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I
"[Intubation] occurs under deep sedation or general anesthesia to maintain/support the airway and to provide a means for oxygenation (oxygen delivery) and mechanical ventilation.â Focusing on short term intubation, less than twenty-four hours in duration, the authors give a wealth of advice for vocal performers, including what questions to ask before the surgery; what to expect in the operating room; and expectations for the postoperative period. +
N
A new edition of the MADDE Synthesizer by Svante Granqvist was introduced in the spring of 2011 that added the top octave of the keyboard and a keyboard display of formants and partials. These improvements have rendered MADDE an especially clear pedagogic tool for explaining and demonstrating the basic acoustic elements of the voice source and the vocal tract filter, as well as all source/filter interactions. This paper shows how MADDE can be used to explain and display the effect of the number of source harmonics, the roll off in power of the source spectrum, the implication of roll off on the laryngeal registration of the voice source, the locations and bandwidths of vocal tract formants, the acoustic effects of harmonic/formant relationships and crossings, such as open timbre, âturning over,â close timbre, and âwhoopâ timbre. +
V
A paper presented at the Fifth International Congress of Voice Teachers, Helsinki. In conclusion, the author urges, for optimal communication through speech or sing, every speech or voice teacher needs to have complete knowledge of the movements of the muscles in the vocal tract required for the phonological system of the language being sung. +
N
A stylized medical animation of the normal breathing cycle. +
W
A voice is acoustically strong if the glottal flow can be reduced from a high value to a low value in a short time interval. The total collapse of flow per second is called the maximum flow declination rate. It can be increased by increasing lung pressure, by increasing vibration at the bottom of the vocal fold, or by narrowing the acoustic tube immediately above the vocal folds. In practice, a combination of these control strategies is probably utilized by singers. +
M
MUSICAL THEATER IN THE CLASSICAL VOICE STUDIO: a Unified Pedagogical Approach through a discussion of the Research on and Misconceptions of Belting +
A well organized, overview of Belting. It begins with a review of the physiology of the voice, then moves into historical context, definitions and their discrepancies, and a discussion of what is actually occuring during belt singing. This presentation is filled with excellent citations and presents the controversies in a well thought out manner. It also discusses whether or not belting is healthy and then strategies for maintaining vocal health for those who teach and perform in this style. As a final thought they quote Barbara Doscher when she states that "our profession has a responsibility to all singers, not just to those whose aesthetic preference we agree with." A starting place for the teacher who is grappling with how to and whether or not to teach those who wish to belt. +
P
Premenstrual Syndrome and its Effects on Laryngeal Functionality An Approach for Singers and Pedagogues +
An exploration of Premenstrual Syndrome (PMS) and Premenstrual Voice Syndrome (PMVS) that details the ways in which singers may be physically and emotionally affected. Based on a number of medical studies of the phenomenon, the author provides strategies for students and teachers to address this highly personal subject sensitively and effectively. [pp. 27-34] +
I
An increasing quantity of data and theory about how motor skills are acquired is emerging. This article investigates certain key concepts and their possible applications in voice training. The author writes that the study of motor learning, a respected science, allows us to view voice teaching in a new light, one that considerably illumines voice pedagogy. +
An interactive diagram of the larynx. This resource demonstrates how the larynx is constructed and how different parts of the larynx work separately and together. Includes visuals of how the intrinsic muscles of the larynx work. A wonderful resource for any undergraduate pedagogy class. +
T
Awareness of the acoustic registration events caused by changing interactions between the lower harmonics of the voice source and the first formant of the vocal tract can assist both teacher and student in working out a smooth, comfortable transition through the passaggio into the upper range of the male voice. This paper explains how knowledge and anticipation of these events, and of the passive vowel modifications that accompany them, can form the basis for effective pedagogic strategies. A relatively stable tube (vocal tract) length is necessary for timbral consistency and balance across the fundamental frequency range, since this can stabilize the general location of all formants and especially the singerâs formant cluster. However, upon ascending the scale, untrained males instinctively tend to activate muscles that shorten the tube in order to preserve the strong first formant/second harmonic (F1/H2) acoustic coupling of open timbre, resulting in âyellâ timbre. If tube length and shape are kept stable during pitch ascent, the yell can be avoided by allowing the second harmonic to pass through and above the first formant. This results in the timbral shift referred to as covering or âturning over,â a shift which enables avoidance of the laryngeal muscular adjustments associated with pressed phonation. The variety of first formant locations, vowel by vowel, where these shifts occur creates opportunities for developing effective strategies for training the male passaggio. +
C
Choral pedagogy, the newest academic field in performing arts medicine, addresses the need for choral conductors to be better informed about vocal health. Recently, several authors have studied the special issues of choral conducting that can strengthen voices rather than injure them. +
D
Continuing the series begun in 2010, Michael aims to "clarify misconceptions about vocal production.â In this installment she notes of the titular myth, "Like many of the anatomically incorrect images we use routinely in the studio, this advise is well motivated, but can have unintended consequences.â For part one see 66, no. 5 (547-551); part two 67, no. 4 (417-421); part three 68, 4 (419-425). +
Continuing the series begun in 2010, Michael aims to clarify misconceptions about vocal production. In this installment Michael and Goding examine some myths and truths about vocal fold swelling, particularly as it pertains to upper respiratory infection (URI). For part one see 66, no. 5 (547-551); part two 67, no. 4 (417-421); part four 69, no. 2 (167-172). +
Continuing the series begun in 2010, Michael aims to "clarify misconceptions about vocal production.â In this installment she addresses three pervasive _mythsâ: 1) that the vocal folds are "chordsâ (sic); 2), that one can sing "onâ or "offâ the cords (sic); and 3), that falsetto is produced with _false vocal folds.â For part one see 66, no. 5 (547-551); part three 68, no. 4 (419-425); part four 69, no. 2 (167-172). +
S
Contrasting operatic and musical theatre voice production, the authors seek âto explain the female opera-belt contrast in terms of source-vocal tract interaction.â The study shows that despite aesthetic differences, many of the technical approaches overlap between these otherwise markedly different genres. +
T
DeFatta and Sataloff explore the scientific studies that have focused on this fundamental component of voice study. While they note that "no consensus can be reached based on available scientific evidence, they suggest that "the continued use of warm-up and cool-down exercises" seems appropriate and prudent. +
S
Shaken Not Stirred Practical Ideas for Addressing Vibrato and Nonvibrato Singing in the Studio and the Choral Rehearsal +
Dr. John Nix addresses the pervasive issue of vibrato use in the vocal studio and choral settings. He begins by defining vibrato and comparing various kinds of functional and non-functional vibrato (healthy vibrato, wobble, bleat or flutter), including the characteristics of each. He also notes that airflow rates for tones with vibrato tend to about 10% greater than tones without vibrato. In Nixâs study of 350 singers, he found that the majority of those who received explicit instruction regarding using vibrato in singing, that instruction came from a voice teacher; in those who received explicit instruction in non-vibrato singing, the majority received it from a choir director. He addresses changing aesthetics with regard to vibrato, and cites several articles from past issues of the Journal of Singing. Nix offers several exercises for developing flexibility in producing vibrato and non-vibrato sounds. He also suggests revisiting the all-too-easily forgotten basic checklist needed for good singing: alignment, breath, vowels, and addressing any visible tension. +
T
Dr. Titze and other experts explain vocal production by means of analogies to how a car works. This is highly simplified, but graphics are helpful. A highlight is a famous movie scene, in which the voice signal sounds as it would without the filtering of the vocal tract. +
V
Dr. Titze demonstrates exercises that can be done using the straw. He does not give any explanation of the scientific underpinnings of the semi-occluded vocal tract exercises, and only provides a brief explanation for the purposes of the exercises. +
T
Essay by Joan Melton, PhD, ADVS Part of a longer article written for the VASTA Journal 2009. In her article; The Technical Core: An Inside View, Joan Melton writes on her research and findings from ultrasound imaging (USI) of abdominal muscle activity while voicing to workshop participants at a conference on Performance Breath, at the Royal Academy of Dramatic Art, London. Although the study only focused on the core muscular system of the singer the results shed light on some of what is actually happening when a performance breath is taken. +