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Vocalization in mammals, birds, reptiles, and amphibians occurs with airways that have wide openings to free-space for efficient sound radiation, but sound is also produced with occluded or semi-occluded airways that have small openings to free-space. It is hypothesized that pressures produced inside the airway with semi-occluded vocalizations have an overall widening effect on the airway. This overall widening then provides more opportunity to produce wide-narrow contrasts along the airway for variation in sound quality and loudness. For human vocalization described here, special emphasis is placed on the epilaryngeal airway, which can be adjusted for optimal aerodynamic power transfer and for optimal acoustic source-airway interaction. The methodology is three-fold, (1) geometric measurement of airway dimensions from CT scans, (2) aerodynamic and acoustic impedance calculation of the airways, and (3) simulation of acoustic signals with a self-oscillating computational model of the sound source and wave propagation.

This article explores how teacher feedback during voice lessons impacts student learning. By examining the literature on the subject and incorporating an understanding of the three stages of motor learning, the author identifies times when students may benefit as teacher feedback is adjusted, temporarily withheld, or halted altogether.

Broadway star Megan Hilty’s announcement that she must temporarily step away from her Tony-nominated role in Death Becomes Her has once again brought the issue of vocal injuries and the stigma that sometimes accompanies them into the public eye. This article highlights other prominent performers and voice teachers who have publicly discussed their voice injuries. The author then provides the details of his own voice injury before ending with a plea that those of us in the voice community bolster our efforts to educate both our students and the general public about the reality of voice injuries.

Any skill we intend to develop, whether inside or outside the voice studio, must be practiced. In this article, the author presents a tactic used in earthquake drills designed to help ensure that individuals are able to protect themselves during a natural disaster. The author then presents an exercise that may be used in the studio to help students protect their autonomy: Practicing saying “No.”

This article provides a four-part model for effective practice based on “The Four Rs”: Resolve, Repeat, Refine, and Reinforce. Each term in this memorable mnemonic represents a useful component of systematic practice, providing an outline for exploration of the voice. By understanding each step, singers will have an identifiable process to follow that, while specific, can also be tailored to fit individual goals.

In this additional installment of the \"Time Spent\" series, the author explores the benefits of shorter sessions of distributed vocal practice compared to longer sessions of massed practice. He presents how ten-minute \"practice snacks\" may lead to greater learning alongside lower levels of vocal fatigue.

SYLLABIC STRESS In her textbook Speech and Voice Science, author, professor, and speechlanguage pathologist Alison Behrman highlights the \"basic building blocks of prosody,\" one of which is syllabic stress. According to Behrman's definition, when executing emphasized syllables in speech, we tend to use a higher pitch (f0) than we do with unemphasized syllables.4 We also use greater intensity or loudness, and longer duration on emphasized syllables. Since the first syllable receives the emphasis, speakers are likely to assign that syllable a higher pitch, greater intensity, and slightly longer duration. By placing the unemphasized syllable \"-de\" on the weaker fourth beat of the measure, lesser intensity than the first syllable is similarly implied. [...]Schubert uses explicit pitch contour (by raising the pitch of the emphasized syllable) and implied intensity contour (by placing the emphasized syllable on a strong rhythmic beat in the measure) to assist the vocalist in interpreting von Schober's text: \"Du holde.\" At the end of the opening melodic phrase, Schubert once again uses explicit pitch contour and implied intensity contour on the word \"Stunden\" (Example 1, m. 6). Since both syllables are written on quarter notes, there is no difference in duration.

Conscientious composers often work to set text in ways that facilitate expression and communication. Sometimes, however, a composer and a poet or lyricist seem to disagree on where the emphasis of a certain word or phrase should lie. In order to facilitate interpretive decisions in these cases, singers can utilize elements of prosody. Specifically, they can identify syllabic stress and prominence along with their associated acoustic cues: pitch, intensity, and duration. These tools can help singers more effectively bring their intended meaning across to audiences.

As frequently referenced in voice studios, “support” (or “breath support”) is a fundamental element of some teachers’ pedagogy. Others eschew the term, believing it to be ambiguous at best and harmful at worst. This article examines how support has been addressed in select pedagogical books and articles over the last fifty years. It presents various definitions for the term, examines potential problems with how it is often used in the voice studio, and considers alternate phrases that may be less “loaded.” It will also highlight some areas of general consensus in the ongoing evolution of the word support.

This third and final installment of the author’s “Time Spent” series of articles for this column explores the amount of work that studio teachers can engage in with sustained focus before they need a break. It will then consider how many minutes of rest are necessary in order to resume work with similar levels of focus, presenting different recommended work-to-break ratios. Lastly, the article addresses how teachers can spend rest periods to maximize their benefits and remain cognitively fresh.