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Home , Ingo Titze, Modal voice, Soprano, Vocal pedagogy, William Vennard

Research and Technology ASSOCIATE EDITOR:

Application of Vocal Fry to the Training of Singers

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John Nix Kate Emerich Ingo R. Titze

Vocal fry, also known as pulse reg- tenoid muscle have been observed in cites the writings of Johann Agricola ister or Strohbass, has been fry as compared to modal (chest) and Mann Mersenne on the practice recognized as having a very low fun- voice.6 Extrinsic to the , greater of using vocal fry to extend the low damental frequency,' where each flow velar closure and reduced nasality has range of and basses."' Later, pulse damps out nearly completely been observed in vocal fry as com- Stark notes that vocal fry is often heard before the next one commences! As pared to ,' and constriction in Russian choral . His discus- such, vocal fry can be distinguished of the laryngeal vestibule has been sion concludes with a brief descrip- from so-called "," which observed in vocal fry.' tion of some of the physiologic, aero- is found at higher frequencies and is Pedagogical opinions on vocal fry dynamic, and acoustic properties of characterized by a perception of vary widely. Some authors, such as fry." Barbara Doscher also takes a roughness and the presence of sub- Ralph Appleman and Meriheth Bunch, descriptive approach in her book, harmonics in the glottal waveform.3 make no mention of vocal fry, pulse detailing the characteristics of fly with- The vocal folds are shorter in length register, or creaky voice in their books; out making any recommendations for in fry than in modal production and other authors have commented on fry's its use. 12 Doscher was the teacher of have little significant change in length existence as a register without mak- one of the authors (Nix), and in his as frequency increases.' Subglottal ing any statements about its utility; observations of hundreds of lessons air pressure and transglottal air flow still others have advised positively or she neither used it in the studio nor are lower in fry than in modal pro- negatively on its use in . William advised for or against its use. duction.' Lower activity levels in the Leyerle wrote in Vocal Development Cornelius Reid is very outspoken interarytenoid, posterior cricoary- Through Organic Imagery: "This reg- in his rejection of not only vocal fry tenoid, and cricothyroid muscles, and ister is tight and crackly. It is not gen- as a phonatory mode but also the greater activity levels in the thyroary- erally a usable part of the 's terms used to describe this kind of range, but is useful for low basses.. . " vocalization. Journal of Singing, September/October 2005 He does not go on to state how it might Volume 62, No. 1, pp. 53-59 Copyright 2005 be used or trained. In : A Pulse register: a term introduced by sci- National Association of Teachers of Singing History of Vocal Pedagoq,y,James Stark entific investigators to refer to vocalized

SEPTEMBER/OCTOBER 2005 53 John Nix, Kate Emerich, and Ingo R. Titze

sounds with extremely low frequencies Vennard went on to say that "The cises. Riggs's book also contains a CD and pulse-like oscillations; a "vocal fry," glottal rattle, or fry requires a loose that demonstrates these exercises.2' "glottal fry," "creak," or Strohbass. , and is much more difficult to Riggs's concepts were successfully The concept of a "pulse register" is perform on either Ee or Oo than it is employed by Randy Buescher in a sin- without value to voice culture for the fol- gle-subject case study recently re- lowing reasons: 1. It is a designation based while the resonators are forming an upon acoustic rather than physiological Ah."15 ported in the Journal of Singing." data, and there is no distinct mechani- Oren Brown also advocated an Finally, Richard Miller takes a more cal or muscular system responsible for exploration of vocal fry, especially for cautious view of Strohbass (which he its articulation; 2. The vibratory impulses the development of the low range. In distinguishes from vocal fry) and fry. it describes have no relevance to the Discover Your Voice, the chapter "pulse" or of a legitimate vocal Just as an occasional note is "Range and Registers" includes the tone; 3. The vibratory impulses it intruded in legitimate upper range for describes are "musical" only in that they following passage: some specific coloration, so an occasional possess measureable pitch; they contain Strohbass tone may be introduced in the no recognizable phoneme and can- To find the lowest notes in Register 1, the lowest range of the voice.. . Strohbass, if not be swelled or diminished; 4. The larynx must rest in a very relaxed, low used at all, should be used judiciously. sounds to which it refers are "freak" position and then apply an almost breathy Exercises for the development of this reg- tones with no aesthetic value; like flow of air. It takes more air flow and less ister phenomenon should be undertaken squeaks, groans, screams, and squeals, pressure to produce low notes than high only with a teacher, and never for more they should be considered forms of affec- notes because the vocal folds are looser than a few brief moments. . . At times, a tive expression, and not confused with (that is, they do not come together so often) moderate use of vocal fry may help a young, legitimate vocalization, and 5. The sounds and the amount of air that escapes at each low-voiced male develop a "feel" for addi- to which it refers have no pedagogic value opening pulse is greater. Any attempt to tional pitches at the lower extension of since they could never be incorporated produce these notes by tensing and push- his range. Vocaifry encourages an impre- into, or used to influence or improve, the ing down into them prevents the muscles cise onset and should not be relied on as quality of those tones universally accepted from performing their natural function a standard vocalizing technique.22 as being legitimate. and shuts off the resonance. For this part The term "pulse register" should be of the voice, let the tone slide down and let Miller includes a 5-3-1-3-5 exercise abandoned, since a further proliferation the air flow do the work. 21 of terminology, even when justified on (Exercise 9.3 in his text) for devel- acoustic terms, simply adds confusion to oping the Strohbass quality, with only Brown goes on to include a 5-4-3-2- an already confused area of thinking with the lowest note in the pattern being 1 descending vocalise (Exercise XV respect to the number and origin of vocal sung in Strohbass. 13 in his book) for the exploration of registers. Vocal fry has been used by one of fry, 17 and includes audio examples of , on the other the authors (Emerich) therapeutically this type of phonation on the CD that to address the efficiency and function hand, advocated the use of fry as a 18 accompanies his book. Additionally, of the glottal sound source and to corrective technique for an overly Brown employed a fry onset exercise . restore symmetry to the laryngeal in a lesson with one of the authors mechanism. The therapy employs This exercise is especially good for breathy (Nix) in July 2000. vocal fry to optimize the glottal clo- pupils. A breathy tone can hardly be ini- Seth Riggs advocates the use of sure pattern and to decrease the need tiated by the tension required for the rat- creaky voice exercises in his book tle. However, it is an ideal tension which for lateral or anterior-posterior com- Singing for the Stars as a means to find- adjusts the glottis without tightening the pression as a compensatory reaction throat, and as such benefits students who ing what he calls -Level Singing. to incomplete glottal closure or laryn- are too tense The voiceless [sic] rattle may He begins with a single upward- geal asymmetry. Motor learning prin- rumble into a tone by adding phonation. inflected glide in a creaky voice hum ciples are an essential element of this This approach is the opposite of that (Exercise 14 in the book), then moves program. The therapy works first at described in Par. 182. The "imaginary h" on to arpeggiated patterns on a hum the syllable level, then progresses to is more suitable for attacking high notes, with creaky type onsets (Exercises word, functional phrase, and conver- where tension is a danger, and the "rat- tle" is better for low notes, indeed it builds 15-19).' The number of creaky on- sational voice levels. It also incorpo- the low part of the range. It is especially sets is gradually reduced as the singer rates pitch glides as stretching exer- beneficial for low voices. 4 progresses through the course of exer- cises to reinforce the concept of

54 JOURNAL OF SINGING - - Voice Research and Technology efficient glottal closure and to address The low activity levels observed in recurrent laryngeal , which may cricothyroid muscle weakness and fry in the interarytenoid, posterior cause difficulty with adduction; 2) vocal fold stiffness and/or scarring. cricoarytenoid, and cricothyroid mus- mild paresis of the superior laryngeal The efficacy of therapy with vocal fry cles, and greater activity level observed nerve, which may cause compensa- is currently being clinically tested on in the thyroarytenoid muscle may tory behaviors such as tongue-base a population of school teachers as a result in a vocal fold configuration depression at the onset of phonation part of NIH grant ROl DC04224, that is thicker, with a bulge at the or at an increase in frequency, jaw "Research Towards Occupational lower surface of the fold, and a more tension, lateral and anterior-poste- Safety in Vocalization." "square" contact, yet lacking in undue rior compression of the extrinsic The authors have found that the longitudinal tension. Titze has shown laryngeal musculature, and insuffi- prudent use of a relaxed vocal fry that such a vocal fold vibration pat- cient respiratory support; and 3) vocal onset gliding into selected singing tern causes the flow of air through fold injuries, such as a vocal cyst plus exercises is useful in both the thera- the glottis to shut off more quickly in a reactive mass on the opposite side, peutic setting and the voice teaching each vibratory cycle, which in turn vocal fold stiffness secondary to a studio. The benefits may include: 1) increases sound intensity. 26 Again, vocal fold hemorrhage, or postoper- optimizing posturing of the vocal folds the benefits of this vocal fold config- ative singers. for increased efficiency of voicing; 2) uration are practiced in fry and trans- As a case history success story, the improving ease/spontaneity of onset ferred gradually to other types of authors share images of a professional of voicing; 3) decreasing compensa- phonation. Finally, some of the con- singer with a vocal fold injury who tory muscle behaviors associated with striction of the laryngeal vestibule or benefited from the use of fry-based laryngeal weakness; and 4) shaping epilarynx that has been observed in therapies and singing exercises. The the glottal configuration and the epi- fry phonation may be transferable in singer, a forty-one-year-old lyric col- larynx to optimize voice output. One a constructive way to sung produc- oratura , had experienced a possible explanation for why fry tion. As Titze has also noted, a nar- severe upper respiratory infection and works in improving spontaneity and rowed epilarynx tube can enhance had coughed heavily for some weeks. decreasing compensatory behaviors the efficiency of vocal fold output by A videostrobe exam done by Emerich that it is an "unused register," to bor- also causing the glottal flow to rap- revealed a posthemorrhagic left vocal row Vennard's term, 24 and as such, idly decrease.27 This last point needs fold mass and reactive swelling on the singer does not have any habits further exploration and verification, the opposite side, coupled with sig- (good or bad) associated with it. The however; as Donald Miller noted in nificant compensatory tension in both freedom found through using fry can the e-mail cited above: the anterior-posterior and lateral direc- be transferred to other more familiar tions (Figure 1). Therapy was begun modes of phonation. As Donald Miller I would guess, however, that fry is not (with Emerich) as well as more reg- of the Groningen (Netherlands) Voice related to the sort of aryepiglottic constric- tion to which we attribute the singer's Laboratory recently said in an e-mail: forniant. If there is a voluntary and specific I have given your ideas on fry some way to produce that constriction directly, thought. Aside from the idiosyncratic use I don't know about it. We learn certain that I sometimes employ for guiding for- general behaviors that reliably (and seem- mant tuning, I think the clearest benefits ingly involuntarily) produce it as a byprod- have to do with intervening in glottal uct, but these are not directed principally behavior—as you say, improving glottal at glottal behavior, as fry is. The aryepiglot- efficiency. My guess is that fry helps to iso- tic constriction is a feature of the general late glottal adduction from the more gen- configuration, and fly (or ingres- eral tensions in the whole laryngeal area sive phonation, which has quite different that get lumped together in phonation. Figure 1: Pretlierapy videostruhucupy pressure and adduction requirements) is image of a forty-one-year-old lyric col- What further helps is that producing largely independent of the vocal tract,28 "good" fry requires a delicate and healthy oratura soprano with a posthemorrhagic balance of intrinsic laryngeal muscles with left vocal fold mass and reactive swelling Among the types of pathologies low subglottal pressure. Thus the idea of on the opposite side, coupled with signif- using fry in training or rehabilitating that may be addressed with this icant compensatory tension in both the singers seems to me a promising one.2 approach are: 1) mild paresis of the anterior-posterior and lateral directions.

SEPTEMBER/OCTOBER 2005 55

John Nix, Kate Emerith, and Ingo R. Titze

ular singing voice lessons (with Nix). Øc Pathologist and singing teacher com- _jJJjjtDrj si volflyaIiI & e 0 municated frequently on the imple- mentation of intervention strategies, I which included fry-based exercises

as a key component. Figure 2 shows ,,Lg drou,out the same singer's strobe exam six weeks posttherapy, with only slight P; jJJJ,rjiiJr swellings at the striking zone bilater- vocal fry oil l&I a e 0 ally and greatly decreased compensa- tion. This second strobe exam was Figure 3: Alternation of fry onset and nonfry onset trials of a vocalise. done within forty-eight hours of the singer completing a professional engagement as soprano soloist in a performance of the complete Messiah.

Key points in the application of oIeI/Cue ueueu el 40 e 0 0 e 0 b vocal fry to the training of singers SUM A.. include: • The target behavior is a loose, rel- ' atively slow fry. Oren Brown's vocaI&ocJeI Ic u c u e Us U W io a o e o c o RI description of how to elicit this sound (see above) maybe helpful to Figure 4: Alternation of an ascending vocalise that uses a vocal fry onset with a some vocalists. descending vocalise that does not use fry. • The fry lead-in should be performed on the same vowel with the same limit for effective use is approxi- age the cricothyroid muscle to be vocal tract posture the singer is mately D4 for males and D5 for more active (Figure 4). about to use in a vocalise or a musi- females. • It is entirely normal for some young cal phrase (Figures 3 and 4). • For motor learning purposes, it is singers, especially females under • The singer should have the pitch best to mix in a random fashion tri- the age of twenty-two, to have some of the target sung tone in mind als with the fry lead-in with trials breathiness in their sound; this while doing the fry lead-in. of the same exercise or phrase with- developmental stage usually re- • The fry onset should not be used out the fry (Figure 3). As the singer solves itself with time and train- for extremely high pitches. Nix's becomes more accomplished with ing. The authors are not recom- experience in the teaching studio the nonfry initiated version, the mending a heavy diet of fry onset has shown that the upper pitch fry trials should be randomly and exercises to force a young voice to gradually reduced in frequency, be less breathy. then totally eliminated altogether. • Singers should pay close attention Nix has found that mixing fry onset to the sensation of the fry assisted patterns with staccato or other onset, then recall that sensation of onset exercises (as described in relaxed yet laryngeally competent detail by Miller-") can be very effec- adduction in order to transfer the tive, as was previously noted by new habits to phonation without Buescher.3° Nix also advises for the using the fry. The fry is a training sake of intrinsic muscle balance tool, not a crutch for the singer to that exercises that use the fry onset, be dependent upon. which encourages more activation • When using a spectrographic dis- Figure 2: The same singer's strobe exam six weeks posttherapy, with only slight of the thyroarytenoid muscle, be play program for visual feedback swellings at the striking zone bilaterally performed in alternation with in practicing/teaching, the fry on- and greatly decreased compensation. descending patterns, which encour- set may be useful as a nonhar-

56 JOURNAl. OF SINGING Voice Research and Technology .... ,,

pedagogical tools (such movement work, humming, lip trills, chanting, using voice analysis technology, etc), fry is not a panacea for solving every

%,&m BwsIo9s vocal problem, it should not be used in excess, and it should be explored with the guidance of a knowledge- able teacher first.

This research supported by NIH Grant ROl DC04224.

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SpKftwarn 0) 5 1" Cutsoq 791 ml 511 M 6pKVW •-: Curso -42 548 dID * 1. Harry Hollien and John Michel, VoceVhft 2.7 "Vocal Fry as a Phonational Regis- Figure 5A. Voce Vista power spectrum (right), spectrogram (lower left) and audio ter," journal of Speech and Hearing envelope of one of the authors (Nix) using vocal fry on the vowel /e/, then glid- Research 11, no. 3 (September 1968): ing into singing /e/ on D 3 (147 Hz). This image shows the power spectrum dur- 600-604. ing the vocal fry portion. Note the peaks for F 1 at approximately 550 Hz and F2 Harry Hollien and R. W. Wendahi, at approximately 1450 Hz as revealed in vocal fry. 2. "Perceptual Study of Vocal Fry,"Jour- nal of the Acoustical Society of A nwr- ica43 (1968): 509. 3. Ingo Titze, Principles of Voice Produc- tion (Englewood Cliffs, NJ: Prentice- Hall, 1994), 259, 275. '(,m E 4. Harry Hollien, Helbert Damsté, and Thomas Murry, "Vocal Fold Length During Vocal Fry Phonation," Folia Phoniatrica 21(1969): 264. 5. Thomas Murry and W. S. Brown, Jr., "Subglottal Air Pressure During Two Types of Vocal Activity: Vocal Fry --.-.- and Modal Phonation," Folia Phoni- atrica 23 (1971):448. Michael Blom- A a gren, Yang Chen, Manwa Ng, and Sp.K,5.rn (ft 5 Cw,ot 1802 mi 494 Hz 9pecum 5 ift Cisw -34 d9 494 It Harvey Gilbert, "Acoustic, Aerody- 2.7 namic, Physiologic, and Perceptual Figure 5B. This image shows the power spectrum during the sung portion. Note Properties of Modal and Vocal Fry that in the sung segment H3 is in close proximity to F 1 and H10 is in proximity Registers," Journal of the Acoustical to F2, as shown in image 5A. Society ofAmerica 103, no. 5, part 1 (May 1998): 2649. monic sound source for determin- seen in the vocal fly spectrum (Fig- 6. R. E. McGlone and T. Schipp, "Some ing the approximate location of ure 5). Physiologic Correlates of Vocal Fry vowel for a given vocal In summary, the authors believe Phonation," Journal of Speech and tract shape;3 ' as the singer tran- that fry is another means to achieve Hearing Research 14(1971): 769-775. sitions into singing from vocal fry, a free, healthy production that can be 7 M. Behlau, L. Machado, Z. Guedes, it can easily be determined whether applied to artistic singing. A careful, P. Pontes, and A. Pontes, "Using Vocal or not a harmonic is in close prox- judicious use of fry as a tool is not Fry to Treat Nasality Problems" imity to the formants that were harmful, in our opinion. As with other (Abstract), Phonoscope 1 (1998): 4.

SEPTEMBER/OCTOBER 2005 57 John Nix, Kate Emerich, and Ingo R. Titze

8. Ronald Scherer, "Physiology of Creaky 22. Richard Miller, The Structure of Sing. a Bachelor of Music Degree in Vocal Per- Voice and Vocal Fry" (Abstract),Jour- ing (New York: Schirmer, 1986),125- formance from The University of Georgia nat of the Acoustical Society ofAmer- 126. and a Master of Music Degree in Arts ica 86, Supp. 1 (Fall 1989): S25. Bar- 23. Ibid., 126. Administration from The Florida State bara Doscher, The Functional Unity University. His published articles have of the Singing Voice, 2nd ed. (Metu- 24. Vennard, 73, 76,121, 212, 248. appeared in The NATSJournal, The New chen, NJ: Scarecrow, 1994), 187. 25. Donald Miller, personal e-mail cor- York Newsletter, Journal of Sing- 9. William Leyerle, Vocal Development respondence, November 15, 2004. ing, Vocalease, and The Opera Journal. Mr. Nix is the editor and annotator ofFrorn Through Organic Imagery, 2nd ed. 26. Ingo Titze, "What Makes a Voice (Mount Morris, NY: Leyerle Publi- Acoustically Strong?"Journal of Sing- Studio to Stage: Repertoire for the Voice, cations, 1986), 65. ing 61, no. 1 (September/October compiled by Barbara Doscher (Scarecrow 2004), 63-64. Press, published June 2002). 10. James Stark, Bel Canto: A History of (Toronto: University 27. Ibid. of Toronto Press, 1999), 64-65. Kate A. Emerich, BM, MS, CCC-SLF voice 28. Donald Miller. instructor and voice pathologist, has been 11. Ibid., 89, 29. Richard Miller, 9-17, training healthy and injured singing voices 12. Doscher. 30. Buescher, 225. since 1990, when she was a graduate stu- dent at the University of Wisconsin. Kate's 13. Cornelius Reid, A Dictionanj of Vocal 31. Donald Miller, Arend Sulter, Harm background in voice pathology allows a Tenninology:AnAnal.ysis (New York: Schutte, and Rienhart Wolf, "Com- multifaceted knowledge of the anatomy, Patelson, 1983), 284-285. parison of Vocal Tract Formants in Singing and Nonperiodic Phonation," physiology, and biomechanics of the vocal 14. William Vennard, Singing: The Mech- Journal of Voice 11, no. 1(1997): 1-11. mechanism that enhances and optimizes anism and the Technic, rev. ed. (New the training of the voice and focuses on York: Carl Fischer, 1967), 48. healthy and beautiful vocal production. Ms. Emerich is a member of the National 15. Ibid., 124. John Nix, ,joined the voice faculty at the University of Texas at San Antonio in Association of Teachers of Singing (NATS), 16. Oren Brown, Discover Your Voice: How fall of2005, where he serves as Associ- and has contributed several articles on the to Develop Healthy Voice Habits (San the ate Professor of Voice, Vocal Pedagogy, and singing voice. She is also an active member Diego: Singular Publishing, 1996), of the American Speech- Hear- 58. Voice Research. Previously he was Direc- tor of Education and Special Projects and ing Association (ASHA) and Voice and 17. Ibid., 270-271. Coordinator of the Summer Insti- Speech Trainers Association (VASTA). tute for the National Center for Voice and Kate is CEO of Vocal Essentials, LLC, a 18. Oren Brown, Discover Your Voice: business solely dedicated to voice and speech Vocal Exercises by Oren L. Brown, Speech in Denver, where he worked with training and rehabilitation of the singing Audio CD (San Diego: Singular Pub- internationally known voice scientist and and speaking voice. Prior to the inception of lishing, 1996), Track 9. educator Dr. Ingo Titze. Mr. Nix has also served on the music faculties of The Uni- Vocal Essentials, LLC, Kate spent five.years 19. Seth Riggs, Singing for the Stars: A versity of Colorado at Denver and Eastern as part of the voice team with Robert T Sat- Complete Program for Training Your New Mexico University. Mr. Nix holds a aloff MD, DMA as Voice Pathologist and Voice, comp. and ed. by John Dom- Singing Voice Specialist, and six years as Master of Music Degree in Vocal Perfor- inick Carratello (Van Nuys, CA: mance from The University of Colorado at Principal Vocologi.st and Research Associ- Alfred Publishing, 1998), 58-63. ate at the National Center for Voice and Boulder, Certification in Vocology from The 20. Seth Riggs, Singing for the Stars, Audio , and has pursued addi- Speech, a division of the Denver Center for CD 2 (Van Nuys, CA: Alfred Publish- tional coursework towards the DMA degree. the Performing Arts in Denver, CO. Kate ing, 1998), Tracks 7-22. At Colorado, he studied voice and voice ped- sings professionally as a soloist and with Opera Colorado and is a . agogy with the late Barbara Doscher and 21. Randy Buescher, "Postoperative Pos- ture Memory Rehabilitation Using the Alexander Technique withJames Brody. Speech Level Singing Exercises and Mr. Nix was also a participant in the 1994 Ingo R. Titze is Distinguished Professor of Balanced Onsets,"Journal of Singing NATS Intern Program, where he worked Speech Science and Voice at the University 58, no. 3 (January/February 2002): with Thomas Houser and Barbara Honn. of Iowa and Executive Director of the 223-228. Prior to his studies at Colorado, he received National Center for Voice and Speech at

58 JOURNAL OF SINGING Voice Research and Technology

tinues to be active as a singer. He is mar- the Denver Center for the Performing Arts. Many faults in singing are traceable His formal education is in physics and ried to Kathy Titze and has four children. to deceptive theories as to the physical electrical engineering, but he has devoted Mail should be addressed to Ingo R. Titze, much of his studies to and National Center for Voice and Speech, 330 function of and . speech. Dr. Titze has published more than WJSHC, Iowa City, IA 52242. Telephone Richard Miller, Training Soprano Voices, 117. 150 articles in scientific and educational (319) 335-6600. journals, coedited two books titled Vocal Fold Physiology, and has authored a book Master of Arts in Music• Master of Music called Principles of Voice Production. He has lectured throughout the world and has appeared on such educational television series as Innovation, Quantum, and HOUGHTON COTLEGE Beyond 2000. He is a recipient of the William and Harriott Gould Award for laryngeal physiology, the Jacob .Javits Neuroscience Investigation Award, the .1 Claude Pepper Award, the Quintana Musically Ex • _ V,1dL'111 z11,111% I igni0 • Pnooundly Christian Award, and the American Lar,yngological 19 Association Award. He is a Fellow of the A center for serious music students in the Christian world, the Greatatch School of Music at America and the Houghton College inaugurates graduate programs in music beginning fall 2004. Acoustical Society of Degrees offered include a master of arts in music and a master of music In performance, American Speech-Language-Hearing conducting, composition, and collaborative performance. Association. Dr. Titze has served on a num- The Greatbatch School of Music offers full tuition assistantships, including stipend, and ber of national advisor,y boards and sci- provides opportunities for professional and artistic development under an outstanding faculty. entific review groups, including the Scientific Advisory Board of The Voice Foundation Houghton, New York 14744-0128 • 800.777.2556 or S85.567.9400 and the Division of Research Grants of the Fax: 585.567.9517 • ?uui,i(Ilol(ghton.edu Shirley Close, Mnus • Ben R. King, DMA • B. Jean Reigles, PhD National Institutes of Health. in addition to his scientific endeavors, Dr. Titze con- www.houghton.edu

FROST SCHOOL OF MUSIC . . c UNIVERSITY OF MIAMI - 7' ..• A New DMA in Vocal Pedagogy and Performance • Preparation for a career as a and research-scholar in vocal pedagogy • State-of-the-art training for teaching classical, Broadway, choral and jazz singing styles • Fellowships and Teaching Assistantships • Doctoral Fellowships - stipends of $18,000 per academic year, plus tuition remission (Application deadline: December 15) • Teaching Assistantships - stipends of $8,652 per academic year plus tuition remission (Application deadline: February I)

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SEv'1'EM13l:R/Oc'roti:t 2005 59