VOLUME 22, ISSUE 4 The Voice T h e V o i c e VOICE OF THE EDITOR Kim Steinhauer, PhD

IS IT RESONANCE OR VOICE QUALITY? IN THIS ISSUE:

THE VOICE OF 1 BY KIMBERLY STEINHAUER, PHD T H E E D I T O R

B Y E D I T O R Resonance or Voice thoughtful about my choice KIM STEINHAUER PHD Quality, that is the ques- of the term. So, I went to the

VOICE QUALITY 2 , 3 , 4 tion…that I asked of our source and asked Ron Scherer VS RESONANCE expert contributors. “How do to represent the Scientists,

you use these terms in your Elizabeth Benson to repre- BY RONALD C. SCHERER, PHD field?” “Do you interchange sent the Teachers, and

TERMS OF USE: 5, 6 these terms lightly?” “Do Michelle Horman to represent RESONANCE AND you define these terms differ- the Clinicians. The Voice VOICE QUALITY ently when talking to differ- Foundation provides us with BY MICHELLE ent populations?” “Do you a special forum to engage KIM STEINHAUER, PHD HORMAN, CCC - S L P , S V S provide singing or treatment conversation gathered from RESONANCE AND 7, 8 exercises that address reso- multiple disciplines. You will President VOICE QUALITY IN M U S I C A L nance and/or voice quality?” appreciate the candid com- Estill Voice International T H E A T E R TRAINING The inspiration for this issue ments from our authors as

arose during a Voice Founda- they share their thoughts on BY ELIZABETH voice exercises. Tools for ANN BENSON, tion presentation when Dr. the topic of Resonance and D M A your Voice Box will feature a Ronald Scherer quietly com- Voice Quality. voice exercise for the studio T O O L S F O R Y O U R 9 mented to me in the back V O I C E B O X : or clinic. We’re fortunate to GLISSANDO(I) row, “Does she mean voice Also, thanks to the keen present Dan Ihasz as our BY DANIEL IHASZ, quality or resonance?” Bril- urging of Maria Russo, we are MM first contributor. liant! As careful as I try to be proud to announce a new V O I C E S O F 10 SUMMER GALA (or not to be…), I admit that column inspired by our past 2 0 1 8 H I N T S I’m not always specific or issues highlighting favorite NATS — T H E V O I C E 11 FOUNDATION WEBINAR

46TH ANNUAL 12 SYMPOSIUM INFO

Voice of the Editor CONTACT 13 T H E V O I C E Page 2

VOICE QUALITY VS RES ONANCE

BY RONALD C. SCHERER, PHD

This informal essay is an approach “Resonance” strictly speaking refers (actually, an appeal) for differenti- to the transfer function that defines ating “resonance” from “voice qual- the acoustic structure belonging to ity” with a scientific bent and an the vocal tract where resonance cen- interdisciplinary concern. ter frequencies (in Hz), resonance bandwidths (in Hz), and relative intensities (resonance peaks in dB) First, there is a rather obvious and are important, as well as the be- typical scientific differentiation – tween-the-peaks acoustic structure “voice quality” is a perceptual or (that is, how deep the valleys are, psychophysical notion, and including any relatively large dips “resonance” is an objective descrip- due to acoustic shunts such as the tion of airway acoustic structure. nose and the piriform sinuses). The word “quality” in “voice quali- ty” suggests a whole- istic auditory- What about the phrase interpretive orientation The “voice quality?” Obvi- RONALD C. SCHERER PHD to a sound we hear, sep- ously, this is supposed to arate from the pitch Voice refer to the perceptual and loudness. It should quality that we hear that

be noted that many like is related to the “voice.” of the But now what about this to link modulation as- Distinguished Research Professor word “voice?” Should it pects such as vibrato Dept. of Communication Sciences into the word, but what Scientist really refer to the sound and Disorders we need to do is to split (any sound) that comes Bowling Green State University “quality” into static out of the mouth? This is features and gross dynamic fea- the first dictionary definition of tures, or have a separate term for “voice” among many (my diction- the dynamic perceptual features ary gives 27). Look around in our themselves. I am sure people are literature and web sites – “voice” working on that. very often refers to any phonated sounds that are produced and we

(Continued on page 3)

“THE IDEA THAT THE SO URCE OF SOUND AND THE FILTERING OF THAT SOUND ARE SEPARATE AND INDEPENDENT IS APPROPRIATE FOR A BASIC AND USEFUL UNDERSTANDING, SINCE FOR PRIMARY PROBLEMS OF PHONATION AND RESONANCE THAT IS THE CASE, FOR ALL VOICE PROFESSIONS. ” VOLUME 22, ISSUE 4 Page 3

(Continued from page 2) source will sound like a buzz if heard alone. That buzz is then modified by the vocal tract resona- hear. Is this what the word “voice” should stand tors (acting as the filter or the transfer function) for? Outside of ethnomusicology, is this what because of the complex shape and size of the vocal “voice” should be? For example, in singing and tract. The sound exits the mouth (and nose if na- theatre voice training, does “voice” have a broad salized) whereupon the “radiation characteris- definition? In the clinical setting, do the phrases tic” (a spectrum sloping up at about +6 dB per “voice therapy” and “vocal pathology” also refer octave) acts upon the sound, which then travels to to this broad orientation or is it more restricted? our ears for us to perceive. The sound quality that we hear therefore has two primary parts: 1. the

quality of the larynx source sound, and 2. the ef- Here is a logical suggestion for all disciplines that fect of the transfer function of the vocal tract on deal with helping others change or improve how that source sound. If someone says, “You sing they sound: Leave the “voice” part of “voice qual- [speak] with beautiful voice quality,” what that ity” specifically to the larynx and phonation, and person really means is that the singer sings reflect that in the phrases we use. “Voice” in this (speaker speaks) with a source (voice) and filter context then is associated with phonated sound (vocal tract) combination that leads the person to created at the laryngeal level. The spectrum asso- hear a very desirable esthetic of sound. In the ciated with the sound source at the larynx (which clinic, where diagnostic specificity is imperative, is due to the glottal flow signal, or for some the the distinction between source and filter is critical differentiated glottal flow*) goes into the vocal because of the necessity to locate the region of tract above the larynx. The laryngeal sound (Continued on page 4) T H E V O I C E Page 4

(Continued from page 3) The idea that the source of sound and the filter- ing of that sound are separate and independent deviance in the sound. Thus, MDs and SLPs is appropriate for a basic and useful understand- should consider saying that there is a sound ing, since for primary problems of phonation quality deviancy, and then indicate the nature and resonance that is the case, for all voice pro- of it, including whether it belongs to the larynx fessions. On a finer level of function, there in- (where voicing is produced) or to the vocal deed is an interdependence of the sound source tract (where voicing source modification takes and resonance structure of the vocal tract, place), or to both. where the vocal fold motion and the glottal flow can be affected by acoustic pressures at the glot-

tal level (affected in ways that can promote Why not extend the clinical diagnostic and in- voicing as well as destroy voicing), a topic for tervention notion about voice (associated with another essay. the larynx) into singing instruction and voice and speech training (being mindful, of course, that some practitioners do this already)? In summary, for the professions that help peo- Wouldn’t it be best to be more specific with the ple improve the way they produce speech and word “voice” so that it refers only to the laryn- singing, let’s consider isolating the word geal aspects of phonatory sound production, to “voice” to laryngeal phonatory matters, since a avoid confusion with the vocal tract and be con- resonance problem is a vocal tract problem sistent with the clinical world? If the teacher or and a phonation (voice) problem is a larynx coach says, “Your voice isn’t the same today,” problem. wouldn’t it be more helpful to pinpoint the problem and avoid confusion? Perhaps a better *The concept of the laryngeal sound source is choice is a diagnostic observation such as, more than just the volume velocity exiting the “You seem to be having a difficult time getting glottis, but in general is tied to air particle veloc- your resonance established (vocal tract),” or ities and associated density changes such that “You sound a little hoarse today (laryngeal = sound is created and propagated up the vocal voice)?” The phrase given above, “You sing tract at the speed of sound. The source of pho- (speak) with beautiful voice quality” could be nated sound is certainly not the moving vocal altered to “You sing [speak] so beautifully.” folds per se, but the changing velocities of the The phrase, “You have a very resonant voice,” air associated with the interaction of the would also be inaccurate since the voice itself is transglottal pressure and passive motion of the not resonant, but the vocal tract resonates vocal folds. when provided the voicing source.

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BY MICHELLE HORMAN, MS, CCC-SLP, SVS The longer I work with pa- don’t tend to begin therapy by tients, the more I strive to present discussing voice quality. Rather, simple ideas and easy exercises for I begin by explaining that when I reproducible results (although I listen to a patient’s speech or sing- suspect my patients might occa- ing, I am always assessing three sionally beg to differ). I try to use major elements I consider to be vocabulary based upon its useful- necessary to healthy voice pro- ness in identifying and maintaining duction. I describe these elements targeted changes in voice produc- as “airflow,” “space,” (to which I tion. With some trepidation, I ad- might refer in the beginning as mit that I value practicality and the more easily grasped “open function over strict adherence to throat” for my patients with no scientific validity when it comes to previous training), and communication with my patients. “placement/resonance.” Yes, I Unless a singer brings it up herself, admit it, I use placement and res- MICHELLE HORMAN I can honestly say that I never ut- onance somewhat interchangea- M S , C C C - S L P , S V S ter the word “formant” when dis- bly. If I’m working with a more

cussing resonance. Confession sophisticated voice user, I might Private Practitioner and in Association over. explain that we can use placement with Philadelphia ENT Associates, the practice of in speech to impact resonance, just The easiest way for me to illus- Robert T. Sataloff, as in singing. For my untrained trate my use of these terms is Karen Lyons, patients, I describe this element & Brian McKinnon through the example of my work as referring to where they sense with patients. Although they of- the voice “lives” - where they ten use qualitative descriptors to explain their vocal complaints, I (Continued on page 6)

“I try to use vocabulary based upon its usefulness in identifying and maintaining targeted changes in voice production.” VOLUME 22, ISSUE 4 Page 6

TERMS OF USE CONTINUED

T he Voice of the SLP & Singing Voice Specialist

al gains skill and we’ve moved (the term I use for raspy/noisy) (Continued from page 5) beyond “throat vs. mouth,” our versus breathy, - so that I can hear and feel its presence most placement work becomes more then teach them more about their strongly - grossly speaking, in truly about resonance in its diagnoses and the mechanical and the throat or in the mouth. I strict definition. technical factors that might be contributing to these different explain that maximizing reso- At the first session, I’ll in- qualities. It can be incredibly use- nance can be a way to increase troduce those three elements, ful to say that we are initially go- the presence of the voice with- but not necessarily discuss ing to choose to give up hyper- out having to pay for it at the “voice quality.” I’ll now try function and its associated hoarse- level of the vocal folds. Clini- some therapy probes, basing my ness and allow for a breathier cally, I often use the term choice upon what element of the quality to take pressure off the “placement” because it seems patient’s voice production I per- vocal fold edges, if even just for a to be a more concrete concept ceive as most problematic. If week or two. Being able to make a and it makes sense to my pa- the probe is successful in relax- simple choice like this from the tients as something they can ing the larynx, stimulating in- beginning of therapy often em- impact through physical ac- creased pharyngeal space, allow- powers the patient. In a brief pe- tions, e.g., “If I avoid retract- ing for more adequate airflow, riod of trial therapy, she has ing my tongue, my voice will and/or improving the learned some of the functional be placed more frontally” or “placement,” then I would implications of her diagnoses, the “If I lift my palate, my place- begin to help the patient identi- identification of various voice ment will be higher.” I find fy “voice quality” changes. A qualities, and the employment of this three-element classifica- gross example would be the dif- technical strategies to allow her to tion useful because this vocab- ference in quality when a pa- affect vocal change. This brings ulary can later be used with tient (possibly with hypofunc- me back to the original question – previously untrained voice tional vocal folds, or vocal fold how do I use the term “resonance” patients to give them a se- masses that impede full closure) versus “voice quality?” As the quence of physical actions: initially learns to unload Muscle therapist, I now assure the patient create space during in- Tension Dysphonia, possibly that we will be adding our third halation, begin airflow shifting from a strained, hoarse element, resonance, so she will quality to a breathy quality. I to onset the voice, and not be left with a breathy quality want to teach the patient to be of limited functionality. place the words via ar- able to identify and name these ticulation. As the individu- two divergent qualities - hoarse

VOLUME 22, ISSUE 4 Page 7

RESONANCE AND VOICE QUALITY IN MUSICAL THEATRE VOICE TRAINING

Elizabeth Ann Benson, DMA ing breath flow and decreasing vocal fold The study of resonance and voice closure, among other quality is unquestionably im- tactics. Brightness portant in training to sing classi- comes from shaping cal music, but I focus on these the vocal tract to concepts somewhat less so in increase harmonic training my voice students in the activity in the high- BFA Musical Theatre program er frequencies, which at Auburn University. In my can be achieved experience, two valuable prod- through vowel modi- ucts of resonance training are fication or aryepi- amplification and the ability to glottic (epilarynx) ELIZABETH ANN BENSON, DMA modify vocal timbre. However, shaping, among other tactics. the former is not crucial for mu- Developing a full expressive pal- sical theatre singing due to the ette requires a thorough under- Assistant Professor of Music Theatre pervasive use of microphones. standing of vocal function and Coordinator By contrast, having access to how to adjust specific elements many different voice qualities of vocal function. This takes a BFA Music Theatre Program Department of Theatre lies at the core of music theatre lot of time to master, but it is of Auburn University voice training. I prefer to use the vital importance for expressive word “timbre” or even the more- acting and storytelling. generalized term “sound,” but I use both terms interchangeably These days, the musical theatre with “voice quality.” industry repertoire has very lit- tle to do with Gilbert and Sulli- In musical theatre voice train- van, and quite a lot more to do The ing, vocal function is developed with popular and rock aesthetic, alongside and in service of act- the default sound is the ing. Singers learn to make “untrained” voice, wherein reso- Voice sounds which express very spe- nance is limited to that which is cific emotional states by select- present in everyday speech. This of the ing timbres associated with the speech-level resonance is suffi- particular emotional state. For cient in musical theatre due to Singing example, a singer could use the standard use of microphones. breathiness to express surprise, Singers barely phonating can Instructor or brightness to express despera- sound quite powerful aided by tion. I teach that different tim- highly sensitive head-mounted bres come from making con- condenser microphones coupled scious adjustments to specific with sophisticated sound sys- elements of vocal function. tems. With the standard eight Breathiness comes from increas- (Continued on page 8) T H E V O I C E Page 8

MODIFIED VOCAL FUNCT ION EXERCISES (CONTINUED)

(Continued from page 7) “project the voice,” students of- encourage them to use that tac- ten get louder by increasing sub- tic. They have to do whatever it show week, the musical theatre glottal air flow, resulting in fa- takes to increase the amplifica- industry requires a high level of tigued vocal folds. I help them to tion function of resonance, ra- vocal endurance. Singers pre- find a speaking sound that is nat- ther than forcing air to make the vent fatigue by minimizing the urally amplified (not forcefully sound louder. The goal is to in- level of vocal effort and leaning amplified, and certainly not pro- crease vocal efficiency, while de- on the support of the sound sys- jected) by changing the shape of creasing effort. tem. This means that musical the vocal tract. Boosting volume theatre singers can spend the through optimal shaping of the Although the terms “resonance” majority of their time singing in vocal tract is often less taxing and “voice quality” are often the medium to soft range and than boosting volume through used in the context of classical still achieve a satisfying range increased sub-glottal air pressure. singing, there are still elements of expression. Moving out of the default speech- of these concepts that are valua- position of the vocal tract and ble to me as I train my musical Occasionally, I encounter a stu- into an optimal shape may be theatre students. Enriching or dent experiencing fatigue from achieved through vowel modifica- coloring the sound is the most speaking their lines onstage too tion or sometimes through place- important element of resonance loudly, usually in a large space, ment. I use this term reluctantly for musical theatre students be- and without the help of a mi- because it is not functional cause it allows them to act ex- crophone. They may have been (sound cannot actually be placed pressively, through singing. guided by the old chestnut: in the mask or anywhere else); However, understanding how “project the voice.” This mis- however, if a student finds an the voice functions in order to leading phrase is the theatre optimal shape of the vocal tract access all possible timbres of the equivalent to “sing from the through imagining that the human experience will be a life’s diaphragm.” When asked to sound is placed in the mask, I will work. Glissando(i) Objectives: airflow consistency, laryngeal stability, register transition, lighter/heavier mechanism

BY DAN IHASZ, MM the crescendo or diminuendo. Finally, the student should This exercise is intended for all voice types and be made aware of the change should be initiated below the first register transi- in timbre that accompanies tion. the resonance change at the  Establish a tonal center, then first register transition. This is probably more significant  Have the student begin with an ascending glissando from the tonic note to the fifth scale de- for the male voices. The tim- gree. bral shift may sound deeper or darker in quality as com-  Once the fifth scale degree is reached, sustain pared to the speaking voice a brief fermata, during which there is a in the same range and may DANIEL IHASZ, MM “messa di voce”, followed by a descending be preceded by the feeling

glissando to return to the tonic note. that something must or Professor  Sing on the voiced consonant [v] while main- wants to change before re- State University of New York taining an [i] vowel inside the mouth. peating the pattern up an at Fredonia additional semitone.  After the initial pattern has been completed, repeat the pattern up one semitone at a time until surpassing the first register transition. Suggestions or guidance to elicit the desired result (Eventually, the basic exercise can be expand- must be specifically individualized for each stu- ed by adding a vowel to follow the [v]. For the dent by the instructor. Because the objectives of male voice follow the [v] with an [o] and for this simple exercise are multi-purposed, it should the female voice an [i]. Also, the interval can be presented in a layered approach, focusing on be expanded from a perfect fifth to an octave.) one element at a time. Avoid explaining or getting mired in all of the de- To begin, simply have the student do the exercise tail and strive to make the exercise more like a while listening and observing everything and es- game to keep things lighthearted and fun for the pecially the posture of the head, chin and position student. of the larynx to determine if it remains stable or tracks with the ascending or descending pitch. If the teacher utilizes visual feedback software like Corrective suggestions to avoid the typical track- Voce Vista, they should have the student monitor ing might include; asking the student to breathe both laryngeal stability and contact closed quo- in on an [a] vowel and maintain the sensation of tient (CQ) of the vocal folds using an electroglot- that moment between the inhalation and exhala- talgraph (EGG). After that element is observed tion, feel the stretch of tall vowels in the back of and adjusted their attention should be directed to the throat or to have the feeling of surprise and the shape of the ”EGG” signal at the mess di voce notice the sensation of the lift in the soft palate. If portion of the exercise to gain an awareness of sen- the larynx continues to move along with the pitch sation of the variability “CQ” when at the lighter/ it may be useful to have the student lightly touch softer dynamic and how it changes as the volume the tip of their larynx to increase awareness and increases to a heavier/louder dynamic and then train independence from pitch. returns to the lighter/softer dynamic. Utilize this Once conquered the student’s attention can be to confirm what the student feels and hears so directed to the sensation of the vibrations, vocal they can repeat it at will. This is confirmation weight, volume, breath flow, vibrancy during the that they have “learned” the purpose of the exer- messa di voce portion of the exercise to increase cise. awareness of what they experience when creating T H E V O I C E Page 10 Gala 2018 HINTS! NATS CHAT WEBINAR CO-SPONSORED BY THE VOICE FOUNDATION All are welcome. You don’t need to be a member.

DECEMBER CHAT

Register Here Date: Sunday, December 10, 2017 Time: 9:30 p.m. ET / 6:30 p.m. PT Guests/Topic: Emerald Lessley, DMA; Sandy Hirsch, MS, CCC-SLP, Liz Jackson Hearns, MM “Transgender Voices: What Voice Teachers Need to Know” Sponsored by Inside View Press Co-sponsored by The Voice Foundation

From the fields of both singing teachers and speech language pathology these three experienced women will share a wealth of knowledge when working with this specialized population.

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Date: Sunday, February 11, 2018 Time: 9:30 p.m. ET / 6:30 p.m. PT Guests/Topic: Laryngologist Al Merati, MD, and Met Opera singer Michaela Martens “Care of the Professional Voice” Sponsored by Inside View Press Co-sponsored by The Voice Foundation

Renowned laryngologist Al Merati, MD (University of Washington Otolaryngology Department) and Metropoli- tan Opera singer, Michaela Martens will join us for an informative discussion on how to care for the singing voice; when to make difficult decisions to cancel a performance; stigmas around voice injuries and much more on vocal health considerations for all singers. VOLUME 22, ISSUE 4 Page 12

VOICE FOUNDATION NEWS 47TH ANNUAL SYMPOSIUM: CARE OF THE PROFESSI ONAL VOICE CHAIRMAN, ROBERT T. SATALOFF M A Y 3 0 — JUNE 3, 2018 PHILADELPHIA PENNSYL VANIA

Wednesday, May 30 Saturday, June 2

Basic Science Tutorials Medical, SLP Session Presentation Coaching Panels Accent Reduction Coaching Vocal Master Class

Thursday, May 31

Science Sessions Sing Along with Quintana Awardee: Luc Mongeau, PhD Grant Uhle Keynote Speech

Friday, June 1 Special Session: Sunday, June 3 Nancy P. Solomon, PhD Medical Session

Young Laryngologists Study Group Panels Vocal Workshops Voice Pedagogy Session *Voices of Summer Gala* THE VOICE FOUNDATION BOARD OF DIRECTORS

CHAIRMAN DIRECTORS THE VOICE FOUNDATION THE VOICE FOUNDATION Robert Thayer Sataloff, MD, Martina Arroyo STAFF DMA, FACS Harolyn Blackwell Claudia Catania EXECUTIVE DIRECTOR, PRESIDENT Jennifer Creed THE VOICE FOUNDATION 219 N. Broad St. 10FL Stuart Orsher, MD Abdul-Latif Hamdan, MD Maria Russo, MM Philadelphia, PA 19107 Walt Hunter VICE-PRESIDENT Gwen S. Korovin, MD EXECUTIVE COORDINATOR (215) 735-7999 Michael S. Benninger, MD Justice Sandra Newman MANAGING EDITOR, Renata Scotto JOURNAL OF VOICE fax: (215) 762-5572 SECRETARY Michael Sheehan Katie Erikson, MM Mary Hawkshaw George Shirley voicefoundation.org Caren J. Sokolow [email protected] TREASURER AND Diana Soviero GENERAL COUNSEL [email protected] Brian P. Flaherty, Esq. [email protected]

ADVISORY BOARD CHAIRMAN [email protected] Michael M. Johns III, MD