VOICE PEDAGOGY Scott McCoy, Associate Editor Nasality Deconstructed

Nicholas Perna

“If a sound comes through the nose, and there is no voice teacher to hear it, is it nasal?” f you are like me and spend any time at all on the varying singing or voice teaching forums on social media, you likely have come across at least one thread mentioning nasality. Inevitably many confusing terms arise in these conversations, such as nasal resonance, twang, velopharyn- Igeal opening (VPO), and nasalance. Johan Sundberg, in his plenary address to the NATS National Conference in Las Vegas, gave mention of the fact that Nicholas Perna VPO seems to be a hot topic recently. I have previously published on nasality in this journal, demonstrating the possibility that Western classical tenors may employ more nasalance, a measurable acoustic oral and nasal signal, near their pivot pitch in passaggio in order to smooth their transition to full operatic head voice.1 This was a follow up study to Birch et al.2 The purpose of this column is to distill some of the more recent information regarding nasality and to present a foundation for the framework that nasality involves multiple issues, rather than a singularly caused event. What nasality is does not often coincide to its perceptual characteristics. A recent study on nasality perception demonstrated that professional voice teachers did not agree on which sounds were nasal and which were not.3 Participating teachers rated a recorded example containing one of the low- est rates of nasalance as one of the most nasal samples they heard, with over three-quarters of the listeners rating the sample between “partially nasal” and “extremely nasal.” The column concluded, “The pervading issue is the manner in which the voice pedagogy community interprets a nasal sound, rather than an overall disagreement on whether or not nasality is inherently good or bad.”4 Psychoacoustics, the scientific study of how sound is perceived, may prove to be the most effective tool to determine why we perceive sounds as nasal.

TERM BY TERM: NASALITY OR NOT?

Nasal resonance is a term I find to be unclear and potentially the most divisive. Resonance itself is a challenging term, whether or not it relates to sound coming from the nose. The question is how nasal resonance is defined. Is nasal resonance meant to be the brightness of twang that comes from pharyngeal narrowing leading to increased energy in the 4–7 kHz range? Expert listeners may refer to Journal of Singing, March/April 2020 this sound as nasal, but, physiologically, pharyngeal constriction occurs separate Volume 76, No. 4, pp. 429–432 Copyright © 2020 from the nose. It is likely that the singer previously mentioned in the recording National Association of Teachers of Singing with low nasalance, but a high degree of perceived nasality, was demonstrat-

March/April 2020 429 Nicholas Perna ing twang. If not twang, is nasal resonance meant to be nasopharynx and nasal passage with the rest of the vocal acoustic signal from the nose? Is nasal resonance meant tract. The sound quality produced by a high percentage to be airflow from the nose? There has not been sufficient of VPO may be considered by some to be true nasality. evidence to suggest that acoustic signal or airflow from The nasal passage is lined with moist mucous membrane. the nose causes perceived nasality. Since resonance can As such, sound does not fare well when passed through be defined as amplification and enrichment, nasal reso- the nose. All spectral peaks that pass through the nose nance may be a misnomer in any discussion of nasality. end up being attenuated to varying degrees. This type The nasal passage does little to amplify sound, and equally of dampening can be particularly detrimental to those does little to enrich a sound because it attenuates vocal frequencies in the first vocal tract resonance (ƒR1) tract resonances. I would propose eliminating the term range (300–800 Hz), which singers rely on for open 1 1 “nasal resonance” altogether. (3ƒo or 2ƒo:ƒ R ) and whoop (1ƒo:ƒ R ) timbre singing One of the most common culprits of nasal confusion as described by Kenneth Bozeman.10 Depending on how is twang, a term commonly used in the CCM world, you perceptually qualify nasality, VPO might be nasality particularly among those trained in Estill Voice. The but may not perceptually sound nasal. Estill Voice International website lists twang as one of Indulge me in a brief foray into the speech science their “Six Voice Qualities”; interestingly, they divide the world. Nasalance, as measured with a nasometer, is an 5 term into nasal twang and oral twang. Gillyanne Kayes, acoustic measurement of two microphones, divided by a an Estill trained, UK based teacher, described twang as mask or divider plate, that becomes a ratio of the ampli- resulting from a “tightened aryepiglottic sphincter, with tude of the nasal signal divided by the oral signal added 6 high larynx and tongue.” Coming from a Western clas- to the nose signal [An/(Ao+An) x 100%]. A more accurate sical background and having previously used McKinney’s terminology for this is First Formant (F1) Nasalance, as Diagnosis and Correction of Vocal Faults as a textbook for described by Martin Rothenberg.11 He termed it as such 7 my pedagogy courses, I had been accustomed to teach- because in this resonance model there is attenuation of ing twang as a resonance fault. Thanks to many of our frequencies outside of 300–750 Hz (roughly the range colleagues teaching and researching CCM styles, I now of F1), and therefore sensitivity to vowels was a prob- realize twang’s importance in commercial voice training lem because the F1 locations of most sung vowels are and performance. The Western classical teacher in me found within that frequency range. The newer Glottal still recognizes that excess squeeze of any laryngeal mus- Enterprises OroNasal system measures nasal-to-oral culature is less than ideal for unamplified singing. Recent airflow volume-velocity at the fundamental frequency. work by Kerrie Obert, a Speech Language Pathologist and Rothenberg defines this measure as “flow derived0 F Estill trained singing teacher at Capitol University, who nasalance.” If you are attempting to measure airflow and also conducts research at The Ohio State University, has acoustic signal coming from the nose to confirm VPO, demonstrated that twang voice quality may be more of a F0 nasalance is a better alternative. There has not been a result of middle pharyngeal constrictor activation, rather study that demonstrated whether or not nasalance cre- than the previously thought aryepiglottic activity.8 Obert ates perceptible nasality. Birch et al. attempted to have was joined by Chadley Ballentyne in a recent NATS Chat expert listeners identify which examples demonstrated titled “Getting the Twang of It,” where they unpacked nasality, but the results were inconclusive.12 Nasalance both perceptual and physiologic characteristics of twang.9 might be nasality but may not perceptually sound nasal. There is more work to be done to further clarify the physi- ologic source of twang; however, the important point is VPO, NASALANCE, AND that twang increases high frequency energy, can be pro- REGISTER TRANSITIONS duced with little or no VPO, and can have extremely low nasalance. Twang most likely is not nasality, even though Subsequent research by Gill et al. suggests that utilizing it might sound nasal to some listeners. VPO can be an effective strategy at smoothing register Velopharyngeal opening is what the name implies, a transitions.13 Their team advocates for utilizing a nar- relaxation of the velum (soft palate), which couples the row VPO to navigate passaggio because it attenuates

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F1, increases the level of higher frequency partials, and ers as Miller and others have documented. I have seen reduces the risk of vocal tract instabilities, which brings anecdotal evidence of this in our lab. us back to my 2014 Journal of Singing article.14 Because the data from that study was collected in 2008, I mea- WHAT IS NASALITY? sured only F1 nasalance, which has proven to be vowel The tree falling in the forest is often the beginning of sensitive. As such, correlations I was making to increased the philosophic debate of perception versus reality. The nasalance near pivot points such as F4 on the /a/ vowel nasality construct may be the finest example of this in in the tenor voice may have been false readings, caused the singing realm. Voice teachers primarily deal in the by the boost of energy in 2ƒo from its interaction with reality of perception. Voice scientists can exist more in 1 ƒR . It is possible that there was an increase in nasalance the reality of measured results. If singing has been mea- and/or VPO in those samples, but given that the micro- sured as demonstrating significant amounts of VPO or 1 phones were attenuating frequencies away from the ƒR nasalance, and yet voice teachers do not agree that the 1 of the vowel /a/, 2ƒo:ƒR , interaction might have resulted sound of high or low VPO corresponds to high or low in a falsely high perception of nasalance. This latest Gill levels of perceived nasality, then the physical attributes et al. study demonstrates that some professional singers of sound waves resonating from the nose or of increased do utilize VPO and that VPO is a strategy a singer has airflow through the nose may not provide the answer to increase energy between 2–4 kHz in relation to that to what nasality is. of F1, leading to reduced instability and a smoother The field of singing voice psychoacoustics is in its 15 register transition. infancy. Ian Howell sought to bring the singing voice I often am contacted about whether or not I use VPO into the field of music cognition and create a frame- when training male students—and potentially female work to analyze perceptual characteristics of singing.19 students—in their navigation of passaggio. Similar to In recent correspondence about the psychoacoustic many other pedagogic tools, the answer is, sometimes. I qualities of nasality, he pointed out the spectra of a nasal often have used this as a strategy with amplified singing continuant such as /ng/ will be a strong fundamental (CCM styles), where acoustic power is not of paramount frequency with a steep roll off of harmonics following.20 importance. While I do not dispute the Gill et al. find- This aligns with the idea of the nasal cavity attenuating ings, I have yet to see evidence that VPO does not lead resonances. In our discussion, Howell compared nasal- to potential problems. Scott McCoy has warned about ity to the construct of auditory roughness, a subject he utilizing nasality to navigate passaggio, and that to do has written on in VOICEPrints.21 “Auditory roughness so may be to the detriment of aesthetic vocal beauty.16 is a perceptual phenomenon that occurs when multiple I would consider similar caution to Western classical conditions have been met simultaneously.”22 This best singers who may choose to utilize VPO in lieu of find- describes my own current thinking about nasality. ing laryngeal poise to eliminate vocal tract instabilities. Nasality is a percept that arises when multiple condi- When turning the voice, robust tenor, baritone, and bass tions, which have yet to be definitively determined, are voices tend to engage a higher resonance strategy such as met simultaneously. In other words, nasality is what

3ƒo:ƒR2 or 4ƒo:ƒR2, as has been written about extensively I propose we call a voice construct. Here’s to the tree by Donald Miller.17 Often when robust operatic voices falling in the forest and the voice teacher realizing that achieve this resonance strategy, an increased contact it only sounded nasal if they were there to hear it. quotient follows due to increased subglottal pressure as pitch rises.18 If that resonance strategy is the goal of NOTES a singer, the VPO strategy may be counterproductive. 1. Nicholas Perna, “Nasalance and the Tenor Passaggio, Journal There is potential that the coupling of the nasal cavity of Singing 70, no. 4 (March/April 2014): 402–410. with the vocal tract could lower contact quotient, which 2. Peer Birch, Bodil Gumoes, Hanne Stavad, and Johan may reduce the possibility for the singer to utilize the Sundberg, “Velum Behavior in Professional Classic Operatic resonance strategy used by many of the great opera sing- Singing,” Journal of Voice 16, no. 1 (April 2002): 61–71.

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3. Nicholas Perna, “Nasality: Do You Hear What I See?” and Singing Voice Acoustics. Perna has presented research on three VOICEPrints 12, no. 1 (September/October 2015): 6–7. continents at notable events such as the International Congress of Voice Teachers, the Voice Foundation’s Annual Symposium on the Care of 4. Ibid. the Professional Voice, and the NATS National Conference. Publications 5. https://www.estillvoice.com/pages/about-estill. include articles in Journal of Singing, Journal of Voice, and VOICEPrints. 6. Gillyanne Kayes, Singing and the Actor (New York: Routledge He served on the 2019 faculty of the Singing Voice Science Workshop, Press, 2000), 147. and he will join the faculty of the Acoustic Vocal Pedagogy Workshop at 7. James McKinney, The Diagnosis and Correction of Vocal New England Conservatory in 2020. Faults (Long Grove, IL: Waveland Press, 1994), 134. He has appeared multiple times in recent seasons with Mississippi Opera 8. K. Obert and K. Perta, “Big Twang Theory” (Paper presented in leading roles in The Mikado and Turandot. Perna was twice selected at the Estill World Voice Symposium, Quebec, Canada, as a Santa Fe Opera Apprentice Artist singer. Additional operatic credits 2017). include Rodolfo, The Duke, Nemorino, Alfred, and Tamino. Symphonic 9. Chadley Ballentyne and Kerrie Obert, interview by Kari appearances include Mahler’s Das Lied von der Erde, Beethoven’s Sym- Ragan, “Getting the Twang of It” (NATS Chats, January phony no. 9, Messiah, and Carmina Burana. Perna is a 2019-2020 semi- 13, 2019); https://.youtube.com/watch?v=KHjbqUYrb04 finalist for the American Prize for men in opera. Along with Dr. Mandy (accessed November 18, 2019). Spivak, they created The Comprehensive Britten Song Database. http:// www.brittensongdatabase.com, an open source guide to Britten’s song 10. Kenneth Bozeman, Practical Vocal Acoustics (Hillsdale, NY: output. Perna holds graduate degrees from the University of Miami and Pendragon Press, 2013). the University of Houston. He is the creator and co-host of the VocalFri 11. Martin Rothenberg, “Mask Based Nasometry: A New Method Podcast, http://www.vocalfri.com, a weekly dash of voice science, peda- for the Measurement of Nasalance”; http://www.rothenberg. gogy, and nerd pop culture. org/Naalance/Naalance.htm (accessed November 18, 2019). 12. Birch et al. 13. Brian P. Gill, Jessica Lee, Filipa M. B. Lã, and Johan Sundberg, Life has loveliness to sell, “Spectrum Effects of a Velopharyngeal Opening in Singing,” All beautiful Journal of Voice (forthcoming) (accessed November 18, and splendid things, 2019). Blue waves 14. Perna, “Nasalance and the Tenor Passaggio.” whitened on a cliff, 15. Gill et al. Soaring fire that sways and sings, 16. Scott McCoy, “The Seduction of Nasality,” Journal of Singing And children’s faces looking up, 64, no. 5 (May/June 2008): 579–582. Holding wonder like a cup. 17. Donald G. Miller, Resonance in Singing (Princeton, NJ: Inside View Press, 2008). Life has loveliness to sell, 18. Ibid., 60. Music like the curve of gold, Scent of pine trees 19. Ian Howell, “Parsing the Spectral Envelope: Towards a General Theory of Vocal Tone Color” (DMA thesis, New in the rain, England Conservatory of Music, 2016). Eyes that love you, arms that hold, 20. Ian Howell, Facebook direct message with the author (July And for your spirit’s still delight, 6, 2018). Holy thoughts that star the night. 21. Ian Howell, “Necessary Roughness in the Voice Pedagogy Spend all you have for loveliness, Classroom: The Special Psychoacoustics of the Singing Buy it and never count the cost; Voice,” VOICEPrints 14, no. 5 (May/June 2017): 4–7. For one white singing hour of peace 22. Ibid. Count many a year of strife well lost, And for a breath of ecstasy Dr. Nicholas Perna is Associate Professor of Voice and Voice Pedagogy Give all you have been, or could be. at Mississippi College. He is a Presser Music Foundation awardee and currently a voice research associate at the University of Mississippi “Barter,” Sara Teasdale Medical Center. His primary research areas are Laryngeal Manipulation

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