 1/4 tones, minimally, but it's a shame. Apparently, due to the swelling of the vocal cords, more pressure is needed to produce the same tone. It is enough to take into account when performing. The singing technique itself plays a huge role, especially the correct breathing.
In the busiest seasons in the theater, I sang 60-70 performances per season, not counting various children's and New Year's concerts, roles and large, ( for example, La Traviata, Suzanne, "Manon" Massenet) and medium (for example, Musetta, Marzeline). Another soprano colleague sang the same repertoire with me in the theater. It is simply unrealistic to adjust the poster to my cycle, no one has done it and even heard about it.
I know that in Russia the theater staff is very large (a permanent ensemble), so there is an opportunity to maneuver, but in our today's world this does not exist in Europe.