abstracts voicesymposium 23th – 24th of august 2014€¦ · web viewabstracts voicesymposium...

1/35

AbstractsPresymposium, Friday 22th of August

andVoicesymposium, Saturday 23th and Sunday

24th of August

4/35

Abstracts Presymposium 22th of August 2014

Welcome

Jürgen WendlerReflecting a 19th century’s intervention, the indirect way to the glottis – obsolete or up-to-date?

AbstractIt was a spectacular breakthrough when Victor von Bruns succeeded to remove a polyp

from his brother’s glottis by indirect laryngoscopy in 1861, shortly after this look into the larynx had been introduced into medical methodology by Türck and Czermak. Primarily accompanied by heavy controversial comments, the procedure soon became the standard for an entire century until Oskar Kleinsasser presented his direct approach under general anesthesia and optical magnification in 1962.

The advantages appeared that obvious that the indirect mirror way seemed to be definitively ruled out and had to be labeled as obsolete. It was Karel Sedláček in Prague who hesitated to follow the new trend unquestioningly because of some reservations regarding functional control during the interventions, particularly in delicate cases of minor lesions related to professional voices. Thus he, still, preferred the indirect way, but combined with the application of an operational microscope. Benefits as well as drawbacks of both of the approaches will be compared in detail. Anyhow, Sedláček’s demonstration of this indirect laryngeal microsurgery in 1967 convinced me immediately, and one week later I did my first operation in this way that became our standard in Berlin from then if indicated. Later on extended to microstroboscopy together with Wolfram Seidner, an approach was established that allowed functional control not only by listening to the sound of the voice, but also by monitoring carefully the vocal folds’ vibration whilst the intervention is being carried out, with the patient awake.

We stopped counting when we had reached some 5000 cases. Several follow-up studies 1 to 5 years after the operations revealed quite satisfying results with a share of normal findings (morphologically as well as functionally) in the order of 90%. And, particularly convincing, all our operated singers, among them top international soloists, returned to stage with full vocal efficiency. Several colleagues from Europe and from overseas visited us to have a look at our procedure and took their experiences home to make use of them in their own offices. Some of them are with us in Salzburg, and I am looking forward to their appraisals if the indirect way to the glottis is, still, up-to-date as a recommendable alternative. In 1995, when my own clinical experience was ending, so I am sure, it was.

Ilter DeniziogluAppetizing introduction in the physiologic principles of voice production

AbstractHuman voice is a multidimensional phenomenon. Understanding the whole picture can

never be completed with the classical textbook knowledge including anatomophysiology and some acoustics. Bioenergetics, biomechanics, nonlinear mathematics and physics and many

5/35

more disciplines are needed to explain the details of principles of voice production. One important way of understanding human voice is of course vocal pedagogy from which science of modern vocology is born.

Artists’ way of understanding nature and their way of expressing the process may not be by numbers but by colors, shapes or sounds. Mathematics is the language of nature and is included in colors (frequency of light), shapes (metric measures) and sounds (frequency and amplitude of vibration) as well. Singing teachers make their explanations by using some terms such as Chiaroscuro, mask feeling, noble posture, high sternum, drinking the voice, etc. Many other recipes those used in vocal pedagogy are still yet to be explained in detail. They all indicate the motion and it takes years to put it into practice. Motion is the fourth dimension of anatomy and it is essential to understand motion to see the whole picture of voice production. Motion in the nature is complicated, non linear, and nearly impossible to predict with its infinite components. The formula of the complex dynamic processes in nature is simply (!) explained by an artist in a magic quote: ’Mobilis in mobili’ which means motion in motion. With these words, Jules Verne summarized the formula of human voice as well.

Vocal pedagogy sheds valuable insights into the evaluation of human voice. Explaining the artistic way of understanding human voice, by the language of science, provides new opportunities of improvements that numbers may never can.

James P. TomasUsing your ear and stroboscope for accurate diagnosis

AbstractHearing a voice disorder is the most valuable tool available to the laryngologist.

Listening is also the most common missed step in the diagnosis of voice disorders. Learning how to use vocal capabilities testing before visually examining the larynx will improve the accuracy of laryngeal diagnosis.

Identifying the comfortable speaking pitch, maximum phonation time, highest and lowest pitch and noting the quality of voice production while attempting these vocal tasks will orient the examiner. Loud and soft voice production at both high and low pitches will elicit vocal cues to find hidden vocal cord vibratory impairment.

Wherever the voice has the maximal impairment during this audio portion of the exam will then suggest the pitch and volume at which to record the stroboscopic examination. For example, weakness of the vocal cords will be exacerbated at low pitch and low-volume sound production. Vocal cord swellings such as nodules, polyps and hemorrhage will most significantly impair vocal cord vibration at high pitch and low-volume. Each type of vocal cord vibratory impairment generates a specific pattern on this type of vocal capabilities testing.

Ingo HerrmannWhat We Know And Don’t Know About Swallowing

AbstractTwo well-known core statements of Aristotle are: "Nature does nothing in vain" and

"the whole is more than the sum of its parts." But what is MORE THAN? How does the variety interact to end in a meaningful function? How can we discover, recognize and

6/35

experience what is given and predetermined? How do breathing, eating, swallowing and the voice really work in the area of MORE THAN?

The interaction of organ systems, which belong to an extremely flexible processing factory, one that is provided with back-ups and whose precision and adaptability can only provoke astonishment, is not familiar to most people.

The observation and measurement of the functions in the aerodigestive tract during exercise or in natural sleep should not be limited to the laryngopharynx alone. During sleep, one has a second life and it affects the whole body.

The consideration of speaking, eating and drinking under retrograde and anterograde demands more in relationship to the pharynx, esophagus and stomach. The analysis of functions during a feeding cycle is needed to understand the new territory to learn, to classify, and then allow the return to the essentials. Meals as an energy supply are always combined with another system of energy exchange --breathing. At the same time, both can allow an acoustic system communication and through touching support the physical feelings.

A neglected function should also be given attention and that is the saliva in its three functional forms, the liquid in the stomach, the bile and the pancreatic juice. Their importance next to the microbiome will be a research desideratum for the future.

Above all: The function experiences, in time, age-related wear and tear. The repair mechanisms

can only partially compensate for defects or absorb reductions that have genetic traces and are quantitatively uncommitted in the telomeres. And this is merely the beginning of understanding the Aristotelian MORE THAN ... even with the silent dysphagia and reflux.

Rehab Awad

However, the relation between the severity of handicap caused by the voice disorder and the psychometric properties of reflux has never been examined.

Summary of findings:There is a noted relationship between VHI scores and RSI scores as 88% of patients

with voice disorders scored significantly on the RSI. Patients who scored higher on the VHI tended to have significant RSI scores. For patients scoring insignificant RSI scores, the Mean VHI score of 27.74 and for patients scoring significant RSI scores the Mean VHI score was 55.04 (statistically significant, p = 0.000000000788). This relationship was found to be more evident comparing final VHI and RSI scores than initial scores.

It was found to be more evident for voice disorders of organic causes than of functional causes. For patients with functional voice disorders: patients scoring insignificant RSI scores

Reflux, Sleeping with the EnemyAbstract

The prevalence of reflux among patients with laryngeal and voice disorders has been estimated to be about 50%. Patients with Laryngopharyngeal Reflux (LPR) commonly present with complaints such as hoarseness, globus sensation, throat clearing, sensation of postnasal drip, difficulty swallowing, chronic cough, choking episodes/laryngospasm, and (occasionally) heartburn. These items have been included in the Reflux Symptom Index (RSI), which is a validated clinical tool for LPR and has been used as one of the assessment tools for patients with dysphonia

Voice Handicap Index (VHI) is another self-rating assessment tool for patients with dysphonia commonly used as a monitor of improvement of the voice disorder following management.

7/35

had Mean VHI score of 31.11 while patients scoring significant RSI scores had Mean VHI score of 52.80(significantly different, p = 0.00187) The mean improvement of both VHI scores and RSI scores for patients who completed their treatment was found to be statistically not different (p= 0.087) indicating similar percentage of improvement. So much so that the relationship was found to be statistically significant between the Final VHI and RSI scores for patients with Organic Voice Disorders, using the correlation co-efficient R value (R= 0.75)

Change of Practice:The findings of this recent study have been an important factor in adjusting the

University Hospital Lewisham protocol for managing reflux. The old protocol was used for three years.

The Question:However, these findings have raised an important question: “Is the RSI measuring what

it is supposed to measure??”

James P. TomasSilent Reflux, does it exist?

AbstractOver the past 20 years, reflux laryngitis and silent reflux have become mainstream

explanations as a proposed cause of hoarseness. This has occurred despite no substantial evidence that there is any relationship between measurable reflux and impairment of vocal cord motion. Many scientific articles create confusion by lumping together various throat symptoms (cough, lump, clearing) along with hoarseness and searching for evidence of correlation.

Analog and digital artifacts of endoscopy create the impression of inflammation when it does not exist. These include visual artifacts related to video recording such as; inadequate illumination, fiber-optic distortion, color video balance, angulation of the endoscope, perspective, and wide-angle lens distortion. Methodology or technique of endoscopy and stroboscopy affects the perceived diagnosis. Frequent problems noted are inadequate attention to detail, inadequate closeness of the endoscope, anatomic obstruction, lack of visualization of vocal cord motion at various pitch levels and various sound pressure levels during an examination. Even an abnormal laryngeal visual finding needs to be correlated with the vibratory impairment before cause and effect can be deduced. These are the most likely reasons for missing vocal cord vibratory impairments.

Additionally, no literature has correlated vocal cord motion changes with measurable pH changes. Vocal cord color does not change vocal cord vibratory characteristics. Apparent swelling of non-vibratory structures plays no role in alteration of sound production.

Michael BaschataThe surgical view on assessment and treatment of the gastro-esophageal reflux disease

AbstractThe presentation will give a summary of the surgical view on the gastroesophageal

reflux disease in terms of demography, clinics, diagnostic tools (endoscopy, functional testing with pH study and manometry) as well as options for treatment, both medical and surgical. Novel concepts will be presented for development of hiatal hernia, histopathological differenciation and surgical treatment highlighting their impact.

8/35

Craig ZalvanDiagnoses of Laryngopharyngeal reflux disease: from TNE to oropharyngeal pH testing

AbstractAn overview of the current diagnostic modalities available for LPR: indications,

examples, and workup paradigm to be discussed with additional focus on transnasal esophagoscopy (TNE).

Jitka VydrovaDiagnosis of laryngopharyngeal reflux disease in patients with voice disorders using combined multi-channel intraluminal impedance and pH monitoring (MII-pH)

AbstractThe penetration of duodeno-gastric contents, i.e. refluxed fluid, above the upper

oesophageal sphincter (UES) is often responsible for voice disorders and other symptoms in ENT. In the last decade, the method of combined multichannel intraluminal impedance and pH monitoring (MII-pH) was developed for reflux diagnosis but has not yet been sufficiently tested on patients with voice disorders. The aim of this work was to find out on the sensitivity and usefulness of this method for diagnosing laryngo-pharyngeal reflux disease (LPRD) in voice disorders.

Methods: 111 patients with voice disorders were selected based on pathological findings on laryngeal mucosa diagnosed through laryngostroboscopy (Reflux Finding Score over 7) and Reflux Symptom Index value over 13. These patients underwent 24 hours MII-pH monitoring in order to determine the extent and pH of the reflux episodes.

Results: Episodes of acidic or weakly acidic reflux through the upper oesophageal sphincter (UES) were detected in 94% of the patients. In 98% subjects these episodes reached the Z2 sensor located 2 cm distal from the upper edge of the oesophageal sphincter. In 100% of the subjects the refluxate reached the Z3 sensor located 4 cm distally from the upper edge of the oesophageal sphincter. The pH of the reflux episodes reaching the UES was weekly acidic in 20% patients, both acidic and weakly acidic in 71% acidic in only 3% patients. The De Meester score was abnormal in only 38% of patients.

Discussion and conclusion: The sensitivity of the combined MII-pH was found to be highly superior to the traditional methods. Single channel pH metry (de Meester score) would have neglected reflux findings in 62% and the double-channel pH metry in 20% of patients, thereby reducing the chance of LPRD being correctly diagnosed and treated. The MII-pH is considered to be a highly useful method for detecting LPRD in patients with voice disorders.

Acknowledgments:

Werner DullerCronic cough related to silent reflux - the pulmologic view

AbstractIn general, coughing is still one of the main symptoms leading to a GP´s office. The

most common reasons for chronic and persistent cough are bronchial asthma and allergy but

9/35

also the chronic affection of the nasal mucous membrane and the sinus mucous membrane. Another important cause of coughing is the proximal oesophageal laryngeal (silent) reflux, which occurs in over 30 percent of chronic cough or hacking.

In our Reflux clinic we have observed multiple causes of reflux and also many different types of reflux. From our experience it is important and relevant to analyze the characteristics of the gastric content, respectively the content of the reflux, whether it has acido-peptical, bile- or neutral activity, and either if it is fluid, solid or gaseous. This is important because proximal reflux can be associated with different types of aspiration, leading to tracheobronchial hyperreactivity and subsequent chronic cough.

In addition to this, physicians need to be aware of the fact that not every Reflux derives from the gastroduodenal system but may reach the throat and even the mouth as an oesophago-oesopageal Reflux due to regurgitation. In our Reflux clinic we identified and described the following different types of reflux:1) spill over type or distal only reflux type, 2) proximal Reflux- type, and 3) in 4% a jet- burp eructation Type, where the acidal activity is even higher in the throat than in the distal gullet.

Due to the irritation of the vagal nerve in the distal oesophagus even the “distal only reflux” type is sometimes associated with chronic cough. Chronic cough, hoarseness and clearing the throat are very common symptoms for the proximal reflux and in about 80% of these cases there is no macroscopic inflammation in the distal oesophagus and no heartburn. Therefore it is sometimes necessary to distinguish between erosive and non erosive gastro-oesophageal reflux disease, most common described as NERD or GERD. Only an exclusively volume associated reflux caused by the insufficience of the distal or lower oespophageal Sphinkter (LES), often related to a huge gastral or hiatal hernisation, should remain a domain of surgeons.

Ilter DeniziogluTricks and skills in Voice Therapy

AbstractVoice therapy techniques are behavioral therapy methods which use pedagogical

approaches of arts training (ie. singing and theatre) and sound physics structured on medical grounds. The main goal is to obtain a target voice which is the best possible voice within the patient's anatomic and physiologic capabilities. In other words, voice therapy means to make a change in a highly ordered nonlinear dynamic system: human voice. To change here, means to give a different order which is more suitable for the voice system. So it is essential to know the system thoroughly and from different perspectives.

Voice therapy is a way of understanding human voice production, as well. Changing the formula of the vocal production depends on the connection of different disciplines regarded in voice: bioenergetics through mathematics and physics; medicine and vocal pedagogy. Voice therapy is science of art and art of science. The main idea can be summarized as ‘Form follows function’. It means, to change the form, you need more than surgery: to change the form, you should change the function.

In this workshop, human voice will be explained by different perspectives, several voice therapy techniques will be emphasized and Lax Vox Voice Therapy Technique will be thoroughly revisited.

The program schedule will be as follows:1. Multidimensional aspects of human voice: Anatomy and physiology from the

standpoint of arts, mathematics and sound physics.

10/35

2. General definitions and methodology of voice therapy: Definition and explanation of voice therapy, vocological diagnosis, finding the sound of target voice, developing the target voice, decision making through changing the vocal dynamics and adopting the target voice into life through motor learning principles.

3. Voice therapy techniques: A mind-map of voice therapy techniques in general; descriptions with live samples about several techniques.

4. Lax Vox Voice Therapy Technique: Theoretical descriptions (physiopathological pathways, detailed instructions, tricks); pedagogical applications (different singing exercises, solutions for singers, etc); clinical indications; pre- and post- treatment video samples of different vocal pathologies.

5. Discussion and hands-on applications with the Lax Vox tube.

Ingo HerrmannLearn Together – Silent Dysphagia and Silent Reflux

Abstract“Learn together” is the continuous task of opinion leaders to share knowledge for the

benefit of the patients. Reflux is normal and dysphagia pathological. The Greek word “dysphagein” means bad-eating with all involved risks. Silent dysphagia is not felt by the patient as dysphagia. In this case the patient is not aware of the disturbance and we define it a “compensated dysphagia”. Nevertheless there is a measurable difference to normal function during functional endoscopy.

In contrast to dysphagia, a certain amount of reflux is normal. It is known as DGR, GER or EPR. Too much reflux can induce pathological findings as well as an inadequate reflux with reference to the duration and the period of digestion. A central question in extra-esophageal reflux diseases remains the quality and quantity of liquid- and gas-reflux and the role of vagal reflexes (coughing) including reflux during natural sleep. Some questions have to be answered: What is silent reflux exactly? Does it mean typical findings without history and symptoms? How safe are typical findings under these conditions? These facts ask for the improvement of the sensitivity of our diagnostic tools.

The observations during functional endoscopy will accompany our learning-together-discussion including the empty stomach and the intake, the retroflex view in the oropharynx and the mastication, the retroflex view in the post-cricoid region during phonation “a” and “i” etc.

Craig ZalvanOropharyngeal ph testing – a user manual

AbstractReview of current pH testing modalities with a primary focus on the oropharyngeal pH

system: indications, experience, procedure, and case examples to be discussed.

Markus HessUpdate: indirect phonosurgery

11/35

Markus HessTreatment in professional voice users: Is this possible in the office

Flavio PieriLaser Phonosurgery under fiberendoscopy, in L.A.

Craig ZalvanPitfalls in Transanal Laser Phonosurgery with KTP

AbstractAn overview of laser use and safety with an office based, transnasal approach to the

larynx: user and patient safety and potential complications, KTP induced complications to be discussed.

Ilter DenizogluTricks and skills in Voice Therapy

AbstractVoice therapy techniques are behavioral therapy methods which use pedagogical

approaches of arts training (ie. singing and theatre) and sound physics structured on medical grounds. The main goal is to obtain a target voice which is the best possible voice within the patient's anatomic and physiologic capabilities. In other words, voice therapy means to make a change in a highly ordered nonlinear dynamic system: human voice. To change here, means to give a different order which is more suitable for the voice system. So it is essential to know the system thoroughly and from different perspectives.

Voice therapy is a way of understanding human voice production, as well. Changing the formula of the vocal production depends on the connection of different disciplines regarded in voice: bioenergetics through mathematics and physics; medicine and vocal pedagogy. Voice therapy is science of art and art of science. The main idea can be summarized as ‘Form follows function’. It means, to change the form, you need more than surgery: to change the form, you should change the function. In this workshop, human voice will be explained by different perspectives, several voice therapy techniques will be emphasized and Lax Vox Voice Therapy Technique will be thoroughly revisited.

The program schedule will be as follows:1. Multidimensional aspects of human voice: Anatomy and physiology from the

standpoint of arts, mathematics and sound physics.2. General definitions and methodology of voice therapy: Definition and explanation of

voice therapy, vocological diagnosis, finding the sound of target voice, developing the target

12/35

voice, decision making through changing the vocal dynamics and adopting the target voice into life through motor learning principles.

3. Voice therapy techniques: A mind-map of voice therapy techniques in general; descriptions with live samples about several techniques.

4. Lax Vox Voice Therapy Technique: Theoretical descriptions (physiopathological pathways, detailed instructions, tricks); pedagogical applications (different singing exercises, solutions for singers, etc); clinical indications; pre- and post- treatment video samples of different vocal pathologies.

5. Discussion and hands-on applications with the Lax Vox tube.

Eguenia ChavezIntroduction “Indirect Phonosurgery, 25 years experience, advantages and disadvantages”

Ingo Herrmann and Craig ZalvanFunctional Pharyngoesophagoscopy: a new technique for diagnostics and analyzing deglutition

AbstractA hands on demonstration that will highlight the use of the TNE scope for FEES

(Functional endoscopic evaluation of swallowing) and office based esophagoscopy with feeding and esophageal evaluation.

Markus Hess, Jürgen Wendler, Eugneia Chavez, Jusjaan Snelleman, Josef Schlömicher-TheirIndirect Phonosurgery, Injection laryngoplasty, Laser Phonosurgery

Friday finished

14/35

Abstracts Voicesymposium 23th – 24th of August 2014

James P. ThomasHigh definition views of the vocal cords; What can you see in the throat?

AbstractA voice laboratory is an expensive proposition when the most current equipment

options are purchased. Consequently, a voice examination can be an expensive proposition. Your examiner may or may not have the latest equipment. High technology offer the ability to see the larynx anatomy and function in finer detail than in the past, yet even if one does not have the highest technology available, knowing what can be seen with the best equipment helps to understand the findings using lower technology. In addition, there are high definition techniques which allow the examiner to make up for the lack of the latest and greatest equipment. Understanding the limitations of older technology allows for better interpretation of the findings. An optimum combination of equipment and technique leads to a cost-effective, high yield and accurate diagnosis for laryngeal problems. It also leads to an improved understanding of how the larynx actually functions to produce clear sound both for speaking and for singing.

If you are a physician, this lecture will help you decide what equipment to utilize or purchase. It will provide you with ideas for new techniques to image the vocal cords and their function more precisely. If you find yourself a patient, you will understand better how to assess the report and recommendations that you receive from your examiner.

John RubinPsychological aspects and muscle tension dysphonia (MTD)

AbstractMany voice disorders have associated physiological and emotional aspects.

Physiological elements not infrequently include perilaryngeal intrinsic and extrinsic muscle tension; emotional issues not infrequently include the feeling of being unable to discuss the problem. The physiological and emotional aspects often interact. This presentation reviews some of the underlying constructs relating to these issues.

Christian MachaVoice Work and Neurosience - voice starts in our brain

AbstractWhat role plays our brain in the amazing field of voice work?What impact has got your brain on your patient’s/client’s/student’s voice and how can

we support their brains for developing their potentials?How important are the subject of emotions and mindset work? The voice worker,

pedagogue, therapist, psychological consultant, supervisor and mental coach Christian Macha will tell you about the fascinating benefits of the applied neuroscience in voice work. Beside

15/35

his voice work he works as a lecturer for „emotional intelligence“ at the Royal Docks Business School in London and for the Hochschule für Ökonomie und Management in Bremen.

Nico Paolo Paolillo, Alfonso Borragan, Elisabetta RosaLaryngeal proprioception and muscousal reflexes in Human Vocalization Control with and without auditory Feedback: Applications in Voice Therapy and Pedagogy

AbstractBackground: Laryngeal proprioception is an essential factor in voice feedback control,

really important in situations of reduced auditory feedback (AFB) and of impaired laryngeal muscles (LM) coordination. The present study was undertaken to clarify the role of both laryngeal proprioception and mucosal reflexes in controlling vocalization, through activation of intrinsic laryngeal muscles (TA, CT, IA, CA), with and without acoustic voice production and comparing the results before and after local hypopharyngo-laryngeal anaesthesia. A number of recent electro-physiological and immune-histhochemical studies reveals that there are no muscles spindles both in the Thyroarytenoid (TA) and the Cricothyroid (CT) fibers. On the contrary, there is presence of spindles in the other intrinsic laryngeal muscles, including Interarytenoid (IA) and Cricoarythenoid (CA) muscles. According to other studies, since there aren’t muscle spindles in TA/CT, laryngeal mucosal receptors, not proprioceptive afferents, are capable of conveying sensory informations related to TA/CT and vocal fold movements during vocalization. Therefore more importance has the muscular control of the posterior glottis.

Methods: we considered some exercises that focus on isolated laryngeal movements, to be performed first in relaxed apnea, then with an expiratory airflow (silent practice), to assess what the laryngeal muscle response was in either case. Three praxis were chosen: 1) retraction of the false vocal folds; 2) tilting of the thyroid cartilage; 3) contraction of the aryepiglottic sphincter. Subjects were requested to perform: 1) each single praxis during normal voicing of the vowel /i/ on a comfortable pitch in modal register; 2) the same praxis in empty relaxed apnea; 3) the same praxis during slow expiratory airflow; 4) all the three previous steps after local hypopharyngo-laryngeal anaesthesia.

In this study our goal was to determine: a) if muscular activity during vocalization and silent practice of a given exercise were matching; b) which way is more suitable to stimulate a specific muscular activity silently; c) the efficacy of personal sensations compared to endoscopic objectivity.

Results: all the subjects weren’t able to perform the first two praxis in apnea, while they all could perform them during expiratory airflow. As for the third praxis, all participants were able to perform it both in apnea and during expiratory airflow. After local hypopharyngo-laryngeal anaesthesia, we found that the first two praxis could not be performed both in apnea and in silent practice. Instead, performing the third praxis was possible in either way.

Conclusion: Silent practice exercises increases knowledge and consciousness of laryngeal movements; helps vocal control in case of lessened or altered auditory feedback (reduction of Lombard Effect), especially in professional voice users; eases the development of muscular memory, shortening the time for motor learning, for example in case of voice rehabilitation in dysfunctional or organic dysphonia and in case of pedagogy for example during learning of vocal technique and to warm up or exercise the voice in any context.

16/35

In conclusion we show the right way to perform the silent practice and a new perspective to consider the muscular control of the posterior glottis in vocalization, expecially in artistic voice.

Ana Paula MendesAcoustical measures of Fado Singing Voice

AbstractFado is a Portuguese musical genre, classified as a World’s Intangible Cultural Heritage

by UNESCO on 2011. Instrumentally, it is accompanied by a Portuguese and a Classical Guitar. A previous pilot study sketched the acoustic and phonatory profile of Fado’s singing voice, with fifteen Fado singers (Mendes, Rodrigues & Guerreiro, 2013). The present research aims to analyse the same voice acoustic parameters on 384 Fado singers, with three action lines: 1) Pedagogic – to educate Fado singing teachers and singers about their artistic skills development; 2) Clinical – to educate and teach clinicians working on service delivering to Fado singers, providing advanced voice contents on young and adult therapeutic intervention; 3) Scientific – to promote scientific knowledge on acoustic, articulatory and perceptive phonetics applied to speech and singing voice production and perception.

384 Fado singers performed singing phonatory tasks. Singing tasks consisted of maximum phonational frequency range (MPFR) and vowel sustaining at “Parabéns” (Happy Birthday) and at the Fado Song “Nem às Paredes Confesso”. Singing tasks were recorded using an AKG C520 L MicroMic The OriginalIII (microphone), an AKG microMic III B-29L (power supply) and a TASCAM DR-680 Portable Multitrack Recorder (digital recorder).

An Agilent Technologies HP-8496A (attenuator) was also used when necessary, to avoid peak clipping. Collected data was acoustically analysed using CSL’s Multi-Dimensional Voice Program Advanced and Multi-Speech software of KayPENTAX. Seegnal Research’s SingingStudio was used specifically for vibrato’s analysis. Results of 37/384 subjects (22 male and 15 female) for singing voice, jitter was higher compared to Western Classical singers and lower than Pop singers. Shimmer mean values were lower than Pop singers and higher than Western Classical singers.

HNR was similar to Western Classical singers. MPFR of Fado singers indicated that male and female subjects had a lower range compared to Western Classical singers. Fado singers produced vibrato, but singer’s formant was rarely identified. These singing voice characteristics could be related with life habits, less/lack of singing training, or could be just a Fado’s voice characteristic. Until july 2014, acoustic data collection of 384 subjects will be completed and will be correlated with audio-perceptual data for inferential purposes.

Allan Vurma, Kristel KallingThe voice problems of vocalists and the background to them: a pilot study

AbstractThis research describes the voice problems of vocalists together with the typical

situations related to voice load which cause these problems. We examined 77 people (49 females, 17 males and 11 children) who visited the ENT department of the East-Tallinn Central Hospital over a period of one year. The selection criteria were: (1) professional singer; (2) professional singing instructor or choir conductor; (3) regular singing in an amateur choir

17/35

or as an amateur soloist. The following procedures were conducted: (1) larynx endoscopy; (2) measurement of the acoustic and EGG parameters of the voice (a) from a single vocalized note, (b) from a spoken excerpt and (c) from a sung excerpt; and (3) determination of the VRP and related statistical parameters. In addition, all patients were interviewed about the situation which might have caused their vocal problems.

Behind the voice problems of professional singers was often the need to accomplish some vocal task which did not suit their type of voice or the training they had received. The voice problems of singing instructors and conductors had lasted the longest before they decided to seek medical help. The problems of amateurs were most often related to insufficient vocal training and to a one-off overload. The results of MANOVA showed that the values of acoustic and EGG parameters sometimes provide a more accurate indication of a patient’s type of everyday vocal activity than they do of the presence of of an organic problem or incomplete glottal closure.

Lucinda HalsteadFreeing the Sounding Body

Jacob LiebermanEmotional background related to the physical elements that involve in voice production

AbstractFree voice production depends on a sound mechanism to produce an easy voice and

freedom of mind and spirit to enable the person to be heard with confidence.The presentation will discuss all the physical elements that involve in voice production.

This includes jaw function, laryngeal mechanisms and the breathing apparatus. Issues of laryngeal tension and questions about support, as well as typical symptoms that result from muscle tension dysphonia will be discussed. A few words will be dedicated to the emotional side of voice production and ways to think about emotions in the voice.

The workshop is titled “know your own larynx”. In that, participants will be able to explore their own anatomical parts in static and dynamic examination, as well as challenging some issues about breathing and support. Some tricks of the trade will be shown how to feel laryngeal tension and releasing techniques. There will be plenty of time for questions.

Craig ZalvanDiagnosis of Laryngopharyngeal reflux disease: from TNE to oropharyngeal pH testing

AbstractAn overview of the current diagnostic modalities available for LPR: indications,

examples, and workup paradigm to be discussed with additional focus on transnasal esophagoscopy (TNE).

18/35

Birgit GillemotProfessional singer with a functional dysphonia, resistant to conservative treatment, no clinical findings of the vocal organs; transfered from phoniatric clinic.

AbstractThe 47 years old singer complains of roughness and fragility of the voice, loss of height

and prolonged start of the voice, especially in the high range and in piano expression since about one year. She describes a feeling of being unsecure and increasing performance fear, because she does not rely in her voice anymore, noticing that the problems occured unregularily. During the osteopathic examination a number of dysfunctions in the thoracal and cervical spine were found. Fascial tensions, with their origin in a scar resulting from a minimal invasiv gynecological surgery, caused dysfunctions in the entire thorax, the spine and in the vocal system.

The osteopathic treatment of those dysfunctions and the release of the scar by manual techniques, brought relief and improvement. The techniques will be shown and explained in a presentation. They are applicable in similar cases. A program of mobilisation and stabilisation will be presented as well as techniques for the self-treatment of the patients. Patients, males and females, with scars, injuries or with posture disorders are seen frequently in the author's clinic. The concept of therapy is successful and applicable in many cases.

Contents: Brief overview of anatomy from the osteopathic point of view Brief overview of studies and publications Examination scheme and osteopathic diagnosis Osteopathic treatment in the case study Dysfunctions and blockations in the cervical and thoracal spine, lesions of muscles

and their impact on the vocal system presentation and explanation of the techniques, used in the case study Exercises and self-treatment for the patients Discussion

Femke Ysenbaert, M. De Bodt, B. TimmermansThe effect of structural stretch exercises on articulatory precision andspeech intelligibility in future professional voice users.

AbstractBackground and objective The use of structural stretch exercises for optimisation of

articulatory precision and speech intelligibility in art educations is widely spread. These exercises result in a greater jaw opening when pronouncing vowels and because of this, it is said they have a positive effect on intelligibility. Up till now, not much research was dedicated to either conclude or reject this hypothesis. The objective of the current study was to examine the subjective effect of structural stretch exercises on articulatory precision and intelligibility.

Methodology Twenty students of the RITS College in Brussels, studying Audiovisual Arts (Radio)

participated in this research. The experimental group consisted of ten students in their second year and they conducted the structural stretch exercises once a day for the period of three

19/35

weeks. Ten students in their first year formed the control group and they conducted the exercise only once, at the beginning of the experiment. By means of a standardized text, a speech sample was recorded for each subject before and after the experiment. These speech samples were then presented at random to a panel of three experienced raters and each subject got a score; A better then B, A equal with B or B better then A. Furthermore, each subject was asked to give a perceptual self-rating of their intelligibility by means of a visual analogue scale (VAS).

ResultsSpeech samples of the students in the experimental group got rated better after the

exercises in comparison with the speech sample pre-experiment and when compared to the control group (p = 0.022). For the perceptual self-rating part of the experiment, we found a significant difference (p = 0.012) between both groups. Each subject in the experimental group gave a higher score after the exercises when compared to before the experiment. This was not the case for the control group. Furthermore, the differences were far more obvious for the experimental group.

ConclusionDespite the lack of objective data and thus the inability to generalize these results, the

subjective differences are significant. We can conclude that conducting structural stretch exercises repeatedly has a positive effect on intelligibility and articulatory precision.

Isabella Garcia LopezMeige Syndrome and Voice

AbstractObjectiveMeige syndrome is a segmentary cranial dystonia including blepharospasm and any

other cervico-facial dystonic movement, sometimes spasmodic dysphonia. The objective of the study is to describe the characteristics of the disease and the response to treatment.

MethodsRetrospective study including all the patients presenting with primary Meige syndrome

diagnosed in five years in our department. The variables studied were Voice Handicap Index (VHI-30), GRBAS scale, maximum phonation time, acoustic analysis, video endoscopy and laryngeal electromyography (LEMG). Treatment was evaluated by GRBAS scale and VHI.

Results:7 patients were included. Mean age is 60 years old. Most prevalent dystonia was

blepharospasm. All patients showed an adductor spasmodic dysphonia, confirmed by the presence of spastic recruitment pattern in LEMG. All patients received botulinum toxin injections in both intralaryngeal and affected facial muscles. Average VHI was 65/120 before-treatment and 12/120 after-treatment (82% of improvement). GRBAS improvement was quantified in 70%.

Conclusions:Meige syndrome is an unusual condition that has to be suspected in all patients with

spasmodic dysphonia. Actually, most part of patients are evaluated first by neurologists who had to send the patient to the laryngologist in order to evaluate and to treat the voice disorder. That is why close collaboration with neurologists is essential. VHI and GRBAS scale are both good tools to evaluate treatment efficacy

Heleen Grooten

20/35

Voice and trauma

AbstractIn the medical field of ENT and speech- and voice therapy,many clients are seen with

complaints in their voice and in the area of the throat and jaw. In about 70 % of the cases ENT doctors cannot find any fysical abnormality. These complaints are called functional voice disorders.Traditional voice therapy can be succesful, but in some cases this therapy is not sufficient to help the clients.

Since Stephen Porges, neuro-biologist and psychiatrist, showed that voice charteristics are part of defence strategies, voiceproblems can be understood different. Life events, traumatic experiences occur in our lives and those of clients. In lifethreatening circumstances trauma or PTSS can occur when defence strategies are prepared, but not dyscharged. This can result in a lifetime state of fight/flight or freeze. These states of the autonomic nervesystem can become onconcious patterns, of hyper- or hypo tonus.

Somatic Experiencing is a bodyoriented traumatherapy based on these insights. It offers neurological exercises to restore the reslilience of the autonomic nervesystem.The author started using Somatic Experiencing complementary to traditional voicetherapy.. Practice based results are promising.

The impaired capacity for connection to self and others is the hidden dimension that underlie most psychological and many physiological problems (Heller, 2012)

Conclusions: To apply SE in therapy with clients with functional voice disorders is helpfull. Many of

these clients might have one or more trauma’s that have not been seen or discussed in usual therapy. The university of Maastricht offers the author to do scientific /evidence based research in applying SE in serious voice problems that do not react to usual methods.

P. HulinBotulinum Toxin Injection of the Larynx in Spasmodic Dysphonia

Fieri, Zalvan, Hulin, Snelleman, Falkenstein, Schlömicher-ThierHands on Course

Dieter MüllerFree Breath, free Body, free Sound

Inviting guests to our home we often welcome them with the phrase "please make yourself comfortable" or "please make yourself at home", wishing to make them feel welcome and feeling relaxed. We ask them to relax their bodily tension to a sound level just so they feel comfortable in an unfamiliar environment. Freelance vocalists and singers are pushed to extremes. Today's highly demanding professional environment puts great pressure on performing artists – not only on their voice but also mentally thus affecting the whole person. Whether conscious or unconscious, strain in a vocal artist means a certain level of discomfort which in turn affects performance.

21/35

Vocalists or singers who do not feel completely at ease with their bodies will not be able to captivate their audience with a state of wellbeing at a concert. A tense body cannot deliver an unrestrained vocal impression. Ease of body and mind is therefore paramount to success. The so-called Breathexperience developed by Professor Ilse Middendorf (Der Erfahrbare Atem nach Prof. Ilse Middendorf®) offers the possibility to reconnect with one's own wellbeing. Breathing consciously and freely helps singers and vocal artists to free up their potential. Even more so if the hosting theatre and the audience radiate a welcoming, healthy, anticipatory tension which will support the artist in giving his/her best. Breathexperience by Professor Ilse Middendorf puts vocal artists in a position to reconnect with and develop their natural breathing and requires the individual to embrace the process and perceive the results. Continuous work will further develop the individual's awareness.

Easy and simple exercises will show up the difference between spontaneous breathing, consciously controlled breathing and Breathexperience. Respiratory movement interrelates directly with human motion and the sound spectrum of the human voice. Breathexperience by Professor Ilse Middendorf offers more awareness for breathing, voice, body and motion.

Next to "breathing and motion" and individual coaching sessions, the so-called vocalbreath- space forms one of the three pillars in Professor Ilse Middendorf's Breathexperience. Vocal-breathing-space work concentrates on the conscious perception of the so-called breath-body-space, which is perceived through the "repeat inhalation" process having practiced various kinds of sounds. Vowels and consonants may be clearly associated with a particular breath-body-space. Breathing awareness heightens all human sensory perception.

Olaf NollmeyerFormat Teaching with interactive Sonogramm

AbstractVoxVisionear is a concept applicable in many fields of voice training and therapy.

VoxVvisionEar can be used in developing the speaking and the singing voice regardless of style. You will find it uniquely useful whether you are a singing teacher, a voice coach or a speech therapist. VoxVisionear will help you develop skills in three central areas

Understanding of acoustical structures. Sophisticated ability to listen to vocal structures. Easy, ear-guided phonation.

VoxVisionear utilizes the new Overtone Analyzer. VoxVisionear shows you how to use it in private or academic contexts. This software blends the possibilities of frequency analysis with those of spectral filtering. In a nutshell: Spectral analysis so far has offered us Sonagrams and spectrums allowing to SEE WHAT WE HEAR - the singer’s formant, for instance.. The new overtone Ananlyzer goes one step further: You now will HEAR WHAT YOU SEE - and be able to HEAR the Singer’s formant, be it Pavarotti’s, Domingo’s or your own..

Moreover, VoxVisionear opens ways of how to transfer the new insights and experiences made possible by the Overtone Analyzer to instruments like the piano, singing together or even whistle in order to develop better vocal function.

22/35

Izabela JezowskaVoice release through movement

AbstractInteractive Speech / Demonstration of my method of voice release through movement,

has to present my own research and work on a publication on the subject, which is produced in collaboration with a specialist - a physiotherapist.

As an introduction I will present examples of specific actions movement during performances and concerts, performed by established opera stars and young students of vocal art. Then I'll show relationship between practice and research, so the practical use of the mechanisms functioning in areas such as biomechanics, physiology, exercise physiology, anatomy and physical education in the process of releasing the voice. I will present aspects from the borderline of physical culture and culture of the word - spoken and sung. I will show the work of the body in the process of voice training (emission and impostation). One of the most important elements of work in my proprietary, authors' method of voice liberation by the movement, are rubber expanders. Target of this demonstration are actors, singers, vocalists, teachers of singing and instructors and trainers who use the voice as an instrument of their work, or learn to use the voice.

I will try to answer the question, how do we know that the movement can influence the liberation of voice? Triggering of voice with use of exercise treatment is a kind of voice therapy, creating, forming of habits and skills (proper speech or singing), prevention of voice problems in the employment of the body's reactivity to stimuli (in this case, the incentives in the form of physical exercise and changes in body position).

That is why this method was created in close cooperation with a physiotherapist. This will clarify the mechanisms of action and effectiveness of the exercise - of course, provided that the method will control specialist and will be implemented the methodology of conduct, so repeatable and systematic. I will demonstrate cycle of exercises, which should consist of three parts: I. Adaptive (initial) part, popularly known as a “warm up”. II. Fundamental part III. Leading part

I'll show you in practice, in cooperation with the audience examples of exercises used in the method. The author is a professor at the State Theatre Academy in Wroclaw, where she teaches subjects: vocal technique and impostation of the voice, while the method was established and based on many years of working with students of acting and observation of results achieved by students through physical exercise combined with work on the voice.

Jacob Liberman, Rudolf Lackner, Lucinda Halstead"Freeing The Sounding Body” – Interactive Cooperation in Osteopathy and Manual Medicine and Circumalaryngeal Release



This includes jaw function, laryngeal mechanisms and the breathing apparatus. Issues of

23/35

laryngeal tension and questions about support, as well as typical symptoms that result from muscle tension dysphonia will be discussed. A few words will be dedicated to the emotional side of voice production and ways to think about emotions in the voice.


Werner Duller, Ilter DenizogluPhysics and neuromuscular background of respiration related to singers support

AbstractPrevious studies suggest that pulmonary function of singers and maybe also wind-

instrument players may be better than in normal control subjects due to breath-control training, but at least, no significant difference between lung function parameters as maximum voluntary ventilation, forced expiratory volume in one second (FEV1), forced vital capacity (FVC) and others were found.

However, there is a trend, that very well trained singers can generate higher inspiratory and expiratory pressures (and often have also higherlung capacities) which is important for singing since it helps to hold a constant airflow.

The pulmonary function test allows to measure lung capacities and to detect airflow limitations leading to symptomatic disease of the respiratory system.

The aim of this workshop is to give a short overview of the measurable parameters of the lung with a brief explanation and interpretation of the main tasks of the lungs and the entire respiratory system. In addition to this there will be the possibility to discuss specific parameters that help to identify differences between well trained and untrained vocal singers. The main part of this workshop will be given by Dr. Ilter Denizoglu, who has a broad experience and great expertise as a vocal specialist to teach the effects and the technique of a constant airflow for the development of the voice.

The energy source of voice is the potential energy of the compressed air in the lungs. Simply, the vocal system works on production and transformation of energy. In other words, the phonation process goes on between two physiological events: subglottic pressure and glottic resistance. It comes easy on the ear with this simple explanation, but understanding the interactions between force and resistance is not so easy. In vocal pedagogy, the Italian term appoggio, which means ‘lean on’ in English, is widely used in classical singing pedagogy to point out the support. The main idea is balance and control in movements during singing.

Previous studies suggest that pulmonary function of singers may be better than normal control subjects due to breath-control training, but at least, no significant difference between lung function parameters as maximum voluntary ventilation, forced expiratory volume in one second (FEV1), forced vital capacity (FVC) and others were found. But there is a trend, that very well trained singers have better inspiratory and expiratory muscular pressures to hold a constant airflow as a big advantage for singing. The fact under the meaning of abdominodiaphragmatic respiration technique is controlling the diaphragm (slowing down the elevation of diaphragmatic muscle) through training the muscles of posture and the diaphragm itself; but how? The answer lies in the scientific explanations of the instructions used in vocal pedagogy.

The aim of this workshop is to give a short overview of the measurable parameters of the lung with a short interpretation of the main jobs of the lungs and the respiratory system;

24/35

discuss about differences of specific parameters between well trained and untrained singers and try to find out physioanatomical explanations to technical recipes used in vocal pedagogy.

Ben Barsties1, Dr. Youri Maryn How to use the Acoustic Voice Quality Index: an objective approach to measure overall voice quality?

AbstractPurpose. The Acoustic Voice Quality Index (i.e., AVQI) is a multidimensional, linear

regression-based and acoustic method to objectify overall voice quality. It is a relatively new tool in the voice assessment armamentarium that has been developed to measure dysphonia severity not only in a sustained vowel but also in continuous speech. Since its initial publication by Maryn et al. (2010a), the AVQI appears to be a robust method with acceptable validity in different languages (Barsties, Maryn, 2012; Reynolds et al. 2012; Maryn et al. In Press), external cross-validity (Maryn et al. 2010b) and test-retest (Barsties, Maryn, 2013). The following three Figures show more details over AVQI.

Figure 1. Oscillogram and narrowband spectrogram (window length = 0.03 s) of a concatenated voice sample. There are three areas. The left portion reflects the first two sentences of the ‘‘Papa en Marloes’’ text. The right area reflects the middle 3 s of a sustained /a/. Both samples were separated by 1 s of silence (area in the middle).

25/35

Figure 2. Oscillogram and narrowband spectrogram (window length = 0.03 s) of a concatenated voice sample after extraction by using the algorithm of Parsa and Jamison (2001) in only continuous speech. There are two areas. The left area reflects the concatenated voiced segments of the first two sentences of the ‘‘Papa en Marloes’’ text. The right area reflects the middle 3 s

Hanna Mackiewicz-Nartowicz, Evaluation of voicetraining effectiveness in preventing of voice disorders in teachers

AbstractProblems associated with vocal strain affect 25 per cent of professionals and the largest

group of professional voice users affected comprises teachers. In the teaching profession, in addition to voice quality, it is the vocal endurance, i.e. good tolerance of vocal strain, which is the most desired quality.

The aim of this study was to obtain complex evaluation of the effectiveness of prevention and rehabilitation program for professionally active teachers in terms of improved voice quality and increased tolerance of the vocal organ to effort.

The material of this study consisted of 133 females who participated in a 7-week-long, extensive prevention and rehabilitation program on voice production technique.

Methods of the study included laryngological and phoniatric examinations, perceptual evaluation in the GRBAS scale and self-evaluation test in the VHI-III scale. Videolaryngostroboscopy, measurement of vocal intensity in whisper, speaking and shouting, and acoustic analysis of the voice were all performed prior to and after 30 min vocal loading test. All these examinations were repeated 7 weeks after completion of the voice training.

Statistically significant improvement in the way of breathing, increasing of the maximum phonation time and the voice range, perceptual voice estimation and self assessment were obtained. Acoustic analysis of voice revealed statistically significant improvement only in group with pre-training worst values of the parameters.

The results of this study performed in the group of professionally active teachers who participated in a voice emission course allow us to conclude that voice emission training in working teachers is advisable independently of work employment period and condition of

26/35

organ of speech. Such training also provides a sufficient basis for further conscious care of the voice as a working tool.

Eva Maira HauptThe 5 elements and primal sounds used by opera singers

AbstractFor opera singers the function of the voice has to be the best on each day. Thus is it

useful to undertake some basic exercises continuously so that the voice always can be healthy. The Qigong-System and the "5 elements" provide us with massage-techniques connected with the so-called "primal sounds".

This can directly be approached in opera-music. The wellknown teacher Janice L. Chapman writes about this possibilities in her famous book "Singing and Teaching Singing". This workshop run in London, München and Konstanz with great interest by the auditorium.

Ulirke KaltenbrunnerThe Human body our “Soundbox"

Abstract- effects of somatic disorders on the body and sound- from the daily life of an osteopathic practice -Symptoms like hoarseness and globus sensation are very often seen in singers - this also

can show a change in the sound quality: in particular the high tones lose their fullness of overtones. The first step for a singer is to go to see the ENT. Quite often the ENT can´t find the cause of these symptoms and mostly there´s no treatment following.

Examinating these patients from the osteopathic point of view, I often find the following symptoms:

- dysfunktion of the temporomandibular joint- functional lesion of the thoracolumbar spine with dysfunction of the diaphragmHaving a dysfunktion of the mandibular joint - often associated with bruxism - the

singer pushes the lower jaw while singing. This will lead to a non-physiological tension of the orofacial muscles and neck-muscles. Usually the singer doesn´t realize it and if this tension remains and the kind of motion sequences will be automated so, singers get symptoms like hoarseness and globus sensation.

They become problems with orofacial coordination, breathing and with the quality of sound,

without having a provable problem of vocal chords / larynx. In this talk I will show -based on a case study - how somatic dysfunctions can negatively affect the human"Body of sound". Further on I will show the appropriate treatment options.

27/35

Jacob Liberman, Rudolf Lackner, Lucinda Halstead"Freeing The Sounding Body” – Interactive Cooperation in Osteopathy and Manual Medicine and Circumalaryngeal Release



This includes jaw function, laryngeal mechanisms and the breathing apparatus. Issues of laryngeal tension and questions about support, as well as typical symptoms that result from muscle tension dysphonia will be discussed. A few words will be dedicated to the emotional side of voice production and ways to think about emotions in the voice.


Kim ChandlerRiffs & Runs in CCM

AbstractLike the coloratura and fioratura found in Classical repertoire, many CCM

(‘Contemporary Commercial Music’) styles, particularly those of African-American origin (e.g. Soul, Funk, Gospel, R&B), also feature melismatic runs. Known as ‘licks’ or ‘riffs’, these embellishments tend to be based on the Major and Minor Pentatonic scales and the Minor Hexatonic scale rather than the Major, Minor or Chromatic scales of Classical runs.

This interactive workshop will explore the melismatic side of CCM vocal style by taking delegates through a range of increasingly challenging vocal riffs in order to breakdown, analyse and master each one. Relevant examples taken directly from popular repertoire will also be provided for context. These exercises are particularly appealing to younger singers and therefore will form a useful basis for building a stylistically relevant and fun vocal exercise repertoire for singing teachers.

Robin D. Classic meets Pop – Two genres, one vocaltechnique?

AbstractRobin D. - Classic/Pop Crossover Workshop - Classical trained singers will be invited

by Robin D. to find their „popular voice“ without losing their classical opera quality, rather benefit from Robin D’s coaching technically for their classical singing.

Different aesthetics angles Why a functional vocaltechnique for pop singers, could be more and more important for

classical or opera singers and classical teachers as well and vice versa – This is just one question to be answered in Robin D’s Workshop.

28/35

Unity in understanding Robin D. wants his approach to be understood as an opportunity to connect genres without any boarders. The vocaltechnique workshop with Robin D. will figure out, where related technical elements for all singers meet beneficially aside the diversity of aesthetics.

Results in less than one hour Passive participants will get the chance to try the same exercises Robin D. picks, to help the opera or classical singer on stage, achieving their first non classical vocal performance on a popsong-phrase in less than one hour.

Classical ears often tend to judge classical pop/rock singing accoustically as sharp, shrill, pushed, not rounded, squeezed, yelled... these characteristics often implicate unhealthy voice use.

As soon as quick results are announced, classical experts tend to lift their eyebrowClassical trained singers will get the oportunity Classical trained and Opera Singers will Crossover Vocalworkshop Classical Singing and Popular Singing – two genres without any common ground? Robin D. will show paticipants that they have more in common than each of the

protagonists think. How much singers and voiceteachers benefit from this approachOk, but why should I attend this workshop as a classical trained (opera)singer and sing a

Popsong there? The answer is – it will make you a better! Even if the classical „world“ tends to ignore that fact – Contemporary non classical

singers are the fastest growing Student group in the singing teaching community. Aside aesthetical differences there is no reason to seperate classical from popular

Vocaltechnique. wants his method to be understood as a opportunity and chance to connect genres that

seem to miss

Lucinda Halstead and Deanna McBroomVocal Landmines confronting Contemporary Commercial Singers - Professionals,Young Singers and Avocational Singers

AbstractAs singers negotiate their careers, injuries can occur. Particularly vulnerable are

Contemporary Commercial Singers (CCS) who are professionals, young solo and choral singers who may also sing in classical/musical theater style, and the avocational singers who sing in styles requiring brightness of tone and prolonged periods of singing, often daily. Injuries/problems can be classified according to the mnemonic “VAIN” (Vocal Abuse, Inflammatory disorders, Neurological disorders). This presentation will focus on Vocal Abuse injuries and Neurological disorders and the roles of the physician, the singing voice specialist, and the voice teacher in the diagnosis, medical and surgical treatment, and rehabilitation of these singers. Inflammatory disorders are generally well discussed in the literature and will not be a focus of this presentation. The role of the laryngologist and voice teacher in detecting the possibility of and supporting the rehabilitation of these disorders will be emphasized.

Vocal Abuse is particularly common in CCS due to the nature of the repertoire and the requirements of the performance. In addition to nodules, varicies and polyps, scarring from long years of arduous singing can occur which causes loss of range, inability to sing pianissimo, difficulty in ornamenting the voice with a breathy quality or other qualities, and loss or limitation of head voice, falsetto, and whistle registers. The special vocal

29/35

rehabilitation techniques – medical, surgical and singing voice habilitation- needed in these singers will be described and demonstrated. A new lesion, herniation of the laryngeal ventricles will be introduced. This lesion causes pain with singing and loss of range as the mucosal tissue in the laryngeal ventricles, just above the vocal folds, elevates and displaces over the superior surface of the vocal folds. The cause and treatment of herniation of the laryngeal ventricles will be detailed and suggestions for training/rehearsal of these singers detailed – especially for children and adolescent singers. Additionally, the presentation will focus on the vocal postures of classical singing and belting and how they can be manipulated to freely produce the required bright sound.

Neurological disorders are less frequent but potentially even more devastating than Vocal Abuse injuries. The diagnosis of vocal fold paresis, vocal tremor (which differs from uncontrolled vibrato) and singer’s dystonia will be described with emphasis on vocal maneuvers that can assist the singing teacher in identifying the possibility of these disorders. The medical, surgical and vocal rehabilitation of each of these disorders will be presented.

A heightened awareness in voice teachers of these issues will enable all Contemporary Commercial Singers – professional, young and avocational - to achieve long and healthy careers.

Orietta CalcinoniVocal Dosimetry: helpful device in monitoring professional voice use in students and in performers

AbstractVocal dosimetry is known in the last decade, to help physicians, technicians and

patients to assess voice in daily life.The presentation focuses vocal behaviour differences between spoken voice at home

(leisure or other jobs with or without voice load), student’s voicing in masters, stages or other kind of lessons in reharsals’ vs in performances’ voice use in indoor or outdoor performances variations and in behaviour reponses to feedback.

Dosimetry may help “to free one’s voice”, through graphs and data derived from “real daily” vocal behaviour and not only from “time-limited” observations in private practice or in singing lessons : in this way permits physicians and teachers to “follow” the voice professional all-day-long.

Bernhard RichterVoice Fitness, Voice Loading and Voice Regeneration in Professional Singers

AbstractThe “market” for artists has been largely globalized. Singers often perform cross-

border, even worldwide. Therefore, every singer is not only required to have very good voice skills and to deliver a very good artistic performance during their active singing career, but is also required to cope with the challenges of a “travelling job”.

A singer has to be capable of good self-management – mostly without any protection zones to withdraw to – and needs a good awareness of his/her body and psyche and has to be able to react flexibly to difficult situations. Therefore, the complex topics of voice strain,

30/35

voice failure and its prevention alongside vocal hygiene should be an important part of every singers training.

In addition, singers must plan their career well and carefully consider the profession within the perspective of its life-time. This means he/she needs to be aware of the fact that the duration of a singing career is usually limited and that very often a singer’s active career is followed by a second career as vocal teacher.

Elisabeth KulmanArt but Fair! “The Show must go on” – The Situation of the Freelance Singer on Stage

Saturday finished

32/35

Sunday 24th of August

Claudia SpahnNew physiological “Insights” on Playing Wind Instruments

AbstrcatWhat actually happens inside the body while someone is playing a wind instrument?

Over the past several years, a group of authors from the Freiburg Institute of Musicians’ Medicine (FIM) have succeeded, with the aid of the state-of-the art examination techniques offered by high-tech medicine, in showing what happens inside the body while someone is playing a wind instrument. The vocal tract and breathing system can be recorded using dynamic magnetic resonance tomography. The movement of the vocal folds in the larynx are made visible by the use of endoscopic techniques.

The 125 short film clips are now available on DVD showing the blowing processes i.e. the movements of the lips, tongue, larynx and respiratory system during tone production and breathing while playing on six different wind instruments.

Francesca CanaliSinging while playing, Playing while singing: Shared functional-physiological aspects of singing and flute-playing.

AbstractThis paper aims at presenting the results of an extensive research into the anatomy and

the physiological processes involved in flute playing and its functional and physiological similarities with singing. The research is based on a unique combination of scientific investigation, consisting of videoendoscopies and spectrographic acoustic analyses, an analysis of senso-motoric and auditory perceptions whilst playing, as well as first-hand, wide-ranging artistic and pedagogical experience. These investigations were grounded in a comprehensive knowledge of the didactics and methodology of flute-playing and singing and the anatomy and physiology of the respiratory and vocal apparatus.

The special approach of this study is to relate the physiological basis of tone production in flute-playing with the complex functionality of the vocal apparatus and to analyse how the various ways of using the body, in particular the vocal apparatus, in flute-playing, influence the different tone qualities and hence the musical expressivity. The results show clearly, that the whole vocal apparatus as a complex functional-physiological system plays a fundamental role in the tone production and consequently also in the artistic interpretation and that the flute-playing and singing share functional and physiological similarities. The possibilities of producing a broad spectrum of tone qualities and expressions on a wind instrument, are related with the manifold and differentiated possibilities in which an instrumentalist, similar to a singer, involves himself in playing, using his own body and his vocal apparatus.

Matthias WeikertVoicecare and Nutricion

33/35

Eugenia ChavezFood allergies and Reflux

Orietta CalcinoniVoice Care and Dietary Regime for Professional Voice Users

AbstractNutritional requirements vary widely during a voice professional career.

The presentation deals with: analysis of energetic nutrients : carbohydrates, fats, proteins analysis of oligominerals and vitamins and their usefulness in different moments of a

voice career hydration value : time and way to hydrate better drugs and diet : indications and contraindications intolerance vs allergy : are there EBM tests? GERD vs acute Esophagus Laryngeal Reflux : which differences in diagnosis and in

therapist approach? spices, coffee, tee and “herbal medicine” as part of a diet professional schedules and variation in diet : “long period” vs “day by day” planning

requirements “singing all over the world”: jet lag, ethnics differences miths and legends: truths or lies?

With discussion about opinions in literature and “web-wide” and a Nutritional Professor’s point of view.

Craig ZalvanLifestyle change and dietary advices in silent reflux

AbstractA philosophical approach to the treatment of LPR with a primary focus on diet rather than medication.

Hubert NoéThe technique of “cover” in romantic Italian operatic baritone singing compared to baritones trained in the so-called German tradition.

AbstractIn 1955 the general manager of the Metropolitan Opera New York Sir Rudolf Bing had

to resort to a trick in order to engage his favorite German baritone Josef Metternich for leading Verdi roles such as Don Carlo and Renato, respectively, in La forza del destino and Un ballo in Maschera . Bing referred to him as the only German baritone who could sing like an Italian. Connoisseurs of the baritono drammatico in Verdi of course immediately understood Bing, although there were no objective criteria for this preference of the so-called Italian vocal technique.

34/35

Today, spectrum analysis shows the significant acoustic differences in real time. Traditionally the register which baritones and tenors use for their top notes is called middle or mixed register. The word cover is misleading because it considers only how to deal with the open vowels /ae/ and /a/. As also the closed corner vowels must be included in this technique the terms “centering” (Zentrieren) or also “medialising” are employed increasingly. Traditional and modern pedagogical concepts will be discussed.

P.H. DeJonckere, G. Baracca, C. ManfrediVibrato-acoustics in professional singers: Western operatic vs. Jazz.

AbstractIntroduction:The obvious perceptual differences between distinct singing styles like western operatic

and jazz rely upon specific dissimilarities in vocal technique. The current study is focusing on differences in vibrato-acoustics, as analysed by a novel software tool that has proven its validity on synthetic voice signals, and is supported by robust high-resolution and adaptive techniques.

Material and methods : 49 professional singers were investigated (29 females; 19 males; 29 western operatic; 19

jazz). They were asked to sing ‘a capella’ but with artistic expression, a well known musical phrase from Gershwin’s Porgy and Bess, in their own style : either classic or jazz. A specific sustained note was extracted for detailed vibrato-analysis. Beside rate (s -1) and extent (cents), duration (s) and regularity were computed. Two new concepts are introduced : Vibrato-jitter and vibrato-shimmer, by analogy with the traditional jitter and shimmer of voice signals.

Results :Vibrato rates don’t differ among groups. Extent is significantly larger in classic singers,

particularly classic females. Vibrato-jitter and vibrato-shimmer are highly significantly smaller in classic singers. Duration of vibrato is also highly significantly longer in classic singers.

Conclusion :Some vibrato characteristics very clearly differentiate the western operatic singing style

from the jazz singing style : the regularity from vibrato-cycle to vibrato-cycle, the duration of the vibrato on a sustained note and the vibrato-extent. The new software tool is suited for feedback in pedagogical context.

Jeannette LovetriThe Basics of Belting, Somatic Voicework

AbstractWhat is belting? Is it something you can learn? What kind of vocal function is correct?

What kind of music is appropriate for belting? What problems would it cause in terms of vocal health?

This workshop will answer these questions with recorded and video examples and live demonstration. Following this, there will be a master class in which singers will perform music using a belt vocal quality.

35/35

Somatic Voicework™ is a method of vocal pedagogy aimed at styles that were formerly called “non-classical” and are now referred to as Contemporary Commercial Music. It is taught in five American universities in the jazz, music and drama departments. It is based on vocal function, voice science and vocal health and draws from LoVetri’s more than 40 years of teaching experience and from many disciplines including theatrical speech, Alexander Technique®, and traditional classical vocal pedagogy. It assists singers in developing physical and aural awareness of singing and supports their artistic integrity and authentic expression. It has been taught for 12 years to over 1000 people and is used in many universities in the USA. It has also been demonstrated at numerous conferences and symposia throughout the USA, in South America, Australia and Europe.

Jeannette LovetriWorkshop and Materclasses: Non-Classical Singing styles in Contemporary Commercial Musik for Professional Clasical Singers

AbstractTraditional classical vocal training does not typically prepare someone to “cross-over”

into styles that are not classical. The non-classical styles are now often called Contemporary Commercial Music, to distinguish them in a positive manner from styles found in classical music (oratorio, opera, orchestral work, art songs, chamber music). This workshop will assist those who are classically trained to learn how to sing in the vocal production used for pop/rock, folk, gospel, jazz and other present moment styles. Explanations will be given along with exercises in order to guide the singers to change their primary vocal quality without injury or fatigue.

abstracts voicesymposium 23th – 24th of august 2014€¦ · web viewabstracts voicesymposium...

Documents