Application Of Vocal Fry To The Training Of Singers
Voice Research and TechnologyASSOCIATE EDITOR: Ingo TitzeApplication of Vocal Fry tothe Training of Singers-- - -1John NixKate EmerichIngo R. TitzeVocal fry, also known as pulse register phonation or Strohbass, has beenrecognized as having a very low fundamental frequency,' where each flowpulse damps out nearly completelybefore the next one commences! Assuch, vocal fry can be distinguishedfrom so-called "creaky voice," whichis found at higher frequencies and ischaracterized by a perception ofroughness and the presence of subharmonics in the glottal waveform.3The vocal folds are shorter in lengthin fry than in modal production andhave little significant change in lengthas frequency increases.' Subglottalair pressure and transglottal air floware lower in fry than in modal production.' Lower activity levels in theinterarytenoid, posterior cricoarytenoid, and cricothyroid muscles, andgreater activity levels in the thyroary-tenoid muscle have been observed infry as compared to modal (chest)voice.6 Extrinsic to the larynx, greatervelar closure and reduced nasality hasbeen observed in vocal fry as compared to modal voice,' and constrictionof the laryngeal vestibule has beenobserved in vocal fry.'Pedagogical opinions on vocal fryvary widely. Some authors, such asRalph Appleman and Meriheth Bunch,make no mention of vocal fry, pulseregister, or creaky voice in their books;other authors have commented on fry'sexistence as a register without making any statements about its utility;still others have advised positively ornegatively on its use in singing. WilliamLeyerle wrote in Vocal DevelopmentThrough Organic Imagery: "This register is tight and crackly. It is not generally a usable part of the baritone'srange, but is useful for low basses. . "He does not go on to state how it mightbe used or trained. In Bel Canto: AHistory of Vocal Pedagoq,y,James Starkcites the writings of Johann Agricolaand Mann Mersenne on the practiceof using vocal fry to extend the lowrange of baritones and basses."' Later,Stark notes that vocal fry is often heardin Russian choral music. His discussion concludes with a brief description of some of the physiologic, aerodynamic, and acoustic properties offry." Barbara Doscher also takes adescriptive approach in her book,detailing the characteristics of fly without making any recommendations forits use. 12 Doscher was the teacher ofone of the authors (Nix), and in hisobservations of hundreds of lessonsshe neither used it in the studio noradvised for or against its use.Cornelius Reid is very outspokenin his rejection of not only vocal fryas a phonatory mode but also theterms used to describe this kind ofvocalization.Journal of Singing, September/October 2005Volume 62, No. 1, pp. 53-59Copyright 2005National Association of Teachers of SingingSEPTEMBER/OCTOBER 2005Pulse register: a term introduced by scientific investigators to refer to vocalized53
John Nix, Kate Emerich, and Ingo R. Titzesounds with extremely low frequenciesand pulse-like oscillations; a "vocal fry,""glottal fry," "creak," or Strohbass.The concept of a "pulse register" iswithout value to voice culture for the following reasons: 1. It is a designation basedupon acoustic rather than physiologicaldata, and there is no distinct mechanical or muscular system responsible forits articulation; 2. The vibratory impulsesit describes have no relevance to the"pulse" or vibrato of a legitimate vocaltone; 3. The vibratory impulses itdescribes are "musical" only in that theypossess measureable pitch; they containno recognizable vowel phoneme and cannot be swelled or diminished; 4. Thesounds to which it refers are "freak"tones with no aesthetic value; likesqueaks, groans, screams, and squeals,they should be considered forms of affective expression, and not confused withlegitimate vocalization, and 5. The soundsto which it refers have no pedagogic valuesince they could never be incorporatedinto, or used to influence or improve, thequality of those tones universally acceptedas being legitimate.The term "pulse register" should beabandoned, since a further proliferationof terminology, even when justified onacoustic terms, simply adds confusion toan already confused area of thinking withrespect to the number and origin of vocalregisters. 13William Vennard, on the otherhand, advocated the use of fry as acorrective technique for an overlybreathy voice.This exercise is especially good for breathypupils. A breathy tone can hardly be initiated by the tension required for the rattle. However, it is an ideal tension whichadjusts the glottis without tightening thethroat, and as such benefits students whoare too tense The voiceless [sic] rattle mayrumble into a tone b y adding phonation.This approach is the opposite of thatdescribed in Par. 182. The "imaginary h"is more suitable for attacking high notes,where tension is a danger, and the "rattle" is better for low notes, indeed it buildsthe low part of the range. It is especiallybeneficial for low voices. 454Vennard went on to say that "Theglottal rattle, or fry requires a looseglottis, and is much more difficult toperform on either Ee or Oo than it iswhile the resonators are forming anAh."15Oren Brown also advocated anexploration of vocal fry, especially forthe development of the low range. InDiscover Your Voice, the chapter"Range and Registers" includes thefollowing passage:To find the lowest notes in Register 1, thelarynx must rest in a very relaxed, lowposition and then apply an almost breathyflow of air. It takes more air flow and lesspressure to produce low notes than highnotes because the vocal folds are looser(that is, they do not come together so often)and the amount of air that escapes at eachopening pulse is greater. Any attempt toproduce these notes by tensing and pushing down into them prevents the musclesfrom performing their natural functionand shuts off the resonance. For this partof the voice, let the tone slide down and letthe air flow do the work.Brown goes on to include a 5-4-3-21 descending vocalise (Exercise XVin his book) for the exploration of17fry, and includes audio examples ofthis type of phonation on the CD thataccompanies his book. 18 Additionally,Brown employed a fry onset exercisein a lesson with one of the authors(Nix) in July 2000.Seth Riggs advocates the use ofcreaky voice exercises in his bookSinging for the Stars as a means to finding what he calls Speech-Level Singing.He begins with a single upwardinflected glide in a creaky voice hum(Exercise 14 in the book), then moveson to arpeggiated patterns on a humwith creaky type onsets (Exercises15-19).' The number of creaky onsets is gradually reduced as the singerprogresses through the course of exer-cises. Riggs's book also contains a CDthat demonstrates these exercises.2'Riggs's concepts were successfullyemployed by Randy Buescher in a single-subject case study recently reported in the Journal of Singing."Finally, Richard Miller takes a morecautious view of Strohbass (which hedistinguishes from vocal fry) and fry.Just as an occasional falsetto note isintruded in legitimate upper range forsome specific coloration, so an occasionalStrohbass tone may be introduced in thelowest range of the voice. . Strohbass, ifused at all, should be used judiciously.Exercises for the development of this register phenomenon should be undertakenonly with a teacher, and never for morethan a few brief moments. . . At times, amoderate use of vocal fry may help a young,low-voiced male develop a "feel" for additional pitches at the lower extension ofhis range. Vocaifry encourages an imprecise onset and should not be relied on asa standard vocalizing technique.22Miller includes a 5-3-1-3-5 exercise(Exercise 9.3 in his text) 21 for developing the Strohbass quality, with onlythe lowest note in the pattern beingsung in Strohbass.Vocal fry has been used by one ofthe authors (Emerich) therapeuticallyto address the efficiency and functionof the glottal sound source and torestore symmetry to the laryngealmechanism. The therapy employsvocal fry to optimize the glottal closure pattern and to decrease the needfor lateral or anterior-posterior compression as a compensatory reactionto incomplete glottal closure or laryngeal asymmetry. Motor learning principles are an essential element of thisprogram. The therapy works first atthe syllable level, then progresses toword, functional phrase, and conversational voice levels. It also incorporates pitch glides as stretching exercises to reinforce the concept ofJOURNAL OF SINGING
--Voice Research and Technologyefficient glottal closure and to addresscricothyroid muscle weakness andvocal fold stiffness and/or scarring.The efficacy of therapy with vocal fryis currently being clinically tested ona population of school teachers as apart of NIH grant ROl DC04224,"Research Towards OccupationalSafety in Vocalization."The authors have found that theprudent use of a relaxed vocal fryonset gliding into selected singingexercises is useful in both the therapeutic setting and the voice teachingstudio. The benefits may include: 1)optimizing posturing of the vocal foldsfor increased efficiency of voicing; 2)improving ease/spontaneity of onsetof voicing; 3) decreasing compensatory muscle behaviors associated withlaryngeal weakness; and 4) shapingthe glottal configuration and the epilarynx to optimize voice output. Onepossible explanation for why fryworks in improving spontaneity anddecreasing compensatory behaviorsthat it is an "unused register," to borrow Vennard's term, 24 and as such,the singer does not have any habits(good or bad) associated with it. Thefreedom found through using fry canbe transferred to other more familiarmodes of phonation. As Donald Millerof the Groningen (Netherlands) VoiceLaboratory recently said in an e-mail:have given your ideas on fry somethought. Aside from the idiosyncratic usethat I sometimes employ for guiding formant tuning, I think the clearest benefitshave to do with intervening in glottalbehavior—as you say, improving glottalefficiency. My guess is that fry helps to isolate glottal adduction from the more general tensions in the whole laryngeal areathat get lumped together in phonation.What further helps is that producing"good" fry requires a delicate and healthybalance of intrinsic laryngeal muscles withlow subglottal pressure. Thus the idea ofusing fry in training or rehabilitatingsingers seems to me a promising one.2ISEPTEMBER/OCTOBER 2005The low activity levels observed infry in the interarytenoid, posteriorcricoarytenoid, and cricothyroid muscles, and greater activity level observedin the thyroarytenoid muscle mayresult in a vocal fold configurationthat is thicker, with a bulge at thelower surface of the fold, and a more"square" contact, yet lacking in unduelongitudinal tension. Titze has shownthat such a vocal fold vibration pattern causes the flow of air throughthe glottis to shut off more quickly ineach vibratory cycle, which in turnincreases sound intensity. 26 Again,the benefits of this vocal fold configuration are practiced in fry and transferred gradually to other types ofphonation. Finally, some of the constriction of the laryngeal vestibule orepilarynx that has been observed infry phonation may be transferable ina constructive way to sung production. As Titze has also noted, a narrowed epilarynx tube can enhancethe efficiency of vocal fold output byalso causing the glottal flow to rapidly decrease.27 This last point needsfurther exploration and verification,however; as Donald Miller noted inthe e-mail cited above:I would guess, however, that fry is notrelated to the sort of aryepiglottic constriction to which we attribute the singer'sforniant. If there is a voluntary and specificway to produce that constriction directly,I don't know about it. We learn certaingeneral behaviors that reliably (and seemingly involuntarily) produce it as a byproduct, but these are not directed principallyat glottal behavior, as fry is. The aryepiglottic constriction is a feature of the generalvocal tract configuration, and fly (or ingressive phonation, which has quite differentpressure and adduction requirements) islargely independent of the vocal tract,28Among the types of pathologiesthat may be addressed with thisapproach are: 1) mild paresis of therecurrent laryngeal nerve, which maycause difficulty with adduction; 2)mild paresis of the superior laryngealnerve, which may cause compensatory behaviors such as tongue-basedepression at the onset of phonationor at an increase in frequency, jawtension, lateral and anterior-posterior compression of the extrinsiclaryngeal musculature, and insufficient respiratory support; and 3) vocalfold injuries, such as a vocal cyst plusa reactive mass on the opposite side,vocal fold stiffness secondary to avocal fold hemorrhage, or postoperative singers.As a case history success story, theauthors share images of a professionalsinger with a vocal fold injury whobenefited from the use of fry-basedtherapies and singing exercises. Thesinger, a forty-one-year-old lyric coloratura soprano, had experienced asevere upper respiratory infection andhad coughed heavily for some weeks.A videostrobe exam done by Emerichrevealed a posthemorrhagic left vocalfold mass and reactive swelling onthe opposite side, coupled with significant compensatory tension in boththe anterior-posterior and lateral directions (Figure 1). Therapy was begun(with Emerich) as well as more reg-Figure 1: Pretlierapy videostruhucupyimage of a forty-one-year-old lyric coloratura soprano with a posthemorrhagicleft vocal fold mass and reactive swellingon the opposite side, coupled with significant compensatory tension in both theanterior-posterior and lateral directions.55
John Nix, Kate Emerith, and Ingo R. Titzeular singing voice lessons (with Nix).Pathologist and singing teacher communicated frequently on the implementation of intervention strategies,which included fry-based exercisesas a key component. Figure 2 showsthe same singer's strobe exam sixweeks posttherapy, with only slightswellings at the striking zone bilaterally and greatly decreased compensation. This second strobe exam wasdone within forty-eight hours of thesinger completing a professionalengagement as soprano soloist in aperformance of the complete Messiah.Key points in the application ofvocal fry to the training of singersinclude: The target behavior is a loose, relatively slow fry. Oren Brown'sdescription of how to elicit thissound (see above) maybe helpful tosome vocalists. The fry lead-in should be performedon the same vowel with the samevocal tract posture the singer isabout to use in a vocalise or a musical phrase (Figures 3 and 4). The singer should have the pitchof the target sung tone in mindwhile doing the fry lead-in. The fry onset should not be usedfor extremely high pitches. Nix'sexperience in the teaching studiohas shown that the upper pitchFigure 2: The same singer's strobe examsix weeks posttherapy, with only slightswellings at the striking zone bilaterallyand greatly decreased compensation.56ØcjJJjjtDrj si&volflyaIiI0eI,,Lg drou,outP;jJJJ,rjiiJrvocal fry oill&Iae0Figure 3: Alternation of fry onset and nonfry onset trials of a vocalise.oIeI/Cue ueueu el40 e0 C0e0 bSUMA.vocaI&ocJeI Ic u c u eUs UWio a o eo c o'RIFigure 4: Alternation of an ascending vocalise that uses a vocal fry onset with adescending vocalise that does not use fry.limit for effective use is approximately D 4 for males and D 5 forfemales. For motor learning purposes, it isbest to mix in a random fashion trials with the fry lead-in with trialsof the same exercise or phrase without the fry (Figure 3). As the singerbecomes more accomplished withthe nonfry initiated version, thefry trials should be randomly andgradually reduced in frequency,then totally eliminated altogether.Nix has found that mixing fry onsetpatterns with staccato or otheronset exercises (as described indetail by Miller-") can be very effective, as was previously noted byBuescher.3 Nix also advises for thesake of intrinsic muscle balancethat exercises that use the fry onset,which encourages more activationof the thyroarytenoid muscle, beperformed in alternation withdescending patterns, which encour-age the cricothyroid muscle to bemore active (Figure 4). It is entirely normal for some youngsingers, especially females underthe age of twenty-two, to have somebreathiness in their sound; thisdevelopmental stage usually resolves itself with time and training. The authors are not recommending a heavy diet of fry onsetexercises to force a young voice tobe less breathy. Singers should pay close attentionto the sensation of the fry assistedonset, then recall that sensation ofrelaxed yet laryngeally competentadduction in order to transfer thenew habits to phonation withoutusing the fry. The fry is a trainingtool, not a crutch for the singer tobe dependent upon. When using a spectrographic display program for visual feedbackin practicing/teaching, the fry onset may be useful as a nonharJOURNAl. OF SINGING
.Voice Research and Technology,,pedagogical tools (such movementwork, humming, lip trills, chanting,using voice analysis technology, etc),fry is not a panacea for solving everyvocal problem, it should not be usedin excess, and it should be exploredwith the guidance of a knowledgeable teacher first.%,&m BwsIo9sThis research supported by NIH GrantROl DC04224.NOTES---'--,-- - -SpKftwarn 0)5 1"Cutsoq 791ml 511 M6pKVW -:Curso -42548dID*VoceVhft 2.7Figure 5A. Voce Vista power spectrum (right), spectrogram (lower left) and audioenvelope of one of the authors (Nix) using vocal fry on the vowel /e/, then gliding into singing /e/ on D 3 (147 Hz). This image shows the power spectrum during the vocal fry portion. Note the peaks for F 1 at approximately 550 Hz and F2at approximately 1450 Hz as revealed in vocal fry.'(,m2. Harry Hollien and R. W. Wendahi,"Perceptual Study of Vocal Fry,"Journal of the Acoustical Society of A nwrica43 (1968): 509.3. Ingo Titze, Principles of Voice Production (Englewood Cliffs, NJ: PrenticeHall, 1994), 259, 275.E4. Harry Hollien, Helbert Damsté, andThomas Murry, "Vocal Fold LengthDuring Vocal Fry Phonation," FoliaPhoniatrica 21(1969): 264.--.-.-Sp.1. Harry Hollien and John Michel,"Vocal Fry as a Phonational Register," journal of Speech and HearingResearch 11, no. 3 (September 1968):600-604.K,5.rn (ft5Cw,ot 1802 mi 494 Hz 9pecumAa5 iftCisw -34 d9 494 It2.7Figure 5B. This image shows the power spectrum during the sung portion. Notethat in the sung segment H3 is in close proximity to F 1 and H10 is in proximityto F2, as shown in image 5A.monic sound source for determining the approximate location ofvowel formants for a given vocaltract shape; 3 ' as the singer transitions into singing from vocal fry,it can easily be determined whetheror not a harmonic is in close proximity to the formants that wereSEPTEMBER/OCTOBER 2005seen in the vocal fly spectrum (Figure 5).In summary, the authors believethat fry is another means to achievea free, healthy production that can beapplied to artistic singing. A careful,judicious use of fry as a tool is notharmful, in our opinion. As with other5. Thomas Murry and W. S. Brown, Jr.,"Subglottal Air Pressure During TwoTypes of Vocal Activity: Vocal Fryand Modal Phonation," Folia Phoniatrica 23 (1971):448. Michael Blomgren, Yang Chen, Manwa Ng, andHarvey Gilbert, "Acoustic, Aerodynamic, Physiologic, and PerceptualProperties of Modal and Vocal FryRegisters," Journal of the AcousticalSociety ofAmerica 103, no. 5, part 1(May 1998): 2649.6. R. E. McGlone and T. Schipp, "SomePhysiologic Correlates of Vocal FryPhonation," Journal of Speech andHearing Research 14(1971): 769-775.7 M. Behlau, L. Machado, Z. Guedes,P. Pontes, and A. Pontes, "Using VocalFry to Treat Nasality Problems"(Abstract), Phonoscope 1 (1998): 4.57
John Nix, Kate Emerich, and Ingo R. Titze8. Ronald Scherer, "Physiology of CreakyVoice and Vocal Fry" (Abstract),Journat of the Acoustical Society ofAmerica 86, Supp. 1 (Fall 1989): S25. Barbara Doscher, The Functional Unityof the Singing Voice, 2nd ed. (Metuchen, NJ: Scarecrow, 1994), 187.9. William Leyerle, Vocal DevelopmentThrough Organic Imagery, 2nd ed.(Mount Morris, NY: Leyerle Publications, 1986), 65.10. James Stark, Bel Canto: A History ofVocal Pedagogy (Toronto: Universityof Toronto Press, 1999), 64-65.11. Ibid., 89,22. Richard Miller, The Structure of Sing.ing (New York: Schirmer, 1986),125126.23. Ibid., 126.24. Vennard, 73, 76,121, 212, 248.25. Donald Miller, personal e-mail correspondence, November 15, 2004.26. Ingo Titze, "What Makes a VoiceAcoustically Strong?"Journal of Singing 61, no. 1 (September/October2004), 63-64.27. Ibid.28. Donald Miller.29. Richard Miller, 9-17,12. Doscher.30. Buescher, 225.13. Cornelius Reid, A Dictionanj of VocalTenninology:AnAnal.ysis (New York:Joseph Patelson, 1983), 284-285.31. Donald Miller, Arend Sulter, HarmSchutte, and Rienhart Wolf, "Comparison of Vocal Tract Formants inSinging and Nonperiodic Phonation,"Journal of Voice 11, no. 1(1997): 1-11.14. William Vennard, Singing: The Mechanism and the Technic, rev. ed. (NewYork: Carl Fischer, 1967), 48.15. Ibid., 124.16. Oren Brown, Discover Your Voice: Howto Develop Healthy Voice Habits (SanDiego: Singular Publishing, 1996),58.17. Ibid., 270-271.18. Oren Brown, Discover Your Voice:Vocal Exercises by Oren L. Brown,Audio CD (San Diego: Singular Publishing, 1996), Track 9.19. Seth Riggs, Singing for the Stars: AComplete Program for Training YourVoice, comp. and ed. by John Dominick Carratello (Van Nuys, CA:Alfred Publishing, 1998), 58-63.20. Seth Riggs, Singing for the Stars, AudioCD 2 (Van Nuys, CA: Alfred Publishing, 1998), Tracks 7-22.21. Randy Buescher, "Postoperative Posture Memory Rehabilitation UsingSpeech Level Singing Exercises andBalanced Onsets,"Journal of Singing58, no. 3 (January/February 2002):223-228.58a Bachelor of Music Degree in Vocal Performance from The University of Georgiaand a Master of Music Degree in ArtsAdministration from The Florida StateUniversity. His published articles haveappeared in The NATSJournal, The NewYork Opera Newsletter, Journal of Singing, Vocalease, and The Opera Journal.Mr. Nix is the editor and annotator ofFrornStudio to Stage: Repertoire for the Voice,compiled by Barbara Doscher (ScarecrowPress, published June 2002).John Nix, tenor,joined the voice faculty atthe University of Texas at San Antonio inthe fall of2005, where he serves as Associate Professor of Voice, Vocal Pedagogy, andVoice Research. Previously he was Director of Education and Special Projects andCoordinator of the Summer Vocology Institute for the National Center for Voice andSpeech in Denver, where he worked withinternationally known voice scientist andeducator Dr. Ingo Titze. Mr. Nix has alsoserved on the music faculties of The University of Colorado at Denver and EasternNew Mexico University. Mr. Nix holds aMaster of Music Degree in Vocal Performance from The University of Colorado atBoulder, Certification in Vocology from TheUniversity of Iowa, and has pursued additional coursework towards the DMA degree.At Colorado, he studied voice and voice pedagogy with the late Barbara Doscher andthe Alexander Technique withJames Brody.Mr. Nix was also a participant in the 1994NATS Intern Program, where he workedwith Thomas Houser and Barbara Honn.Prior to his studies at Colorado, he receivedKate A. Emerich, BM, MS, CCC-SLF voiceinstructor and voice pathologist, has beentraining healthy and injured singing voicessince 1990, when she was a graduate student at the University of Wisconsin. Kate'sbackground in voice pathology allows amultifaceted knowledge of the anatomy,physiology, and biomechanics of the vocalmechanism that enhances and optimizesthe training of the voice and focuses onhealthy and beautiful vocal production.Ms. Emerich is a member of the NationalAssociation of Teachers of Singing (NATS),and has contributed several articles on thesinging voice. She is also an active memberof the American Speech-Language Hearing Association (ASHA) and Voice andSpeech Trainers Association (VASTA).Kate is CEO of Vocal Essentials, LLC, abusiness solely dedicated to voice and speechtraining and rehabilitation of the singingand speaking voice. Prior to the inception ofVocal Essentials, LLC, Kate spent five.yearsas part of the voice team with Robert T Sataloff MD, DMA as Voice Pathologist andSinging Voice Specialist, and six years asPrincipal Vocologi.st and Research Associate at the National Center for Voice andSpeech, a division of the Denver Center forthe Performing Arts in Denver, CO. Katesings professionally as a soloist and withOpera Colorado and is a lyric soprano.Ingo R. Titze is Distinguished Professor ofSpeech Science and Voice at the Universityof Iowa and Executive Director of theNational Center for Voice and Speech atJOURNAL OF SINGING
Voice Research and Technologythe Denver Center for the Performing Arts.His formal education is in physics andelectrical engineering, but he has devotedmuch of his studies to vocal music andspeech. Dr. Titze has published more than150 articles in scientific and educationaljournals, coedited two books titled VocalFold Physiology, and has authored a bookcalled Principles of Voice Production. Hehas lectured throughout the world and hasappeared on such educational televisionseries as Innovation, Quantum, andBeyond 2000. He is a recipient of theWilliam and Harriott Gould Award forlaryngeal physiology, the Jacob .JavitsNeuroscience Investigation Award, theClaude Pepper Award, the QuintanaAward, and the American Lar,yngologicalAssociation Award. He is a Fellow of theAcoustical Society of America and theAmerican Speech-Language-HearingAssociation. Dr. Titze has served on a number of national advisor,y boards and scientific review groups, including the ScientificAdvisory Board of The Voice Foundationand the Division of Research Grants of theNational Institutes of Health. in additionto his scientific endeavors, Dr. Titze con-tinues to be active as a singer. He is married to Kathy Titze and has four children.Mail should be addressed to Ingo R. Titze,National Center for Voice and Speech, 330WJSHC, Iowa City, IA 52242. Telephone(319) 335-6600.Many faults in singing are traceableto deceptive theories as to the physicalfunction of head voice and chest voice.Richard Miller,Training Soprano Voices, 117. Master of MusicMaster of Arts in Music19 z 0HOUGHTON COTLEGE.1Musically Ex V,1dL'111 11,111% Iigni Pnooundly ChristianA center for serious music students in the Christian world, the Greatatch School of Music atHoughton College inaugurates graduate programs in music beginning fall 2004.Degrees offered include a master of arts in music and a master of music In performance,conducting, composition, and collaborative performance.The Greatbatch School of Music offers full tuition assistantships, including stipend, andprovides opportunities for professional and artistic development under an outstanding faculty.Houghton, New York 14744-0128 800.777.2556 or S85.567.9400Fax: 585.567.9517 ?uui,i(Ilol(ghton.eduShirley Close, Mnus Ben R. King, DMA B. Jean Reigles, PhDwww.houghton.eduFROSTSCHOOL OF MUSIC.UNIVERSITY OF MIAMI.7'c-. A New DMA inVocal Pedagogy and Performance Preparation for a career as a voice teacher and research-scholar in vocal pedagogy State-of-the-art training for teaching classical, Broadway, choral and jazz singing styles Fellowships and Teaching Assistantships Doctoral Fellowships - stipends of 18,000 per academic year, plus tuition remission(Application deadline: December 15) Teaching Assistantships - stipends of 8,652 per academic year plus tuition remission(Application deadline: February I).rC,:, :i,.inr 'r'Nrr,.;tC- r,.0SEv'1'EM13l:R/Oc'roti:t 2005M,:c h,ir Ir.'.ri: . i' ;SC 'r:,.irtrr?:,ry;J!;.C .CI fl .e.Pr,' N,.i p 'rr .r.Ar.',.;5':. ' '''1',. Hr::P Ni.:,:.59
Seth Riggs advocates the use of creaky voice exercises in his book Singing for the Stars as a means to find-ing what he calls Speech-Level Singing. He begins with a single upward-inflected glide in a creaky voice hum (Exercise 14 in the book), then moves on to arpeggiated patterns on a hum wit
(Carnatic Music Association of Georgia) 8:30 AM- 9:45 AM 10:00 AM- 11:30 AM # Participants Category 1 Adithya Karthik Upadhyayula Vocal 2 Manvitha Sai Kaza Vocal 3 Pranitha Sai Kaza Vocal 4 Prarthana Bhaaradwaj Vocal 5 Sripoorva Prasanna Vocal 6 Sudarshan Prasanna Vocal 7 Sarah Jeyaraj Vocal 8 Arnav S. Raman Veena
Semi-Occluded Vocal Tract Exercises (SOVTE) -used for many years by singers and voice professionals as warm-ups . Watch out for Forceful vocal folds adduction or phonation Do not overdrive any of breath (hyper function) or vocal closure Avoid staccato, more stressful vocal adduction.
adduction and vibratory aspects of the vocal folds, including the length and duration of vocal fold contact, the vocal fold length and thickness, and the mucosal wave of the vocal folds. The laryngeal sound is further altered by acoustic effects due to the shape of the pharyngeal, oral, and 1 Titze, Ingo R. Principles of Voice Production.
To learn more, click the icon at the upper-right corner of the window and open the WaveSystem Guide. Waves Vocal Rider User Guide 5 Chapter 2 – Quickstart Guide Insert Vocal Rider as the last plug-in on your vocal or vocal group track.
32 Bageshree (registered) Bade Ghulam Ali Khan (concert Vocal mp3 33 Bageshree (registered) Hari Prasad Chaurasia ektal Bansuri / Flute mp3 34 Bageshree (registered) Kishori Amonkar Vocal mp3 35 Bageshree (registered) Rajab Ali Khan Vocal mp3 36 Bageshree (registered) Sya Ram Tiwari Vocal mp3 37 Bageshree 1 Hirabai Barodekar Vocal mp3 38 .
music (CCM) vocal pedagogy through the experiences of two vocal pedagogy teachers, the other in the USA and the other in Finland. The aim of this study has been to find out how the discipline presently looks from a vocal pedagogy teacher's viewpoint, what has the process of building higher education CCM vocal pedagogy courses been
(Nodes)A lump formed by an aggregate of cells on the vocal fold. Miller, 313 . Ossification. The hardening of tissue into a bony substance. Passaggio. Vocal register pivotal point (as in primo passaggio, secondo passaggio) Pedagogy (Vocal Pedagogy, Acoustic Vocal Pedagogy) Vocal pedagogy is the study of the art and science of voice instruction.
The Fry 1000 Instant Words are a list of the most common words used for teaching reading, writing, and spelling. These high frequency words should be recognized instantly by readers. Dr. Edward B. Fry's Instant Words (which are often referred to as the "Fry Words") are the most common words used in
