Classical Singers Research Articles

The Demands for Thai Arts and Cultural Activities: A Case Study of Thai People in Lulia, The Kingdom of Sweden

This research aims to 1) study the demands for Thai arts and cultural activities utilizing a case study of Thai people in the city of Luleå, Sweden, totalling 50 people. The result showed that the overall demand for Thai arts and cultural activities is at an extremely high level. The highest demand for Thai arts and cultural activities is traditional Thai dance performances, with an average demand rating of 4.43 (SD = 0.74); traditional Thai music, with an average of 4.42 (SD = 0.73); and traditional Thai craftsmanship also, with an average of 4.42 (SD = 0.73), respectively. 2) Guideline recommendations for organizing Thai arts and cultural activities should include the following activities: traditional Thai craftsmanship, traditional Thai food, regional Thai costumes in four regions, regional Thai dialects in four regions, traditional Thai dance performances, traditional Thai music, traditional Thai folk music/Mo Lam music, traditional Thai classical music singing, the art of decorating in Thai styles, and participation in Thai arts and cultural activities. This quantitative research collects data from a questionnaire of 50 individuals using statistics such as frequency, percentage, mean, and standard deviation.

Readiness and Barriers Toward Voice Therapy Among Indian Classical Singers and Western Singers – A Scoping Review

ABSTRACT This scoping review explored the literature on different barriers and readiness toward voice therapy among singers. For the search, key terms were formulated, and six databases (Medline, PubMed, Scopus, SpringerLink, Web of Science, and Google Scholar) were used. After title and abstract-level screening, 12 full-length articles that identified barriers were reviewed and compiled using the PRISMA flow chart. However, no research related to readiness for voice therapy among singers was identified. The barriers were categorized into two broad categories (internal and external) and eight subcategories. Twenty-five barriers were categorized into nine sub-themes, such as awareness, knowledge of voice therapy, mental status of the singer, referral, financial reasons, perceptions of voice therapy by music teachers, perceptions of voice therapy by singers, logistic reasons, and accessibility. From the 12 full-length articles, informations such as target population, study design, objectives, and methods used to elicit the barriers were analyzed, and lacunae in the method used to obtain barriers were identified. These findings would be beneficial in developing tools to assess the barriers and readiness for voice therapy among singers and can be applied to improve compliance and concordance with voice interventions.

Biomechanics of sound production in high-pitched classical singing

Voice production of humans and most mammals is governed by the MyoElastic-AeroDynamic (MEAD) principle, where an air stream is modulated by self-sustained vocal fold oscillation to generate audible air pressure fluctuations. An alternative mechanism is found in ultrasonic vocalizations of rodents, which are established by an aeroacoustic (AA) phenomenon without vibration of laryngeal tissue. Previously, some authors argued that high-pitched human vocalization is also produced by the AA principle. Here, we investigate the so-called “whistle register” voice production in nine professional female operatic sopranos singing a scale from C6 (≈ 1047 Hz) to G6 (≈ 1568 Hz). Super-high-speed videolaryngoscopy revealed vocal fold collision in all participants, with closed quotients from 30 to 73%. Computational modeling showed that the biomechanical requirements to produce such high-pitched voice would be an increased contraction of the cricothyroid muscle, vocal fold strain of about 50%, and high subglottal pressure. Our data suggest that high-pitched operatic soprano singing uses the MEAD mechanism. Consequently, the commonly used term “whistle register” does not reflect the physical principle of a whistle with regard to voice generation in high pitched classical singing.

Affirming Vocal Resonance in Carnatic Singers Using Auditory Perception and Formant Frequency Measures

ABSTRACT This study investigated the impact of Resonant Voice Therapy (RVT) on the perception of vocal resonance, vocal tract formant frequencies, and the Singer’s formant in trained Carnatic classical singers. Twenty-nine vocally healthy Carnatic classical singers (18 females, 11 males) underwent 21 consecutive days of RVT. The study recorded their/a/vowel phonation and singing samples before and after the therapy. Trained judges assessed vocal resonance, and Praat Software was used to analyze formant frequencies and energy distribution in the 2 kHz to 3.5 kHz range. Non-parametric tests compared pre- and post-training data. After RVT, the perception of vocal resonance ratings for phonation samples was significantly improved. Significant differences were observed for all formants in phonation and the first, third, and fourth formants in singing. Singer’s formant manifestation increased post-training, particularly in male singers, with higher peak amplitudes. RVT-induced vocal tract changes, primarily in the pharyngeal cavity, lead to altered formant frequencies post-training. These effects may take time to manifest in overt singing. Furthermore, this study provides evidence for the presence of Singer’s formant in Carnatic singers, confirming the unique vocal characteristics of this music tradition.

A Comparison of Countertenor Singing at Various Professional Levels Using Acoustic, Electroglottographic, and Videofluoroscopic Methods

IntroductionThe vocal characteristics of countertenors (CTTs) are poorly understood due to a lack of studies in this field. This study aims to explore differences among CTTs at various professional levels, examining both disparities and congruences in singing styles to better understand the countertenor voice. Materials and MethodsFour CTTs (1 student, 1 amateur and 2 professionals) sang "La giustizia ha già sull'arco" from Handel's Giulio Cesare, with concurrent videofluoroscopic, EGG, and acoustic data collection. Auditory-perceptual analysis was employed to rate professional level. Acoustic analysis included LH1-LH2, formant cluster prominence, and vibrato analysis. EGG data was analysed using FonaDyn software, while anatomical modifications were quantified using videofluoroscopic images. ResultsCTTs exhibited CQ values surpassing typical levels for inexperienced falsettos. Their vibrato characteristics aligned with expectations for classical singing, whereas the presence of the singer's formant was not observed. Variations in supraglottic adjustments among CTTs underscored the diversity of techniques employed by CTT singers. ConclusionsCTTs exhibited vocal techniques that highlighted the influence of individual preferences, professional experience, and stylistic choices in shaping their singing characteristics. The data revealed discernible differences between professional and amateur CTTs, providing insights into the impact of varying levels of experience on vocal expression.

Pelvic floor status in opera singers. a pilot study using transperineal ultrasound

BackgroundControl of pelvic floor muscles (PFM) is emphasized as important to obtain functional breath support in opera singing, but there is not much research that proves PFM function as part of breath support in classical singing. Transperineal ultrasound is a reliable method for quantification of PFM contraction in urogynecology. Our aim was to establish if transperineal ultrasound can be used for observation of movement of the PFM during singing and to quantify pelvic floor contraction.MethodsCross sectional study of 10 professional opera singers examined with transperineal ultrasound in the supine position at rest and contraction, and standing at rest and during singing. Levator hiatal area was measured in a 3D rendered volume. Levator hiatal anteroposterior (AP) diameter and bladder neck distance from symphysis were measured in 2D images.ResultsThe AP diameter was shortened from supine rest to contraction (15 mm), standing (6 mm) and singing (9 mm), all p < 0.01. The bladder neck had a non-significant descent of 3 mm during singing. The mean proportional change in AP diameter from rest to contraction was 24.2% (moderate to strong contraction) and from rest to singing was 15% (weak to moderate contraction).ConclusionsTransperineal ultrasound can be used to examine the PFM during singing. The classically trained singers had good voluntary PFM contraction and moderate contraction during singing. AP diameter was significantly shortened from supine to upright position, with further shortening during singing, confirming that female opera singers contracted their pelvic floor during singing.

Vocal risk mapping in classical singers: an analysis of the self-perception of voice quality, vocal fatigue, and singing voice handicap.

To map the vocal risk in professional classical singers, analyzing their self-assessment of voice and self-perception of singing voice handicap and vocal fatigue. The study sample comprised of 52 professional classical choir singers, aged 31 to 72 years. They answered an online questionnaire in Google Forms, addressing their characterization, self-assessment of voice, the Voice Handicap Index-10 (VHI-10), Classical Singing Handicap Index (CSHI), and Vocal Fatigue Index (VFI). The mean self-assessment of voice was between "Good" and "Very good" (1.2). The mean total VHI-10 score was 1.35, which is below the cutoff. The mean total CSHI score was 10.04. The mean total VFI score was 10.83, near the cutoff value. Classical singers who use their voice to give examples to students in their classes had higher scores in VHI-10 (p = 0.013), VFI voice restriction (p = 0.011), and VFI total score (p = 0.015). Besides, classical singers who already visited a Speech-Language Pathologist for voice problems had higher scores in VFI voice restriction (p = 0.040) and VFI recovery with voice rest (p = 0.019), in addition to correlations between instrument scores. Professional classical singers did not have voice handicaps. However, their self-perception of vocal fatigue was more present when the singing voice was used, such as giving examples with their own voice in class. Having had voice problems and visited a Speech-Language Pathologist in the past led to a greater perception of vocal recovery with rest.

Vocal risk mapping in classical singers: an analysis of the self-perception of voice quality, vocal fatigue, and singing voice handicap

Vocal risk mapping in classical singers: an analysis of the self-perception of voice quality, vocal fatigue, and singing voice handicap

Practice the Technique of Singing Vietnamese Light Music Song for Middle-age Female Voices

Classical chamber music vocal techniques, typically the bel canto singing style, have been shaped with many methodical methods. In our country, several famous vocal pedagogues have compiled and written books on teaching vocal music such as Nguyen Trung Kien and Ho Mo La. Unlike classical chamber singing, currently, in our country, there are no books or unified in-depth research on light music singing techniques. While classical vocal techniques require strictness and the singer must accurately perform every detail recorded in the song, light music is characterized by a fairly free and comfortable way of singing from the mouth, how to vibrate your voice, process sound to express your work... Singers can be creative from their point of view, as long as they create their mark and attract listeners.

Dynamic changes of vocal tract dimensions with sound pressure level during messa di vocea).

The messa di voce (MdV), which consists of a continuous crescendo and subsequent decrescendo on one pitch is one of the more difficult exercises of the technical repertoire of Western classical singing. With rising lung pressure, regulatory adjustments both on the level of the glottis and the vocal tract are required to keep the pitch stable. The dynamic changes of vocal tract dimensions with the bidirectional variation of sound pressure level (SPL) during MdV were analyzed by two-dimensional real-time magnetic resonance imaging (25 frames/s) and synchronous audio recordings in 12 professional singer subjects. Close associations in the respective articulatory kinetics were found between SPL and lip opening, jaw opening, pharynx width, uvula elevation, and vertical larynx position. However, changes in vocal tract dimensions during plateaus of SPL suggest that perceived loudness could have been varied beyond the dimension of SPL. Further multimodal investigation, including the analysis of sound spectra, is needed for a better understanding of the role of vocal tract resonances in the control of vocal loudness in human phonation.

Classical singers are also proficient in non-classical singing.

Classical singers train intensively for many years to achieve a high level of vocal control and specific sound characteristics. However, the actual span of singers' activities often includes venues other than opera halls and requires performing in styles outside their strict training (e.g., singing pop songs at weddings). We examine classical singers' ability to adjust their vocal productions to other styles, in relation with their formal training. Twenty-two highly trained female classical singers (aged from 22 to 45 years old; vocal training ranging from 4.5 to 27 years) performed six different melody excerpts a cappella in contrasting ways: as an opera aria, as a pop song and as a lullaby. All melodies were sung both with lyrics and with a /lu/ sound. All productions were acoustically analyzed in terms of seven common acoustic descriptors of voice/singing performances and perceptually evaluated by a total of 50 lay listeners (aged from 21 to 73 years old) who were asked to identify the intended singing style in a forced-choice lab experiment. Acoustic analyses of the 792 performances suggest distinct acoustic profiles, implying that singers were able to produce contrasting sounding performances. Furthermore, the high overall style recognition rate (78.5% Correct Responses, hence CR) confirmed singers' proficiency in performing in operatic style (86% CR) and their versatility when it comes to lullaby (80% CR) and pop performances (69% CR), albeit with occasional confusion between the latter two. Interestingly, different levels of competence among singers appeared, with versatility (as estimated based on correct recognition in pop/lullaby styles) ranging from 62 to 83% depending on the singer. Importantly, this variability was not linked to formal training per se. Our results indicate that classical singers are versatile, and prompt the need for further investigations to clarify the role of singers' broader professional and personal experiences in the development of this valuable ability.

Assessment of professional singers using laryngeal, respiratory, and airflow measurements

Purpose In the pedagogy of classical vocal singing, it can be difficult to determine the human voice fach, especially for the voice of aspiring vocalists. Hence, an objective metric-based system for the determination of the human voice is needed. In the present study, we investigated the anthropological and aerodynamic parameters for 60 professional singers with a professionally confirmed singing range. Methods Amongst the 60 included professional singers, there were ten participants each for sopranos, mezzo-sopranos, altos (female vocal fach), and tenors, baritones, basses (male vocal fach). Airflow measurements were recorded using spirometry whilst anthropological measurements were taken using CT scans. Appropriate statistical analyses were done using the Mann-Whitney U test and Kruskal Wallis H test with post-hoc tests and Bonferroni correction. p < 0.05 was considered statistically significant. Results Soprano singers, who have the highest pitch, were found to be the shortest and least heavy, whilst basses, who have the lowest pitch, were found to be tallest and heaviest amongst the study participants. Furthermore, sopranos had the smallest lung volumes while the basses had the largest lung volumes (raw spirometry measures). However, when normalized ratios were considered, no differences were observed. Finally, laryngeal size showed sexual dimorphism due to developmental changes. Conclusions A mix of anthropological and aerodynamic measurements may be useful to assist singers and vocal pedagogues to assess and determine voice types before the beginning of their vocal studies.

Singing in different performance spaces: The effect of room acoustics on singers' perception.

Classical singers' performances vary across different acoustic environments. The changes in the delivery are influenced by the singer's perception of the venue's acoustics. This study investigated these relationships using nine professional or semi-professional classical singers. Participants performed Giordani's "Caro mio ben" aria in five venues, and the acoustic parameters reverberance (T30 and EDT), clarity (C80), early vocal support (STv), and tonal color (EDTf) were measured. From a factor analysis of the subjective analysis three major factors emerged that, we propose, would represent three generalized percepts of Room Supportiveness, Room Noiselessness, and Room Timbre. These percepts correlated significantly with objective acoustic parameters traditionally linked to vocal support, reverberation, and timbre. Room Supportiveness and Room Noiselessness significantly contributed to the singers' likability of the acoustic environment, while Room Timbre did not. This indicates that singers' perceptual preference for a performance space may be influenced by factors affecting both auditory feedback and vocal function. These findings underscore the need for performing space designers to consider the unique needs of all stakeholders, including listeners and performers. The study contributes to the bridging of the gap between subjective perceptions and objective measurements, providing valuable insights for acoustic design considerations.

The intensities of vowels and plosive bursts and their impact on text intelligibility in singinga).

In classical singing, there are often problems with the intelligibility of sung text. The present study aims to test the hypotheses that (1) in loud operatic singing, compared with speaking, the intensity of voiceless plosives increases less than the intensity of vowels, leading to poorer recognition of plosives; and (2) pronouncing the plosive bursts with greater intensity improves their recognition. The acoustic analysis of nine opera arias in Italian from the Classical and Romantic periods performed by ten classically trained singers showed that the average difference in the intensity of vowels when sung and spoken was 14.6 dB [standard deviation (SD) = 7.2 dB], while the difference in the intensity of voiceless plosive bursts was only 6.6 dB (SD = 6 dB). In a perception test with 73 participants, increasing the intensity of the plosive bursts generally improved the recognition of plosives in the sung /a-plosive-a/ sequences, but mainly when reverberation and/or pink noise imitating instrumental accompaniments were added to the stimuli. At the same time, recognition of plosives was often better than chance even when the plosive burst was missing and replaced by silence.

Personality traits in singers performing various music styles and with different singing status.

Objective was to find personality traits in singers performing various music styles and with different singing status. The study consisted of 87 singers (66 females, 21 males; age: M±SD 25.5±8.2 years; 40 students, 22 professionals and 25 amateurs; 38 classical singers, 42 contemporary commercial music [CCM] singers; 55 solo singers and 22 choral singers). Participants filled in the NEO Five-Factor Inventory questionnaire and demographic information form. Median values compared to the Polish general population, suggest that solo, CCM, student and professional singers have a high level of conscientiousness. Those who sing in a choir, classical music, amateurs and students have relatively high level of agreeableness. High level of extraversion is observed among CCM singers and students. Students score higher on extraversion then professionals (p < 0.001). Professionals score higher on extraversion then amateurs (p < 0.01). Professionals less frequently than amateurs and students score high on agreeableness (p < 0.001). High scores on conscientiousness are significantly higher among professionals and students compared to amateurs (p < 0.001 in both cases). Solo singers have higher level of conscientiousness (p < 0.001) and openness (p < 0.001) and lower neuroticism (p < 0.01) than choral singers. Classical singers more often than CCM singers score low on openness (p < 0.01) and high on agreeableness (p < 0.01). Classical singers have lower level of openness and higher level of agreeableness than CCM singers. Neuroticism is higher among choir than solo singers and conscientiousness is higher among solo than choir singers. Amateurs had the highest level of neuroticism and the lowest level of conscientiousness as compared with professional singers and students. Int J Occup Med Environ Health. 2023;36(4):541-50.

Long-Term Average Spectrum as an Outcome Measure of Vocal Projection After Resonant Voice Therapy in Carnatic Classical Singers

The current study evaluated the effects of resonant voice therapy (RVT) on the long-term average spectrum (LTAS) parameters of vocally healthy trained Carnatic classical singers. The objectives of the study were i) to understand the perceptual differences and ii) to understand the change in LTAS contour parameters and the alpha ratio of the sung voice samples of the trained Carnatic classical singers before and after RVT. The study used a quasi-experimental, prepost design and purposive-convenient sampling method. Nineteen vocally healthy singers (4 males and 15 females) aged 18-25 years (M=23; standard deviation [SD]=2.09) with minimum 10 years of formal Carnatic classical vocal music training volunteered to participate in the study. The audio recordings of the participants' sung aakaara (/a/ vowel singing) were obtained before and after the training. All participants were assigned to a 21-day-long RVTtraining program scheduled as 15-20 minutes sessions. The participants' pre-training and post-training singing samples were subjected to LTAS analysis. The spectral mean, SD, skewness, kurtosis, and alpha ratio were extracted from the sung samples. The mean and SD of the parameters were obtained using descriptive statistical methods. Wilcoxon signed-rank test was performed to evaluate significant differences in the obtained parameters across pre-training and post-training sung samples. Though there was an increase in perceptual vocal resonance in the post-training sung samples, the difference was observed to be statistically insignificant. The results indicated a significant difference only in the alpha ratio values, which were decreased, indicating an increase in the high-frequency energies. The descriptive statistical evaluations showed a reduction in the parameters of spectral mean, SD, skewness, and kurtosis. The observations from the current study indicated that the RVT training increased the energies of higher frequencies in the singers' voices (1-5kHz). This high-frequency energy favored improved voice projection, imparting perceptual resonanceor ringing quality of the voice.

Exploring Integration Mechanism of Music Instructional Design and Education Informatization

INTRODUCTION: In the new era of information society, the knowledge reform of school music education is getting more and more attention. Traditional teaching methods need to make full use of information technology. They cannot meet the current learning needs because the learning of information technology teaching is an essential means to realize modern learning. , therefore, the application of information technology in music education meets the requirements of the times.&#x0D; OBJECTIVES: To improve traditional teaching methods by utilizing modern teaching techniques so that students can gain more knowledge. With the help of modern technology and information technology, secondary music education can change the students' audiovisual experience, enrich their musical experience, and deepen their understanding and memorization of knowledge.&#x0D; METHODS: In this paper, use a neural network algorithm to explore the integration mechanism of music teaching design and education information technology, optimize the traditional information technology teaching platform, improve the stability of the music teaching platform, and further improve the level of network teaching from the feedback of students and teachers.&#x0D; RESULTS: This study's results found that this experiment's educational platform could motivate students to manage teaching and actively participate in music teaching and lessons. However, due to the real-time nature of information technology, it removes doubts between the parties and facilitates communication between teachers and students. The primary goal of music education is to perceive the attraction of music in terms of sight and sound, to relax the mind and body, and to develop a musical personality. From this perspective, it is also necessary to utilize modern information technology to change teachers' traditional teaching methods in classical performance and singing.&#x0D; CONCLUSION: With the help of modern technology and information technology, secondary music education can change the audiovisual experience of students, enrich their musical experience, and deepen their understanding and memorization of knowledge. The information system can motivate students to manage teaching and actively participate in music teaching.

Evolving the Master-Apprentice Tradition: A Pathway Back to a Student-Centered Pedagogy

This article explores one of the oldest structures of formal education, the master-apprentice tradition, and how it has both persisted and evolved in the Western classical singing community in both name and practice. By studying the history of the master-apprentice tradition, contemporary pedagogues may contextualize their current practices while considering modifications that may yield a more student-centered pedagogy. The master-apprentice tradition is rooted in the experiences of the master. This teacher-centered pedagogy establishes a clear hierarchy of power in the teacher-student relationship. From an inferior position, students may become dependent on their teachers and ultimately silence their own technical and artistic instincts. Student and teacher interaction play a crucial role in the development of a student’s concept of self and their agency to embrace autonomy. Teachers and students often assume the dependent relationship of the master-apprentice tradition as it allows them to fulfill roles they understand, and earnestly continue to honor traditions established by the singers and pedagogues of the past. The period from the late nineteenth to the early twentieth century is often regarded as the “golden age” of Western classical singing. During this time, Manuel Garcia II, Mathilde Marchesi, the Lamperti’s, among others, codified much of the bel canto technique that continues to resonate throughout voice studios today. Much of the research concerning these revered pedagogues focuses on what they taught, but not how they taught. However, writings of the “golden age” pedagogues and their students infer that their primary focus was on the individual and independent development of each student. The teacher often relinquished the traditional role of “master,” and assumed the role of mentor and co-learner. By examining the how, contemporary pedagogues may realize adjustments in their teaching that honor and build upon the knowledge and experiences of students, ultimately devising a more student-centered pedagogy.

It Sounds like It Feels: Preliminary Exploration of an Aeroacoustic Diagnostic Protocol for Singers.

To date, no established protocol exists for measuring functional voice changes in singers with subclinical singing-voice complaints. Hence, these may go undiagnosed until they progress into greater severity. This exploratory study sought to (1) determine which scale items in the self-perceptual Evaluation of Ability to Sing Easily (EASE) are associated with instrumental voice measures, and (2) construct as proof-of-concept an instrumental index related to singers' perceptions of their vocal function and health status. Eighteen classical singers were acoustically recorded in a controlled environment singing an /a/ vowel using soft phonation. Aerodynamic data were collected during a softly sung /papapapapapapa/ task with the KayPENTAX Phonatory Aerodynamic System. Using multi and univariate linear regression techniques, CPPS, vibrato jitter, vibrato shimmer, and an efficiency ratio (SPL/PSub) were included in a significant model (p < 0.001) explaining 62.4% of variance in participants' composite scores of three scale items related to vocal fatigue. The instrumental index showed a significant association (p = 0.001) with the EASE vocal fatigue subscale overall. Findings illustrate that an aeroacoustic instrumental index may be useful for monitoring functional changes in the singing voice as part of a multidimensional diagnostic approach to preventative and rehabilitative voice healthcare for professional singing-voice users.

Seeing Voices: A Dynamic, Interprofessional Approach to Teaching Performing Arts and Speech-Language Pathology Students About Vocal Anatomy and Physiology

Seeing Voices was an interprofessional, technology-enabled, large-scale, teaching and learning event developed to address the need to improve voice students' knowledge of laryngeal anatomy and physiology toward understanding and maintaining vocal health. Seeing Voices trialed a novel interprofessional educational approach, collected both quantitative and qualitative data about student experiences of laryngostroboscopic examination, and built a databank of laryngeal recordings for future student learning. Seeing Voices involved two 3-hour seminars in a large, university lecture space, run by an interprofessional team (speech-language pathologists, vocal coach, Ear Nose and Throat consultant) with quality equipment projecting laryngeal images to large screens with expert commentary in real time. Participants were 18 students who volunteered for laryngeal examination (9 per seminar) and student attendees (n=175) from performing arts courses (classical singing, contemporary, jazz, musical theater, acting) and a speech-language pathology course. A quantitative evaluation of knowledge gained was undertaken using a Qualtrics survey. Results from pre (n=175; performing arts=120; speech-language pathology (SLP)=55) and postevent (n=99; performing arts=56; SLP=43) questionnaires were received from the students who attended. Interviews were collected from 15 of the 18 student volunteers about their experiences of nasendoscopic evaluation and data were analyzed using qualitative description and qualitative content analysis. Quantitative results demonstrated a strong trend toward increased knowledge following attendance at the event across year cohorts for both student groups. Qualitative interviews highlighted the value in seeing multiple examples of normal laryngeal functioning across different vocal techniques in real time. For those undertaking nasendoscopic examination, simultaneously seeing and feeling laryngeal maneuvers used in training appeared to promote understanding of their own vocal mechanism and the purpose of different vocal techniques. Seeing Voices offers a novel way to improve interprofessional collaboration, and engagement with, and understanding of, laryngeal anatomy and vocal health by students in performing arts and speech-language pathology courses.