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Richard Lissemore 499 Fort Washington Avenue #4F New York, NY 10033 [email protected] 917.969.0506

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Richard Lissemore 499 Fort Washington Avenue #4F New York, NY 10033 Rlissemore@Gradcenter.Cuny.Edu 917.969.0506 Richard Lissemore 499 Fort Washington Avenue #4F New York, NY 10033 [email protected] 917.969.0506 December 1, 2018 To the Van Lawrence Fellowship Committee, I am delighted to submit my materials for consideration for the Van Lawrence Fellowship. As a member of NATS (New York chapter) for 25 years, I have had a successful private and academic voice teaching career in New York City since 1993. Since my undergraduate days as a Microbiology major, I have always had a deep interest in science, and later in particular, in voice science. My introduction to Dr. Donald Gray Miller then led to a serious interest in his VoceVista voice feedback system and I began to experiment with acoustic and physiological feedback for singers in my private voice studio. This led to a desire for even more intense study, and in September of 2013, I matriculated as a full-time Ph.D. student in the Speech-Language-Hearing Sciences Program at The City University of New York (CUNY). Since that time, I have completed all required course work, a pre-dissertation research project, a comprehensive oral exam, and the dissertation experiment. During this time of advanced academic study and research, I have continued to teach privately on a part-time basis and have been employing my research results in my day-to-day teaching. Having earned a Master of Philosophy (M. Phil. Degree) in Speech-Language-Hearing Sciences, I am presently a doctoral candidate and am in the final process of analyzing experimental data, modeling statistics, and writing the dissertation document. My committee consists of Douglas Whalen, Ph.D. (CUNY, Haskins Laboratories, and Yale University), Mira Goral, Ph.D. (CUNY), Christine Shadle, Ph.D. (Haskins Laboratories), and Ronald Scherer, Ph.D. (Bowling Green State University). The expected date of dissertation defense is April of 2019. My dissertation research, an acoustic and articulatory examination of the second passaggio (transition from D5♮ to F5♮) in professional sopranos, involves spectrographic analysis, quantitative acoustics, and head-corrected (via optical tracking) ultrasound of the tongue. Both acoustic quantification and head-corrected tongue contours have heretofore not been employed in scientific examinations of the human singing voice, though both have been used in speech studies. Pilot work with a single participant revealed a measurable acoustic event, the amplitude difference between the first two harmonics (fo and 2fo), that quantifies the acoustic change perceived in the soprano passaggio on an /a/ vowel. This measure, known as A1-A2, changed from negative to positive values at a pivot point between E5♭ and E5♮ on three trials at three different sound levels (normal, soft, and loud). When the same singer deliberately did not make the acoustic change, resulting in a harsh and unpleasant vocal quality, the A1-A2 values did not make the change from negative to positive. The ability of the singer to successfully change A1-A2 values from negative to positive suggests empirical evidence for a quantitative difference between techniqued and un-techniqued singing in this area of the voice. Additional analysis of the vibrato cycle revealed that the acoustic change from negative to positive values of A1-A2 occurred earlier (between D5♮ and E5♭) at vibrato maxima and later at vibrato minima (E5♮ and F5♮), perhaps offering an explanation as to why singers and singing teachers perceive the change as happening over an area of notes instead of at a pivot point. These acoustic data and results were presented at The Voice Foundation’s 2018 Symposium and will soon be submitted for publication in The Journal of Voice. Pilot articulatory data with the same participant showed clear differences in head-corrected lingual contours from C5♮ to G5♮. In particular, singing examples that exhibited the change from negative to positive values of A1-A2 (techniqued singing) revealed contours with a higher posterior arch, lower apex, and advanced tongue root at post-transition musical notes (F5♮, G5♭, and G5♮) when compared to pre-transition notes (C5♮, D5♭, and D5♮). Singing examples that did not exhibit the change from negative Lissemore Van Lawrence Fellowship Application 1 to positive values of A1-A2 (un-techniqued singing) revealed tongue contours that were relatively similar throughout 8-note chromatic scale. In short, techniqued singing exhibited a measurable acoustic change that could be correlated with clear articulatory changes in the tongue position. The pilot work with a single soprano was subsequently expanded to two other sopranos, one who successfully made the change from negative to positive values of A1-A2 (a professional classical soprano) and one who did not (a beginning musical theater soprano). The acoustic and articulatory data of these other participants was analyzed and presented as an oral paper at the Acoustical Society of America’s meeting in Minnesota in May 2018 and is being prepared for publication in The Journal of the Acoustical Society of America. Results showed a similar pattern of tongue contour changes associated with the acoustic change from negative to positive values of A1-A2 in the techniqued singer of the earlier study. Additionally, the inexperienced musical theater soprano did not make the acoustic change from negative to positive values of A1-A2, and as hypothesized, her corrected tongue contours did not exhibit the higher posterior arch, lower apex, and advanced tongue root that was observed in the techniqued classical sopranos. The dissertation experiment takes this work even farther by extending it to a larger group of sopranos (who make the A1-A2 acoustic change) from New York City’s best regarded classical conservatories and compares them to a group of musical theater singers (who do not make the A1-A2 acoustic change). All participants were pre-screened and separated into two groups based on the ability or inability to make the A1-A2 acoustic change in the passaggio region. The study thus investigated the role that lingual, lip, and jaw articulation play in the ability to successfully negotiate the second passaggio region in a large number of singers with the hope of making inferential conclusions for the general population. Much of this research work is now beginning to translate into my own private teaching studio. In particular, knowledge of the interplay between the articulation and acoustics of singers has caused me to rethink how singing teachers might better train sopranos to successfully negotiate the second passaggio, especially on the /a/ vowel, which is often most challenging. Knowing that the tongue may exhibit a posterior arch through the passaggio region has led me to develop a series of vocal exercises that now include the use of velar consonants and varying vowel shapes to assist in creating a favorable, complex tongue shape for successful resonance negotiation in this area of the voice. Additionally, it appears that top down exercises, which are regularly employed by singing teachers to favor a lighter laryngeal mechanism, may also assist by setting up the articulatory position of the resonator for post-passaggio notes. Further translational research on the acoustic and articulatory activity of soprano singing in the second passaggio region would be necessary to explore the practical efficacy of this work in voice training. VoceVista, the voice feedback program with which I am intimately familiar, might just allow this sort of translational research in the articulatory/acoustic realm to begin in the voice teaching studio. The acoustic analysis features of VoceVista are equipped to clearly show the ability of the singer to make the acoustic change, or not, and the electroglottographic (EGG) component allows for an examination of the vocal fold contact quotient (CQ), which can be informative. The most recent version of the program, known as VoceVistaVideo, allows for concurrent video of the student singing during both acoustic and EGG analysis. But there is no mechanism in the VoceVistaVideo system for analysis of articulatory behavior, in particular regarding tongue position. If we could devise a method for ultrasonic analysis of the tongue concurrent with EGG and acoustic analysis, we could potentially conduct practical, translational research of the intersection between articulation and acoustics of singers in the voice studio. After all, serious scientific research of the singing voice is likely to have little currency with singing teachers if there is no connection made between important research results and practical voice teaching methodologies. If I were fortunate to be awarded the Van Lawrence Fellowship, my proposed project would be to work with the designers of VoceVistaVideo and an ultrasound probe engineer to devise an affordable, hand-held ultrasound probe that could be employed using the video input of the VoceVista system. This would allow singing teachers throughout the world to demonstrate the interplay between articulation and acoustics in the voice studio. At the annual Singing Voice Science Workshop, where I serve as director, we have been able to show both acoustic analysis (through VoceVista) and tongue articulatory activity Lissemore Van Lawrence Fellowship Application 2 using a separate ultrasound system. Employing two different projection screens, we showed the interplay between acoustics and tongue activity in real time, to the fascination and delight of the workshop participants. But the higher goal would be the ability to concurrently analyze the voice acoustics and the ultrasound tongue activity within the VoceVistaVideo system. Once this is accomplished, hand-held ultrasound probes could be merchandised with the VoceVistaVideo system thus allowing singing teachers to visually demonstrate this interaction between articulation and acoustics of the singing voice. Both Don Miller and Bodo Maas are very interested in and excited by this prospect, and contact has been made with an experienced ultrasound engineer. At present, hand-held probes cost about $1200, an amount that is likely too high for the budget of the average singing teacher or even a university voice department.
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