Graduate Student Voice Use and Vocal Efficiency in an Opera Rehearsal Week: A Case Study

Schloneger, Matthew J.

doi:10.1016/j.jvoice.2010.09.010

Cited by 27 publications

(14 citation statements)

References 25 publications

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“…Samples have included a transgender adult (Sodersten, Hertegard, Larsson, & Holmberg, 2009), adults with Parkinson's disease (Boudreaux, 2011), adults with and without dysphonia (Hillman, Heaton, Masaki, Zeitels, & Cheyne, 2006), opera students (Schloneger, 2011), student teachers (Franca, 2013) and classroom and music teachers (Gaskill, O'Brien, & Tinter, 2012;Morrow & Connor, 2011a, 2011bNacci et al, 2013). Participants in these studies wore the APM for differing lengths of time ranging from 1 to 10 days for 5-15 h per day.…”

Section: Phonation and Verbal Outputmentioning

confidence: 99%

A novel approach for measuring social participation in adults who stutter

Mendes

Dacakis

Block

et al. 2015

Journal of Fluency Disorders

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Section: Phonation and Verbal Outputmentioning

confidence: 99%

A novel approach for measuring social participation in adults who stutter

Mendes

Dacakis

Block

et al. 2015

Journal of Fluency Disorders

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“…Although the impact of heavy vocal load on the vocal folds and vocal function has received much research attention in recent years [16,17,18,19,20,21], the optimum voice doses that predate any negative impact on vocal function (creating vocal fatigue) and those that may have a deleterious effect on vocal health have not been determined [22,23]. Whether or at what stage sustained high vocal doses become potentially injurious also remains unclear [20].…”

Section: Introductionmentioning

confidence: 99%

“…Similarly, it is unknown whether fatigue effects among singers are common or inevitable, and also what periods of rest are required for recovery. Moreover, the relationship between heavy singing load and development of vocal pathology is complex with some authors positing that increased vocal doses among singers are not associated with a decrease in all aspects of vocal health quality [22,27] but may even enhance vocal health [28]. Improved insight into these areas is crucial to the prediction and prevention of vocal injuries among singers and may also assist in the establishment of occupational guidelines related to performance schedules and vocal requirements.…”

Section: Introductionmentioning

confidence: 99%

Measuring Vocal Function in Professional Music Theater Singers: Construct Validation of the Evaluation of the Ability to Sing Easily (EASE)

Phyland

Pallant

Thibeault³

et al. 2014

Folia Phoniatr Logop

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Overview: Working music theater singers (MTS) typically have a heavy vocal load and little is known about their perception of vocal function. The Evaluation of the Ability to Sing Easily (EASE) was used to assess professional MTS' perceptions of current singing voice status and to compare scores across demographic and performance characteristics and to evaluate the construct validity of the EASE and its subscales (VF = Vocal Fatigue, PRI = Pathologic-Risk Indicators). Methods: Professional MTS (n = 284) completed an online survey including the EASE and two additional Vocal Concern (VC) items. Scores were compared across age, gender, whether currently working, role, perceived vocal load over the past 24 h and self-reported voice problem. Results: For the whole cohort, statistically significant differences were found on all subscales according to whether or not singers perceived themselves to have a voice problem (p < 0.001). Currently performing singers were significantly different from those not performing in a show on the EASE Total (p = 0.014) and VF (p = 0.002), but not for PRI and VC. In the currently performing singer group, significant differences were found for gender, role and perceived voice problem on the EASE Total and all subscales (p < 0.01). Significantly higher VF scores were recorded for singers with heavy vocal load (p = 0.01), but there were no differences on the EASE Total (p = 0.57), PRI (p = 0.19) or VC subscales (p = 0.53). Among these performing singers, no significant age differences were found for any EASE subscales. Conclusions: These findings provide further validation of the EASE as a useful tool for measuring singers' perceptions of vocal function and suggest that the subscales should be scored separately. Future evaluation of the EASE against objective clinical assessments (e.g., videostroboscopy) is recommended. © 2014 S. Karger AG, Basel

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“…We also have compelling implications for singers from vocal dose studies such as those by Buekers et al, 12 S€ odersten et al, 13 Popolo et al, 14 Carroll et al, 15 and Schloneger. 16 Nevertheless, despite these wonderful resources, challenges continue to persist for professional singers who also teach voice-or, as we refer to them: Teaching Performers. Those who are successful in managing their vocal assets and those who struggle with their vocal choices could very well be divided by the quality of the decisions they make in regard to the ways they use and care for their instruments.…”

Section: Introductionmentioning

confidence: 99%