The face that speaks, the voice that sings: the triad of orthodontics, music, and aesthetics

Abstract

This interdisciplinary study explores the triadic relationship between orthodontics, music, and aesthetics, with a central focus on how dental alignment influences musical articulation and stage presence. Grounded in embodied performance theory and articulatory phonetics, the research investigates how malocclusion affects vocal clarity and how orthodontic treatment contributes to the refinement of both speech and visual aesthetics—two crucial components in musical performance and media representation. Through a musicological lens, the study examines how pronunciation, resonance, and articulation—especially of fricatives such as/s/, /ʃ/, and /z/—impact vocal performance quality. Emphasis is placed on the performer’s body, particularly the mouth and face, as a site where musical expression, social aesthetics, and public image converge. In contemporary music culture—especially within media-driven environments—facial harmony and clear enunciation are vital not only for artistic output but also for the construction of professional identity. Using a qualitative comparative model, the study examines two case studies of performers from Kosovo who underwent multi- year orthodontic treatment. Audio recordings and clinical photographs were captured before and after intervention, using consistent conditions in a professional music studio and dental clinic. The data were analysed to identify phonetic improvements and changes in facial aesthetics relevant to performance. Findings reveal a marked improvement in vocal articulation, projection, and stage image post-treatment. Participants reported increased confidence and expressive ease, underscoring the dual role of orthodontics in enhancing both musical function and aesthetic presence. This supports the thesis that orthodontic treatment can directly affect artistic performance, especially in vocalists and wind instrumentalists whose craft depends on precise oral mechanics. The study contributes a novel interdisciplinary model that links dental health to music performance and public aesthetics. Future research should broaden sample sizes, engage phonetic and aesthetic experts, and examine long-term effects. Collaboration between orthodontists, phonologists, and music educators is essential for optimising artistic outcomes in a media-saturated cultural landscape.

Keywords

• singing
• orthodontics
• sound analysis
• aesthetics
• stage performance

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