Finding Climax and Cadence in the Uninflected Voice

Abstract

ABSTRACT: The paper provides a theoretical basis for understanding the positive effects music therapy programs have on enhancing the vocal expression and intonation of people with acquired brain injury. To date, this theme has not been described in the music therapy literature. In this paper, neurological, physiological, and emotional perspectives have been explored through research findings and theoretical standpoints. A comparison of the neurological underpinnings of melody in both song and speech are provided as a framework for understanding how song singing may contribute to rehabilitating vocal intonation. Music therapy's role in reducing physical tension and improving posture, and how this affects vocal freedom, has also been outlined. In addition, the influence of emotional disturbances on vocal freedom has been described with reference to how music therapy may indirectly affect vocal expression through the enhancement of mood. Finally, the authors present a short case vignette to provide a context for understanding the perspectives presented in the text. Introduction The voice is a multifaceted phenomenon. On one hand, it is a neurological activity responsible for controlling sound production and changes in pitch (Aronson, 1990). On the other hand, it can be viewed as the complex set of physiological operations involving the activation and relaxation of various muscles in the larynx, otherwise known as the voicebox (Newham, 1998). The voice could also be considered as revealing emotional states, the voice revealing the mood, emotional response and feelings of the speaker (Bolinger, 1986, 1989). These facets in themselves suggest that the voice is influenced by several differing factors and consequently may be negatively influenced by impairments in one or more of these. While impairments in voice production occur in people with developmental and physical disabilities, and people with psychiatric disorders, particularly affective disorders, the focus of this text will be on people with acquired brain injury. Intonation is a vital part of speech. It is one of three components of prosody-stress patterning, intonation and rhythm-and it forms the melodic aspects of verbal communication (Bolinger, 1989). Intonation performs both affective and linguistic functions (Perkins, Baran, & Candour, 1996). Linguistically, it contributes to lexical aspects, for example object and object (Bolinger, 1989), and syntax-for example, distinguishing questions from statements (Collier, 1993). With respect to affect, it is primarily an expression of how people feel about what they say (Bolinger, 1989), uncovering the overall mood of speakers even when they communicate sentences with no emotional content. When referring to the literature on intonation, the most cited component of intonation is the acoustic feature of the fundamental frequency (F^sub o^). F^sub o^ is the lowest frequency component of a complex tone, the frequency that excludes the harmonics and overtones. Relevant for music therapists and speech pathologists, it is the frequency which aligns with the pitch of the voice heard in speaking and singing (Hargrove & McGarr, 1994; Joanette, Goulet, & Hannequin, 1990). Much of the research in music therapy and speech pathology concerning the diagnosis and outcomes of therapy for impairments in intonation describe outcomes in terms of F^sub o^. Clinicians and researchers can follow the intonation contour of the voice by examining the changing fundamental frequency. While each person has their own individual pattern of intonation, studies have established that for affective intonation, several stereotypical patterns exist across cultures (Apple, Streeter, & Krauss, 1979; Davitz & Davitz, 1959; Fairbanks & Provonost, 1939; Mozziconacci & Hermes, 1997; Murray & Arnott, 1993; Scherer, 1991). These are summarised in Table 1. What is interesting in Table 1 is that these characteristic patterns are similar to those found for melodies expressing emotions in music (Hevner, 1935, 1936). …