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Singers and Teachers Aware of the Best Way to Address Such Injuries—Via a Group of Experts Who Collaboratively Diagnose and Treat Singers

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Singers and Teachers Aware of the Best Way to Address Such Injuries—Via a Group of Experts Who Collaboratively Diagnose and Treat Singers The Singer’s Library A Hybrid Profession: Singing Voice Rehabilitation Specialist BY BRIAN MANTERNACH In her new book, author Leda Scearce strives to remove the stigma surrounding vocal injuries and make singers and teachers aware of the best way to address such injuries—via a group of experts who collaboratively diagnose and treat singers. ingers are accustomed to and collaboratively treat singers used early on to describe singing working in a one-on-one to ensure a complete and efficient teachers who had additional, capacity in the voice studio, path toward recovery. sometimes informal, training in Sreceiving the majority of their In our Q&A below, author vocal health/voice disorders. Dr. vocal direction from a single Leda Scearce discusses her Robert T. Sataloff was one of the teacher. As the primary source of new book, Manual of Singing first to use this designation and instruction for vocal technique, Voice Rehabilitation: A Practical one of the first to train and employ voice teachers are often called Approach to Vocal Health and a singing teacher to work with upon for additional guidance in Wellness, which defines the injured singers in his practice. repertoire, diction, interpretation, responsibilities of each member However, to date, no formal audition preparation, and even of the voice care team and process has been established recommendations for concert specifically outlines all that is by any relevant organization or attire. Teachers with training and required of the singing voice institution for determining the experience in these areas may feel rehabilitation specialist. criteria for this designation. comfortable providing this advice. There is currently no oversight Other teachers, however, may feel As the title implies, the book as to the use of this title, and it less than competent in one or is written primarily for those has been applied to those with more of these areas. interested in singing voice widely varying backgrounds and Singing voice rehabilitation rehabilitation. I have most experience, from speech-language often follows a different model. often heard these professionals pathologists with advanced When singers develop a voice referred to as “singing degrees in voice pedagogy to injury, rather than working under voice specialists” (SVS), but voice teachers who work in a the sole instruction of one expert, throughout the book you use the clinical context to voice teachers a voice care team made up of a term “singing voice rehabilitation who have undergone training laryngologist, a speech-language specialists.” Why the change? in supplementary vocal health pathologist, a singing voice My intention was not so much programs to people who simply rehabilitation specialist, and to change as to clarify. The term self-designate the title. potentially others will diagnose “singing voice specialist” was 42 Classical Singer / Summer 2017 I’ve also heard the argument that “anyone who sings/teaches Book Review singing is a ‘singing voice Author Leda Scearce is clear from the specialist.’” I wanted to be clear beginning that Manual of Singing Voice that the focus of this book is to Rehabilitation is not an introductory book. She address working with singers to assumes that most readers will already have help them recover function that a broad knowledge of voice science, voice has been lost as a result of a voice disorders, and voice pedagogy—and yet she disorder. It’s an exciting time to be also believes the information will be of value part of this emerging profession to anyone seeking greater knowledge about and, as we move forward, optimal singing health, including music educators, titles and training will likely evolve music therapists, conductors, vocal coaches, through collaboration of various worship leaders, and music directors. voice disciplines. The book is divided into five parts. The first, Setting the Stage, provides overviews of When dealing with singers voice disorders and vocal hygiene and explains the multidisciplinary who have encountered vocal approach to voice care for singers that necessitates the “hybrid” pathology or vocal injury, you profession of the singing voice rehabilitation specialist. advocate a team approach in the Part II, Emotional Factors, explains the psychological impact a chapter called “It Takes a Team: voice injury may have on singers. It warns against the “blame game” Multidisciplinary Voice Care for implied by the use of phrases like “vocal abuse,” which are contrary the Singer.” The voice care team to the empathy that should permeate voice rehabilitation. can include a laryngologist, a The chapters in part III, Vocal Coordination and Conditioning, speech-language pathologist, discuss shaping the voice and designing vocal exercises for a singing voice rehabilitation rehabilitation. They also make distinctions on how considerations change for classical singers versus contemporary commercial music specialist, and the singer’s voice (CCM) singers or for singers in need of speaking voice therapy. teacher. Why is it best to have Part IV is an in-depth analysis of vocal pacing, encouraging so many people involved? Does patients to use journaling and prioritizing to guide daily vocal use. The voice rehabilitation ever run chapters include case studies as well as guidelines for vocal pacing into the “too many cooks in the that are specific to classical singers, CCM singers, voice teachers, kitchen” phenomenon? and choral singers, among others. You left out gastroenterologist, Lastly, part V, More Tools for the Toolbox, covers the aging voice, use pulmonologist, neurologist, of sound equipment, finding useful apps, and the importance of vocal psychiatrist, physical therapist health education. it seems overwhelming, A thorough resource on a variety of topics, Manual of Singing Voice doesn’t it? It may not be necessary Rehabilitation is eminently useful. In outlining her approach, Scearce to include all the professionals never allows readers to forget the person behind each injured voice. listed in your question in the In so doing, the patience and compassion that she advocates rehabilitation process; often, the throughout the book—and her constant focus on treatment plans singer will only require the services that are both personalized and achievable—are qualities worth of a laryngologist and a speech- emulating in the voice studio. —Brian Manternach language pathologist who is also an accomplished singer and voice habits), optimizing vocal hygiene, counseling, and guidance in teacher, if that combination of improving vocal pacing (how much applying principles of optimal skills is available. and how intensely one uses the vocal coordination into real-life What makes caring for the singer voice and in what situations), and performance situations. with a voice injury complex is that training to improve the efficiency No single provider will have the voice problems are almost always of the speaking voice. For singers, education, training, experience, multifactorial. Depending on the the treatment plan becomes and qualifications to address diagnosis and severity of the voice even more complex, as their all of these factors thoroughly, problem, the treatment plan may rehabilitation will likely also include effectively, and efficiently and include surgical management, therapy that directly addresses as a result, optimal recovery medications, lifestyle adjustments the singing voice, including usually involves more than one (like changes in diet and sleep targeted rehabilitation exercises, professional. I think the “too www.classicalsinger.com 43 The Singer's Library: A Hybrid Profession many cooks” phenomenon can efficiency, and ensures that and successful recovery, it’s be avoided if all the members of clinical and pedagogical factors also scientifically inaccurate, as the team work collaboratively and are appropriately considered and research shows that many singers within the parameters of their addressed. who are functioning at the peak of expertise. performance don’t have “perfect”- A voice teacher recently said to Is it still a prevalent thought looking vocal folds. This stigma is me, “If I see one more presentation that vocal injury comes just as a particularly notable in the classical about ‘It Takes a Team’ I’m going result of bad technique or vocal singing realm and is so powerful to scream! What am I supposed “abuse”? Do you encounter and pervasive that many singers to do if my students don’t have singers and voice teachers who hide their injuries, use pseudonyms insurance and can’t see a doctor feel there is a stigma associated when seeking medical care, and or voice therapist?” She went on with having a vocal injury, that never reveal the voice problem to to opine that in this situation, the it somehow means a singer is the public, thus perpetuating the voice teacher should just be able “broken” beyond repair? idea that “good singers don’t get to manage the problem. While I Please excuse me for a moment voice injuries.” The stigma may understand her frustration and while I climb on my soapbox: this also make singers reluctant to seek share her lament relative to the is a very important topic that I help when they are having voice limitations of our healthcare feel passionately about and that I problems. system, to me this is a dangerous address at length in the book. attitude. It is never a good idea I do encounter this concept of In her foreword, Margaret Baroody to just keep plowing on without a “vocal abuse” and the perception emphasizes the need to treat diagnosis. I once saw a singer in you describe frequently, not the whole person in order to clinic who presented with classic only among voice teachers but successfully treat the voice of the symptoms of benign voice injury also among speech-language injured singer, and throughout and before examining her, I had her pathologists and medical doctors. the book you stress the need pegged for nodules or polyps. It The concept of “abuse” is not found for a compassionate attitude turned out that she had an unusual in any other area of performing toward the injured singer during presentation of vocal fold cancer— arts, in the world of athletics, or the rehabilitation process.
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