Vocal Health Education in Undergraduate Performing Arts Training Programs

Flynn, Amanda

doi:10.1016/j.jvoice.2019.03.016

Cited by 8 publications

(4 citation statements)

References 11 publications

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“…The indirect therapy arm, MVA—created by Catherine L. Ballif, MA, CCC-SLP—involved 6 sessions over 8 to 12 weeks (Table 2) that focused on reducing or eliminating vocal behaviors that result in dysphonia; MVA was based on a vocal hygiene program developed by Nilson and Schneiderman, combined with generally accepted practices for addressing phonotraumatic behaviors in school-aged children . Treatment involved games and other activities to increase awareness and change phonotraumatic vocal behaviors.…”

Section: Methodsmentioning

confidence: 99%

Indirect vs Direct Voice Therapy for Children With Vocal Nodules

Hartnick

Ballif

Guzman

et al. 2018

JAMA Otolaryngol Head Neck Surg

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Section: Methodsmentioning

confidence: 99%

Indirect vs Direct Voice Therapy for Children With Vocal Nodules

Hartnick

Ballif

Guzman

et al. 2018

JAMA Otolaryngol Head Neck Surg

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“…Another research investigated the prevalence of vocal disorders and the knowledge of vocal health and alteration during the training period and the first five years after the undergraduate course. Professional actors mentioned a higher occurrence of vocal alterations in the five first years after the training and learned less about vocal health than those from classical singing and musical drama (11) .…”

Section: Introductionmentioning

confidence: 98%

Risk of dysphonia and voice quality in performing arts students

Ferrari,

Simões-Zenari,

Master

et al. 2023

CoDAS

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Purpose To analyse the relationship between the risk of dysphonia and vocal quality in undergraduate performing arts students. Methods Observational cross-sectional study with 38 undergraduate students in Performing Arts. We applied screening protocols for general and specific risk of dysphonia for actors and made recordings of sustained emission of the vowel /a/, spontaneous speech and reading a text, used for perceptual analysis performed by three evaluators using the GRBASI scale. After intra and inter-rater reliability tests it was obtained final classification of the general degree of vocal deviation parameter for each participant. Comparisons were made considering groups that had or did not have other profession/activity with the use of voice, and the groups were formed from the general grade. Results Most students were at high risk for dysphonia. All had vocal alteration, with a predominance of mild degree. Students who had another profession/activity with voice use scored higher in the specific protocol for actors, and in the sum of this protocol with the general screening protocol. There was no relationship between the degree of vocal alteration and the risk of dysphonia. Students who did not yet work professionally had more moderate or severe vocal alterations, and those who did work professionally had a higher frequency of mild vocal alterations. Conclusion Most students were at high risk for dysphonia. All had vocal alteration, with a predominance of mild alteration. There was no relationship between the risk of dysphonia and the degree of vocal alteration.

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“…Outra pesquisa investigou a prevalência de distúrbios vocais e o conhecimento sobre saúde e alteração vocal durante o período de formação e nos cinco primeiros anos após a graduação. Os atores profissionais citaram maior incidência de alterações vocais nos primeiros cinco anos após a formação e aprenderam menos sobre saúde vocal do que os profissionais do canto erudito e do teatro musical (11) .…”

Section: Introductionunclassified

Risco de disfonia e qualidade vocal em estudantes de artes cênicas

Ferrari,

Simões-Zenari,

Master

et al. 2023

CoDAS

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RESUMO Objetivo Analisar a relação entre o risco de disfonia e a qualidade vocal em estudantes de graduação em Artes Cênicas. Método Estudo transversal observacional com 38 estudantes de graduação em Artes Cênicas. Foram aplicados protocolos de rastreio de risco de disfonia geral e específico para atores, e realizadas gravações da emissão sustentada da vogal /a/, fala espontânea e leitura de texto, usadas para análise perceptivo-auditiva, efetuada por três avaliadores, com o uso da escala GRBASI. Após testes de confiabilidade intra e interavaliadores chegou-se à classificação final do grau geral do desvio vocal para cada participante. Foram feitas comparações entre grupos que tinham ou não outra profissão/atividade com o uso da voz e os grupos formados a partir do grau geral. Resultados A maioria dos estudantes apresentou alto risco para disfonia. Todos apresentaram alteração vocal, com predominância de grau leve. Os estudantes que tinham outra profissão/atividade com uso da voz obtiveram maior pontuação no protocolo específico para atores, bem como na soma desse protocolo com o de rastreio geral. Não houve relação entre o grau de alteração vocal e o risco de disfonia. Os estudantes que ainda não atuavam profissionalmente apresentaram mais alterações vocais de grau moderado ou severo, e os que atuavam profissionalmente apresentaram com maior frequência alteração vocal de grau leve. Conclusão A maior parte dos estudantes apresentou alto risco para disfonia. Todos apresentaram alteração vocal, com predomínio de grau leve. Não houve relação entre o risco de disfonia e o grau de alteração vocal.

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Vocal Health Education in Undergraduate Performing Arts Training Programs

Cited by 8 publications

References 11 publications

Indirect vs Direct Voice Therapy for Children With Vocal Nodules

Indirect vs Direct Voice Therapy for Children With Vocal Nodules

Risk of dysphonia and voice quality in performing arts students

Risco de disfonia e qualidade vocal em estudantes de artes cênicas

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