Voices In Education Research Articles

All Tied Up: The Effect of Wearing a Necktie on Acoustic and Perceptual Measures of Male Solo Singing

The purpose of this study was to assess acoustically (long-term average spectra and multidimensional voice profile) and perceptually (participant perceived phonatory ease and expert listening panel) the effect of wearing a necktie on male singing in a solo setting. No study to date has assessed the potential effects of wearing neckties in a solo vocal setting. Among primary results: (a) statistically significant differences in spectral energy (0-10 kHz) between performances with and without a necktie, (b) increases in mean jitter and shimmer percentage measurements of singers with a necktie, (c) significant reduction in perceived phonatory ease when singing while wearing a necktie, and (d) listener preferences for singing without a necktie. Results were discussed in terms of limitations of the study, suggestions for future research, and implications for voice pedagogy.

A study of literacy teaching in state primary schools of Northern Cyprus: literally critical?

ABSTRACT This study explores current literacy education in state primary schools of Northern Cyprus from the perspective of primary school teachers. The Northern Cyprus context is unique in that it has recently been receiving a considerable number of immigrants and state primary schools now include students from various backgrounds. This then raises the need for exploration of the issue of how literacy is taught to these culturally and socially diverse students. Data were collected from 20 classroom teachers teaching at 10 different schools in five districts. Semi-structured interviews were used to gather data. The findings of the study suggest that the recently developed curriculum for primary state schools is not successfully implemented in practice, and that teachers still tend to possess traditional teaching practices, which do not allow student voice or critical pedagogy, as well as integration of students’ home lives into the lessons, but are exam focused. A possible reason for this seems to be teachers’ lack of awareness of the philosophy of the new curriculum.

Promoting Critical Thinking as a Social Practice: Shaping Students’ Voice, Agency and Inter-Subjectivity in a Cohesive Framework

Strict outcome-bound approaches and text-books-based instructional practices, prevalent in the pedagogy of most of the colleges and universities in English as an International Language (EIL) contexts, involve language activities, tasks, and tests that predominantly require one right answer or response. Pedagogical practices and related quality assurance mechanisms regulated by such approaches limit students’ ability to be original and skeptical in reflecting upon various issues of importance and concern based on their own thinking and experiences. Such a focus, in Sivasubramaniam’s (2015) and Nunn and Sivasubramaniam’s (2011) view, has entirely centered on bureaucratic efficiency aimed at having a uniform curriculum for the majority of the students and a scheme of research and evaluation based on recalls, think-alouds, cloze tests and multiple-choice questions in standardized texts. In line with the socially-aligned view of competence much needed spontaneity, flexibility, and diversity accrues only through a process-centered pedagogy of voice, agency and response. In the backdrop of this as a premise, this paper aims to demonstrate how Critical Thinking (CT) can be promoted in EIL classrooms as a discursive practice that could shape students’ voice, agency and inter-subjectivity in a cohesive framework. The paper shares both theoretical and practical ideas about CT and its importance in facilitating a meaningful education and aims to demonstrate some innovative tasks and activities that could be exploited to shape student’s voice and agency and develop their higher order CT skills. The paper culminates in evolving a practically viable prototype pedagogical framework for promoting CT as a social practice in EIL classrooms that is capable of making Wilga River’s (1983) notions of ‘skill-getting’ and ‘skill-using’ a reality. Such a model will be useful for EIL practitioners in designing similar lessons with innovative tasks and activities and make the EIL class atmosphere stimulating and pedagogically more fruitful.

Promoting Critical Thinking as a Social Practice: Shaping Students’ Voice, Agency and Inter-Subjectivity in a Cohesive Framework

Strict outcome-bound approaches and text-books-based instructional practices, prevalent in the pedagogy of most of the colleges and universities in English as an International Language (EIL) contexts, involve language activities, tasks, and tests that predominantly require one right answer or response. Pedagogical practices and related quality assurance mechanisms regulated by such approaches limit students’ ability to be original and skeptical in reflecting upon various issues of importance and concern based on their own thinking and experiences. Such a focus, in Sivasubramaniam’s (2015) and Nunn and Sivasubramaniam’s (2011) view, has entirely centered on bureaucratic efficiency aimed at having a uniform curriculum for the majority of the students and a scheme of research and evaluation based on recalls, think-alouds, cloze tests and multiple-choice questions in standardized texts. In line with the socially-aligned view of competence much needed spontaneity, flexibility, and diversity accrues only through a process-centered pedagogy of voice, agency and response. In the backdrop of this as a premise, this paper aims to demonstrate how Critical Thinking (CT) can be promoted in EIL classrooms as a discursive practice that could shape students’ voice, agency and inter-subjectivity in a cohesive framework. The paper shares both theoretical and practical ideas about CT and its importance in facilitating a meaningful education and aims to demonstrate some innovative tasks and activities that could be exploited to shape student’s voice and agency and develop their higher order CT skills. The paper culminates in evolving a practically viable prototype pedagogical framework for promoting CT as a social practice in EIL classrooms that is capable of making Wilga River’s (1983) notions of ‘skill-getting’ and ‘skill-using’ a reality. Such a model will be useful for EIL practitioners in designing similar lessons with innovative tasks and activities and make the EIL class atmosphere stimulating and pedagogically more fruitful.

It’s All about the Voice . . . for Wind Instrumentalists, Too!

While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.

The Role of Observation and Mentorship in Voice Pedagogy Training

Voice teachers are seeking increasing amounts of pedagogical instructions in the form of observerships, coursework, and clinical experiences. Yet to date there has been no formalized attempt to categorize or set guidelines for these educational experiences. The aim of this study was to investigate (a) the number of hours of observations required or electively completed during pedagogical training (voice lessons, masterclasses) and clinical observations; (b) the number of hours of mentorship (critical observation of a student by a mentor) during pedagogical training; and (c) differences in the training backgrounds of voice teachers based on the level of training, position, and genre. We distributed a survey to 700 voice teachers (102 respondents) of various levels from private to university and across age range of students. The surveys contained questions about the role of observation in the teacher's training. We ran descriptive analysis and examined whether the proportion of participants with ≥10 observation and mentorship hours was different for classical versus the other musical genres. The number of respondents actively observing and being observed during their training was low. Most observations occurred within the classical and musical theater singing styles. Mentored critical observations of students were lower across genres than student observations, with the majority of respondents (67-92%) reporting no hours in genres other than classical. For all genres except classical, there was a larger percentage of respondents who reported teaching the genre than who reported receiving pedagogical training in the genre. Reported clinical voice observation hours were low (28.4% with ≥10 hours), and few respondents had >0 hours of operating room observation experience (11.8%). There is wide disparity across genres in the number of hours of observation and critical mentoring, and voice teachers' genre of instruction does not frequently match with the genre of pedagogical instruction they have received. More research is needed to determine the significance of this mismatch and whether increased hours of observation and mentoring would benefit voice instruction.

Historical Landmarks in Singing Voice Pedagogy

ABSTRACTThis article provides a brief overview of some of the most seminal and important events in the history of singing voice pedagogy, from the earliest historical writings through the most recent twenty-first century developments. Topics include primary sources from the Renaissance through the romantic eras; an exploration of bel canto concepts and methodologies; reflections on figures such as Manuel García II, William Vennard, Ralph Appelman, and Richard Miller; the history of professional organizations in the United States and their role in shaping scholarly discourse in voice pedagogy; the revelation and influence of acoustic theory, vocology, and contemporary commercial music (CCM) pedagogy in recent decades; and a look at the pedagogical horizon in the coming decades. Readers are provided with additional resources for further study.

Effects of Respiratory Muscle Strength Training in Classically Trained Singers

Many voice pedagogy practices revolve around the notion of controlling airflow and lung volumes and focus heavily on the concepts of breath support and breath control. Despite this emphasis, the effects of increased respiratory muscle strength on airflow and phonation patterns in trained singers remain unknown. This study addressed whether singers could increase respiratory muscle strength with progressive threshold training and whether respiratory muscle strength increases had measurable effect on voice outcomes. A single-subject design was used to answer the research questions. Improved breath support was hypothesized to manifest in differences in airflow and phonetogram characteristics. Six graduate-level singing students were recruited to complete the protocol, which consisted of a baseline phase followed by either inspiratory muscle strength training followed by expiratory muscle strength training or vice versa. Results showed that these singers had increased respiratory muscle strength after completing the training program. Consistent changes in measures of aerodynamics and voice were not present among subjects, although some individual changes were noted. Future research may focus on the effects of respiratory muscle strength training in less advanced singers.

The legacy of William Vennard and D. Ralph Appelman and their influence on singing voice pedagogy: reflections after 50 years (1967–2017)

The year 2017 marks the 50th anniversary of two seminal textbooks in the history of singing voice pedagogy: D. Ralph Appelman’s The Science of Vocal Pedagogy: Theory and Application and the revised...

Towards evidence-based practices in voice pedagogy

Voice pedagogy was initially based on an orally transmitted master-apprentice teaching–learning model, applying observational type of learning centred in the final artistic product. Since then, this model has been continuously replaced. Nowadays, the social organization of work in globalized economies has called for the need of rethinking education so that future generations can meet the demands of lifelong learners, who are skilful at using systems of information, who are flexible and adapt to the lack of stability at work, and who are able to make their own career opportunities. How can this be applied to voice pedagogy? This work aims at finding answers to these questions, further contributing to the discussion raised at the voice pedagogy round table of the 10th Pan-European Voice Conference, “Vocal Pedagogy – What do we need?”. The rationale for reflective practices in voice education and for enhancing metacognitive skills in student's using evidence-based guided awareness is discussed. The provision of meaningful feedback and the use of a holistic approach to voice teaching are presented as means to meet individual needs of different types of learners. Problem-solving and student-centred teaching–learning models are proposed as key elements in developing reflective voice practitioners.

Exercise Science Principles and the Vocal Warm-up: Implications for Singing Voice Pedagogy

Principles from exercise science literature were applied to singing warm-up pedagogy as a method for examining parallels between athletic and voice training. Analysis of the use of exercise principles in vocal warm-up should illuminate aspects of voice training that may be further developed in the future. A selected canon of standard voice pedagogy texts and well-regarded warm-up methods were evaluated for use of exercise science principles for skill acquisition and fatigue resistance. Exercises were then categorized according to whether they were used for the purpose of skill acquisition (specificity), training up to tasks (overload), or detraining (reversibility). A preliminary review of well-established voice pedagogy programs reveals a strong bias toward the skill acquisition aspects of vocal warm-up, with little commentary on the fatigue management aspects. Further, the small number of vocalises examined that are not skill-acquisition oriented fall into a third "habilitative" category that likewise does not relate to overload but may play a role in offsetting reversibility. Although a systematic pedagogy for skill acquisition has emerged in the literature and practice of voice pedagogy, a parallel pedagogy for fatigue management has yet to be established. Identification of a systematic pedagogy for training up to specific singing genres and development of a singing maintenance program to avoid detraining may help the singer avoid injury.

Stalking the calm buzz: how the polyvagal theory links stage presence, mammal evolution, and the root of the vocal nerve

Conversational voice and speech—which are enlarged and refined in theatrical performance—evolved from the social sounds and gestures of animals. A recent and influential theory in psychophysiology links this evolution to specific changes in the vagus nerve, which is also the parent of the nerves that control the larynx. This “polyvagal theory,” developed by Stephen W. Porges through decades of objective research, offers powerful insights into the nature of stage presence in general and vocal communication in particular, including the visceral impact of voice on the listener. The polyvagal theory is presented here following background on the autonomic nervous system, how vagus nerve activity is measured, and how this nerve impacts communication ability. Strong parallels emerge between the objectively based polyvagal theory and artists’ subjective descriptions of vocal performance. The discussion concludes with implications for theater–voice pedagogy and suggestions for future research linking neuroscience to the vocal arts.

Use of H1-H2 to quantify formant tuning for notes and portions of the vibrato cycle in the second passaggio of a professional female singer

Singing voice pedagogy emphasizes that an acoustic change occurs in standard, classical, techniqued soprano voice between the musical notes D5♮ (587 Hz) and F5♮ (698 Hz). For low vowels, this involves a transition from tuning of the second resonance to the second harmonic (F2/H2) to tuning of the first resonance to the fundamental (F1/F0). In this single-subject study, we quantified the acoustics of this transition as the amplitude difference between the first and second harmonics (H1-H2). Results showed a clear and substantial change from negative to positive H1-H2 values at a pivot point between E5♭ and E5♮, implying the resonance tuning. Non-techniqued singing, with the same singer, showed no such change. F0 fluctuation (vibrato) of ±90 cent at the pivot point resulted in positive H1-H2 values at vibrato maxima and negative ones at vibrato minima. Additionally, H1-H2 values were consistently higher at vibrato maxima than minima throughout the transition area. Potential explanations for the latter result are: (i) vocal tract resonances are located just above the sung F0, or (ii) the vibrato cycle is accompanied by an articulatory change, possibly laryngeal movement. This illustrates the intricacies of formant tuning and suggests future possibilities for numerical assessment of vocal technique.

Cantor Digitalis: chironomic parametric synthesis of singing

Cantor Digitalis is a performative singing synthesizer that is composed of two main parts: a chironomic control interface and a parametric voice synthesizer. The control interface is based on a pen/touch graphic tablet equipped with a template representing vocalic and melodic spaces. Hand and pen positions, pen pressure, and a graphical user interface are assigned to specific vocal controls. This interface allows for real-time accurate control over high-level singing synthesis parameters. The sound generation system is based on a parametric synthesizer that features a spectral voice source model, a vocal tract model consisting of parallel filters for vocalic formants and cascaded with anti-resonance for the spectral effect of hypo-pharynx cavities, and rules for parameter settings and source/filter dependencies between fundamental frequency, vocal effort, and formants. Because Cantor Digitalis is a parametric system, every aspect of voice quality can be controlled (e.g., vocal tract size, aperiodicities in the voice source, vowels, and so forth). It offers several presets for different voice types. Cantor Digitalis has been played on stage in several public concerts, and it has also been proven to be useful as a tool for voice pedagogy. The aim of this article is to provide a comprehensive technical overview of Cantor Digitalis.

Breath, tremoring, and performance anxiety: How can Fitzmaurice Voicework’s Destructuring address performance anxiety in undergraduate acting training?

This study explores the relationship between the student experience of performance anxiety and Fitzmaurice Voicework’s Destructuring in undergraduate actor training. While current voice texts primarily focus on reducing habitual tension through various exercises, the acute and detrimental experience of performance anxiety is not fully addressed. However, the problem does not solely exist in the lack of literature for voice pedagogy, but is threefold: 1) Systemic: there are no clear coping strategies for performance anxiety embedded in theatre or voice training; 2) Practical: voice teachers are not qualified to provide therapeutic support to students dealing with performance anxiety; and 3) Research: performance anxiety has a debilitating effect on vocal performance. Utilizing Grounded Theory as a methodology, four phases of data collection were triangulated. Three core themes emerged from the data: increased body awareness, parasympathetic activation, and self-care. From these themes, a theory was formed that Fitzmaurice Voicework’s Destructuring work can be used as a self-regulation strategy for students with performance anxiety, and also promote autonomy and resilience. Ultimately, students can use Fitzmaurice Voicework as a practical way to self-regulate and increase awareness of their somatic experiences, as well as promote self-care in their training.

The unspoken voice and speech debate [or] the sacred cow in the conservatory

The article discusses how the direct instruction versus constructivism debate in educational literature relates to the voice pedagogy field. Outlining three spoken (or well researched) debates in the field, the article traces the history of voice and speech pedagogy and explores how direct instruction versus constructivism acts as a dominant and unspoken dispute within the discipline. The central argument states that all instructors prefer either direct instruction or constructivism teaching methods. The author offers a question-and-answer case study and concludes that voice instructors should teach to a variety of learning styles, incorporating both direct instruction and constructivism practices. Insisting that students only learn in the preferred learning style of the instructor is the sacred cow of the conservatory.

Voice pedagogy—what do we need?

The final keynote panel of the 10th Pan-European Voice Conference (PEVOC) was concerned with the topic ‘Voice pedagogy—what do we need?’ In this communication the panel discussion is summarized, and the authors provide a deepening discussion on one of the key questions, addressing the roles and tasks of people working with voice students. In particular, a distinction is made between (1) voice building (derived from the German term ‘Stimmbildung’), primarily comprising the functional and physiological aspects of singing; (2) coaching, mostly concerned with performance skills; and (3) singing voice rehabilitation. Both public and private educators are encouraged to apply this distinction to their curricula, in order to arrive at more efficient singing teaching and to reduce the risk of vocal injury to the singers concerned.

The Effect of Experience on Response Time When Judging Synthesized Voice Quality

The purpose of this study was to determine the effect of level and type of experience on response time and the number of replays needed when judging voice quality. This was a within-subjects group design. Speech-language pathologists, singing voice teachers, speech-language pathology graduate students with and without experience with a voice client, graduate students who have completed a voice pedagogy course, and inexperienced listeners (n=60) rated stimuli with systematically altered measurements of jitter, shimmer, and noise-to-harmonics ratio (NHR) on a visual analog scale ranging from mild to severe for overall severity, roughness, breathiness, strain, and pitch. Response time (in seconds) and number of replays were recorded during the experiment. Results showed that experienced listeners took the most time when rating the stimuli. Stimuli with two altered acoustical components also yielded longer response times compared with the stimuli with one altered acoustical component. Finally, level and type of experience had some effect on the number of replays for each stimulus during the rating task. In conclusion, experience does affect response time when judging voice quality and the number of replays during voice quality rating tasks. Continued research is needed regarding the reasons for extended time and replays as per experience so as to enhance future training protocols.

Dysconscious racism in mainstream British voice pedagogy and its potential effects on students from pluralistic backgrounds in UK Drama Conservatoires

Given the increasing diversity in UK actor training programs, it is imperative to recontextualize mainstream British voice pedagogy. Such pedagogy generally begins with the supposition that the voice is a representation of the sociocultural self and aims to improve the voice by undoing physical tensions that can impede usage. These tensions are usually attributed to negative societal influences that may induce feelings of fear, shame, or anger. For students with pluralistic backgrounds, racism may be such an influence that creates somatic tensions. This article will examine potential manifestations of dysconscious racism, an uncritical mindset that fails to challenge the norms of a dominant culture, within UK Drama Conservatoires. This includes: curriculum, liberal humanist assumptions in voice texts, standardized accents like Received Pronunciation, and the teacher-student relationship. By conducting semi-structured interviews and employing such methodological lenses as critical ethnography and embodied phenomenology to examine the resulting findings, this article aims to present ways that students from pluralistic backgrounds are potentially impacted by dysconscious racism in their voice training. Given British voice pedagogy’s emphasis on voice and identity, this article’s findings and analysis strongly recommend that voice teachers re-examine their practices with a critical consciousness to create an empowering environment for their students.

“Blessed in my own way:” Pedagogical affordances for dialogical voice construction in multilingual student writing

While the theoretical orientation of voice as an amalgamated dialogical effect has received consensus in second language writing circles, classroom practice and research have not kept pace with these developments. This article reports the trajectory of a Japanese student in negotiating the classroom affordances provided by a dialogical pedagogy to construct her desired voice. Analysis of the ways this pedagogy facilitated awareness in the student and progressive understanding in the teacher suggests implications for a pedagogy of voice. The study unveils the components that are amalgamated, process of dialogicality, and the challenges in achieving a co-constructed voice.