The purpose of this study was to compare the speaking fundamental frequency, physiological vocal range, singing voice quality, and self-perceptions of the singing and speaking voice between two groups of girls ages 11 through 15 years, who were pre-menarcheal by 6 months and post-menarcheal by 10 months or more. Subjects were volunteers who attended a North Texas public school system. Each subject was examined by an otolaryngologist. Age, height, weight, a hearing screening, and information on music classes and/or private music lessons were obtained. The speaking fundamental frequency measure was obtained by having each subject speak for 30 seconds on a subject of choice and read a passage of approximately 100 syllables. The vocal range measure was obtained by having each subject begin at an arbitrary pitch and sing mah and moo up the scale as high as possible and mah and moo down the scale as low as possible. These four measures were repeated with the researcher giving visual gestures. For singing-voice quality, each subject sang "America" in the key of her choice and again in the key of F major. Each subjects singing voice was rated according to breathiness. Data regarding self-perceptions of the singing and speaking voice were obtained through a rating assessment of 10 questions and a conversation with each subject. There were no significant differences between the means of the pre-meanarcheal and post-menarcheal girls on speaking fundamental frequency, physiological vocal range, and singing-voice quality. But, more of the post-menarcheal girls exhibited lower speaking pitches, lower singing ranges, and increased breathiness in their singing voices than did the pre-menarcheal girls. Two questions of the perceptions rating assessment were significant, with the post-menarcheal girls citing higher incidences of vocal inconsistencies than the pre-menarcheal girls. The findings of the qualitative data analysis indicated that more post-menarcheal girls had an adequate vocabulary to describe various aspects of their singing and speaking voices than did the pre-menarcheal girls.

The voice is the only natural and, when properly trained, also the most perfect instrument. Any other instrument, be it string, wind or percussion, is a separate entity, an object devised by man, and over the years altered, improved and perfected. None of those, from primitive pipes to the most intricate electronic apparatus can produce a single sound without human aid. It needs someone to play it manually and/or orally. Intro., p. 1.

Disfonia é a principal sequela cirúrgica do paciente submetido à laringectomia parcial vertical (LPV) com presença de ruído glótico intenso o que dificulta a análise acústica convencional. Por esse motivo a análise não linear (ANL), teoria dinâmica de sistemas não lineares aplicada a séries temporais não lineares, tem sido recentemente adotada como uma nova abordagem para avaliação acústica vocal. Objetivo: aplicar a ANL por meio da escala L-IE na análise acústica da voz de pacientes submetidos à LPV. Método: foram analisadas 31 vozes de pacientes submetidos à LPV, denominado de grupo de pacientes (GP) e 31 vozes de indivíduos sem alteração vocal ou laríngea, denominado grupo controle (GC). Os gráficos bidimensionais gerados a partir dos sinais de voz foram avaliados com base na técnica dos padrões visuais da dinâmica vocal (PVDV), por meio da escala de classificação L-IE para os três parâmetros: número de laços (L), irregularidade (I) e espaçamento (E). Para a correlação dos dados da ANL com a avaliação perceptivo-auditiva da voz, as vozes do GP foram avaliadas por meio da escala GRBAS. Resultados: houve correlação significativa (p<0,05) entre os três parâmetros da escala L-IE para a análise total da amostra GP e GC. Os resultados da escala L-IE para a maioria do pacientes do GP se caracterizaram por: número de laços zero; irregularidade e espaçamento dos traçados, ambos com grau 6. O GP teve a maioria de suas vozes avaliadas com grau 3 de disfonia na escala GRBAS. Houve correlação estatisticamente significante (p<0,05) entre a escala L-IE e a GRBAS nos seguintes parâmetros: o \"L\" com o grau global da disfonia (G) e com soprosidade (B) e o \"I\" com a soprosidade (B). Conclusão: o método da ANL por meio da escala L-IE, se mostrou eficiente na avaliação das vozes de pacientes submetidos a LPV. / Dysphonia is the main surgical sequel in patients who underwent vertical partial laryngectomy (VPL) with the presence of intense glottal noise which makes more difficult conventional acoustic analysis. Therefore the nonlinear analysis, dynamic theory of nonlinear systems applied to nonlinear time series, has recently been adopted as a new approach to acoustic analysis of voice. Objective: apply to ANL by L- IS scale on acoustic voice analysis of patients underwent VPL. Method: 31 voices of patients underwent VPL called patient group (PG) and 31 voices of individuals without vocal or laryngeal disorder were analyzed called control group (CG). Two-dimensional graphs generated from the voice signals the both groups were evaluated based on the technique of VDVP through the rating scale L-IS for the three parameters: number of loops (L), irregularity (I) and spacing (S). For the correlation of data from nonlinear analysis with the perceptual evaluation, the voices of the PG were evaluated by GRBAS scale. Results: significant correlation (p <0.05) between the three parameters of the L-IS scale for the total sample analysis PG and CG. The results of the L-IS scale for the majority of PG patients were characterized by: zero for number of loops; 6 degree for both irregularity and spacing of the traces. The PG had most of their voices evaluated with 3 degree of dysphonia in GRBAS. There was a statistically significant correlation (p<0.05) between L-IS and GRBAS parameters: \"L\" with the overall grade of dysphonia (G) and breathiness (B) and \"I\" with breathiness (B). Conclusion: the method of ANL by L-IS scale, is efficient for evaluating the voices of patients underwent VPL.

Syftet med föreliggande arbete var att utforska tre sångares upplevelser av röstmetoden The Voice Work. Forskningsfrågan lyder: Hur uppfattar de intervjuade sångarna röstmetoden The Voice Work? Studien genomfördes genom kvalitativa intervjuer under hösten 2019 i en hermeneutisk analys, och diskuteras mot en bakgrund av samtida erfarenhetsbaserade röstmetoder samt röstforskning inom populärmusikaliska genrer. Resultatet presenteras i tre kapitel: Strävan efter autenticitet, Kropp och psyke – en helhet samt Utveckling. De intervjuade sångarna erfar The Voice Work som en metod med syfte att nå autenticitet i röstbruket. The Voice Work tillhandager ett accepterande förhållningssätt till den egna rösten enligt de intervjuade sångarna. Resultatet visar också att The Voice Work ger en upplevelse av rösten och psyket som en helhet, att röstklangen och intonationen styrs till mindre grad, de upplever sig inte förställa rösten. De intervjuade sångarna berättar även om upplevelser av friare röst, inre närvaro, självinsikter och hur arbetet påverkat dem känslomässigt. Igenom den andningsuppvärmning och det ljudande som sker i The Voice Work tränar de intervjuade sångarna att försöka förhålla sig icke-dömande till sig själv och sin kropp, de upplever en avspänning i röst och andning samt att de sjunger mer skonsamt vilket de använder i sin övning. Den intervjuade sångaren Lisa använder metoden även vid framträdanden för att minska resultatfokus. De intervjuade sångarna menar också att andningsuppvärmningen fått dem att hitta ett mentalt fokus, något som de menar de saknat verktyg för inom andra röstmetoder. / The purpose of this study was to explore the experiences of three singers within the voice method The Voice Work. The study was conducted through qualitative interviews in the fall of 2019 through hermeneutic analysis and is discussed against a background of contemporary experience-based voice methods as well as voice research in popular musical genres. The result is presented in three chapters: The quest for authenticity, Body and psyche - a whole and Development. The interviewed singers perceive The Voice Work as a method with the aim of achieving authenticity in using the voice. The interviewed singers experience an accepting attitude to their voice. The Voice Work gives the interviewed singers an experience of the voice and the psychic being as a whole. The sound of voice and intonation is controlled to a lesser extent, helping them not dissembling the voice. The interviewed singers talk about experiences of a freer voice, inner presence, self-insights and how the work affected them emotionally. Through the breathing exercise and sounding that occurs in The Voice Work, the interviewed singers train to try to relate non-judgmentally to themselves and their body, they experience a relaxation in voice and breathing and that they sing more gently which they use in their vocal training. Interviewed singer Lisa uses the method in performances to reduce the focus on results. The interviewed singers also believe that the breathing exercise caused them to find a mental focus, which they lacked tools for in other voice methods.

A significant part of an actor’s craft is creating and presenting characters with substantial credibility in order to stimulate a belief in the character from the point of view of an audience member (McGaw 1975; McGaw et al. 2011). To do this the actor relies on and utilizes his body, voice, imagination, experiences and so forth, for the creation of such characters (Zarrilli 1995; Benedetti 1998:5; Zarrilli 2002). This makes body and voice training within any actor training program pivotal. As an entry-level voice teacher in the tertiary situation I was confronted with a complex profile of the group of students to be taught. This profile influences or even determines the outcomes of the teaching opportunity. Gender differences were one of the most eminent markers of this complexity. For this project I decided to research the male voice as it possibly requires specific approaches to assist with the attainment of vocal ability. This study is concerned with the unique precepts of the male student actor in order to gain greater understanding of both the male physiological and anatomical construct, as well as the socio-cultural concept of ‘maleness’ as it refers to voice. Voice, in a cultural and societal paradigm, is subject to and as such influenced or shaped by social identity (Karpf 2006: 121). The actor’s socio-cultural paradigm potentially limits the vocal function and expression of the male voice in performance. This study draws on prior research when documenting unique and substantial structural differences typical of the male voice. It asks the question: What are the attributes that feed into the male student actor’s voice that have to be taken into account by the theatre voice teacher when viewed through anatomical, physiological and socio-cultural lenses? In order to answer the investigative question chapter two of this study consults scholarly materials concerning the various anatomical and physiological attributes of voice production (that is, its functional aspects) with specific reference to the male voice. It is argued that this can be seen as a description of voice production as object. Chapter three concerns itself with the impact of various socio-cultural influences on the voice with specific reference to the male voice. In this sense, the potentially subjective and image-defining concerns of the male voice that might impinge on vocal explorations are considered. Chapter four provides example explorations that may be used in a theatre voice class to indicate how the knowledge gained in chapters two and three will influence the facilitation of these explorations. It argues that it is an in-depth knowledge of voice, where voice materialises simultaneously both as object and as subject, that prepares the entry-level voice teacher to facilitate the development of the male student actor’s voice in a holistic manner. This dissertation concludes that, within the theatre voice training class, it is imperative that the voice teacher acknowledges and respects the sex-gender conflation of the male student actor and encourages him to explore and build a ‘voice’ that is capable of optimal expression in lieu its functional capabilities. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Drama / MA / Unrestricted

No description available.

Good vocal health is a vital concern for those people who use the voice in a professional capacity, such as teachers, singers, actors, clergymen, and lawyers. Research in the area of vocal health reveals the need to determine if specific exercises are beneficial to the voice and if exercises used to train the singing voice might be beneficial to alleviate pathological and/or dysfunctional voice disorders. The purpose of this study was to describe the response of a variety of pathological voices to a selected set of singing exercises. Subjects were selected from the private practice of cooperating physicians who felt that the vocal instruction and exercise program might be helpful to the teachers, students, professional "pop" singers, and housewife-singers who were diagnosed to have muscle tension dysphonia, nodules, recurrent laryngeal nerve paralysis, or iatrogenic dysphonia. Instrumentation for assessing conditions before, during, and after exercise included a brief case history, subject interviews, attending physicians' medical charts, flexible fiberoptic video nasolaryngoscopy, video cassette recorder and video tape segments, three physician/observers, and a specific diagnostic procedure which provided a method of assessing organic, functional, and perceptual variables. For the exercise program the researcher chose seven vocalises from the routine designed by Allan R. Lindquest, whose techniques combined those of the Italian school with those of Swedish studios which produced such singers as Flagstad and Bjoerling. The seven vocalises included a warm up "massage" and exercises for separation and blending of the registers, vowel clarity and modification, tone focus, vocal attack, and flexibility. Since all the subjects showed improvement after exercise in the vocal conditions observed in this study, these vocalises and technique may be helpful to alleviate pathological conditions and/or dysfunctional behavior in other subjects. The researcher further suggests that the voice profession investigate the efficiency of other techniques, exercises, and musical vocalises which might bring about positive changes in vocal conditions and behavior.

No description available.

<p>Predmet doktorske disertacije je utvrđivanje stanja glasa budućih eltinih vokalnih profesionalaca (studenata glume), upoređivanje sa stanjem glasa studenata nevokalnih<br />zanimanja, utvrđivanje metodičkih postupaka za razvoj glasa, kao i utvrđivanje uticaja glasovnih vežbi primenom &quot;WIC&quot; tehnike na stanje glasa kod ispitanika kojima je potvrđen vokalni poremećaj.</p> / <p>This PhD thesis aims to establish the state of voice in future elite vocal professionals (drama students), to compare it with the state of voice in students of non-vocal professions, to determine the methodic procedures for the voice development, as well as to ascertain the effects of vocal exercises by application of &ldquo;WIC&rdquo; technique on the state of voice in respondents who were found to suffer from the vocal disorder.</p>

Teachers frequently present with voice problems as result of functional voice hyperfunction and it seems that occupational duties often impede successful implementation of a conventional voice conservation strategies. The goal of this single-subject study was to investigate the practical value of personal voice amplification as an assistive option for teachers experiencing occupation-related voice problems The physical state of a teacher’s vocal chords and specific perceptual and acoustic attributes of her voice were evaluated before and after a period of conventional voice conservation, and also before and after a period during which personal voice amplification was used as an augmentative strategy. In the course of the study it was in the interest of the subject that a persistent vocal fold nodule be removed surgically. The research design was adapted accordingly and the study consequently included a pre- and post surgical phase. Physical examinations of the vocal cords reflected the positive effect of the surgical removal of a vocal fold nodule. An improvement in the general status of the vocal cords was also noted following periods during which personal voice amplification was used in combination with a conventional voice conservation strategy. Perceptual and acoustic analysis of voice quality confirmed the positive effect of the surgical intervention. Although a panel of judges did not detect an improvement in the subject’s voice quality following the assistive use of the personal amplifier, several acoustic voice parameters showed improvement or normalised after the use of personal voice amplification in combination with conventional voice conservation strategies. The subject’s repeated evaluation of her own voice experiences, as well as her view of the practicability of the two voice conservation strategies, revealed a remarkably positive attitude towards the augmentative use of personal voice amplification. The conclusion is that teachers who experience occupational voice problems could benefit from the use of personal voice amplification in combination with a conventional voice conservation strategy. / Dissertation (M (Communication Pathology))--University of Pretoria, 2006. / Speech-Language Pathology and Audiology / Unrestricted