Doctor of Musical Arts, The Ohio State University, 2022, Music

Since the end of the 19th century, musical theater has thrived and continued to grow as a prominent American artform. Though musical theater has roots in classical style singing, it quickly capitalized on the inclusion of contemporary music trends, notation, orchestration, and themes. Because of its influence from contemporary styles, musical theater is considered a part of Contemporary Commercial Music or CCM. Traditionally, if you wish to study voice at the collegiate level, the majority of your education will be classically based; however, current research has demonstrated that there is a want and a need for the inclusion of CCM, and more specifically musical theater into the collegiate voice curriculum. In 2003, Jeanette LoVetri and Edrie Means Weekly conducted a survey evaluating voice teacher training and experience. While a majority of voice teachers taught musical theater, less than half had received any sort of training to do so. The investigators concluded that a high majority of singing teachers desired more organized and consistent vocal education for CCM and especially musical theater. Later investigative surveys revealed similar results. Despite the demand, the current collegiate voice curriculum has not yet adapted to include a well-rounded curriculum inclusive of CCM styles and it is clear that the lack of CCM inclusion is negatively affecting our singers and music educators. To gauge current perceptions on the inclusion of musical theater education at the undergraduate level, this survey gathered insight from recent alumni of vocal music programs at Ohio public universities. The data was collected from a population in which n=24. While this survey serves as a pilot study, we can identify several trends among the respondents. From the study, it is evident that a percentage of Ohio voice alumni are not satisfied with the amount of musical theater education within their undergraduate voice programs. In general, those who are currently employed in (open full item for complete abstract)

Committee: Katherine Rohrer (Committee Chair); Alan Green (Committee Member); Edward Bak (Committee Member); Cyril Blosser (Committee Member) Subjects: Education; Music; Music Education; Theater

Doctor of Musical Arts, The Ohio State University, 2014, Music

A survey of the literature addressing the training and vocal health of singers leads to pedagogic writings on singing and the voice as an instrument, instructions on vocal hygiene, writings on how to address vocal faults, and recently published works addressing the rehabilitation and care of the disordered singing voice. With the understanding that singing is a highly athletic and artistic form of vocalization that is prone to injury, there is a gradual but nonetheless noteworthy focus on the vocal health needs of singers, and an increasing awareness to educate singing students in the basics of vocal hygiene so as to preserve a healthy voice. This same population is faced with many lifestyle changes, together with often-stressful academic programs, competitions and auditions that increase their need for a healthy voice, while also creating conditions that may lead to vocal attrition. The first chapter inquires as to the documented vocal health and knowledge of students, together with an understanding of the most common voice complaints and disorders in the singer-student population. Chapter two addresses the principles of phonation and vocalization. It is followed by vocal hygiene and healthful practice recommendations in the third chapter, with the fourth chapter focusing on a suggested intake procedure for incoming students. Methods of assessing vocal health throughout students' careers as singers will be discussed. The fifth chapter concludes by devising a plan to address various voice symptoms. While an anomaly in vocal function may be more easily noticeable by the experienced singer, it is more challenging to differentiate a symptom of a voice disorder from a manifestation of faulty technique in voice students. Among many functions, college voice teachers have the primary responsibility of instilling in their students an understanding of proper vocal function, coordinating optimal uses of the systems of respiration, phonation, resonance and articulation to prod (open full item for complete abstract)

Committee: John Rice (Advisor); Scott McCoy (Committee Member); Michael Trudeau (Committee Member) Subjects: Music; Performing Arts

Master of Arts, The Ohio State University, 2023, Speech Language Pathology

Twang is a highly resonant and efficient vocal quality used in many contemporary music genres. Its efficiency allows vocalists to increase their volume substantially without increasing vocal effort. Many misconceptions surround twang, such as its erroneous description as “nasal" despite its independence of velar elevation. There have also been few direct observations of the physiology of twang production. Most knowledge of twang production comes from simulation data. Because twang is commonly used in contemporary music, it is a frequent target of vocal instruction. Additionally, because past research has shown that twang is primarily produced by configuring structures above the level of the vocal folds, such as the aryepiglottic sphincter, it shows promise as a compensatory strategy for hypofunctional voice disorders. More direct observations of twang production are necessary to dispel misconceptions and create better understanding of the vocal tract gestures involved. This will ultimately improve effectiveness of instruction in twang production in both musical and clinical contexts. The first MRI study of twang was conducted by Perta et al. (2021). This study observed twang physiology at the oropharyngeal level. However, structures in the lower part of the pharynx could not be observed. The present study aimed to replicate Perta et al.'s findings at the oropharyngeal level while making observations at the aryepiglottic sphincter level to more comprehensively describe twang physiology and individual variations.

Committee: Youkyung Bae (Advisor); Nicole Wiksten (Committee Member) Subjects: Acoustics; Medical Imaging; Music; Performing Arts; Physiology; Speech Therapy

Doctor of Musical Arts, The Ohio State University, 2020, Music

The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer `in action' is presented through an analysis of the phrasing used by Maria Callas in a portion of `Donde lieta' from Puccini's La Boheme. This demonstrates the influence of text on interpretation for singers. Together, these points suggest that voice pedagogy may be used to positively influence clarinet performance and pedagogy, ensuring that clarinetists will continue the tradition of `making the clarinet sing.'

Committee: Caroline Hartig (Advisor); Scott McCoy (Committee Member); Eugenia Costa-Giomi (Committee Member); Katherine Borst Jones (Committee Member) Subjects: Music; Music Education

Doctor of Musical Arts, The Ohio State University, 2020, Music

The Doctor of Musical Arts (DMA) degree has been the terminal degree in music performance, composition, and conducting in North America since the early 1950s. Originally met with criticism, some of which continues to this day, the DMA continues to serve as the gateway for applied music-makers that wish to join the academy. This document investigates and echoes these criticisms surrounding the necessity and design of the DMA in Voice Performance, while submitting new criticisms based in curriculum theory, learning science (pedagogy), and educational psychology. A comparative look at DMA in Voice Performance programs at 57 American universities and conservatories provides context and inspiration for a much-needed consensus on the desired outcomes of this terminal degree in singing. This document responds to this need by proposing a new, revised, and ideal course of study that encourages the singing community to reconsider the limitless possibilities that exist for artist-teachers in the pursuit of a DMA. In so doing, it serves as a mindful guide that institutions may use to tailor their doctoral programs to their strengths, while following best practices that uplift, validate, and ensure the existence of such a degree.

Committee: Scott McCoy DMA (Advisor); Edward Bak MM (Committee Member); Christin Ray PhD (Committee Member); Loretta Robinson MM (Committee Member) Subjects: Curricula; Curriculum Development; Education; Educational Psychology; Higher Education; Higher Education Administration; Music; Music Education; Pedagogy; Performing Arts; Teacher Education; Teaching

Master of Music (MM), Bowling Green State University, 2019, Music Performance/Voice

There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide.

Committee: Christopher Scholl (Advisor); Kevin Bylsma (Committee Member); Eftychia Papanikolaou PhD (Committee Member) Subjects: Music; Music Education

Master of Arts, Miami University, 2017, Speech Pathology and Audiology

When collaborating to treat voice disorders in singers, speech-language pathologists and singing teachers may not discern and describe disordered vocal quality the same way, leading to potential misunderstanding. In this study, recorded samples of dysphonic speaking voice were rated at baseline by singing teachers with free descriptions and an overall severity rating of 0-100. Following the initial ratings, the teachers were trained in the use of the Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V) with verbal definitions and auditory anchors exemplifying characteristics of disordered voice. The pre- and post- training ratings of the teachers were compared to composite ratings of six expert speech-language pathologists. Outcomes examined include divergence from expert clinical opinion in choice of descriptive terminology and severity ratings in pre-training ratings, changes post-training to inter-rater reliability from baseline, and agreement of expert clinical opinion and teachers of singing following training. Training and use of the CAPE-V improved inter-rater reliability and appeared to increase singing teachers' ability to differentiate dysphonic and perceptually normal speaking voices.

Committee: Renee Gottliebson Ph.D (Advisor); Susan Brehm Ph.D (Committee Member); Wendy LeBorgne Ph.D (Committee Member); Alison Acord DMA (Committee Member) Subjects: Health Care; Music; Speech Therapy

Doctor of Musical Arts, The Ohio State University, 2016, Music

This document examines vocal health and pedagogy as they relate to the adolescent singing voice in the 21st century, and based on the understanding gained, it develops strategies to prevent vocal injuries in adolescence, carrying good vocal hygiene into adulthood. Music educators working with adolescent singing voices can use this document as a guide to lead their students to adopt healthy vocal habits and come to an awareness of their instrument, helping to prevent vocal injury. The author begins by reviewing literature on the topics of vocal health, hygiene and pedagogy concerning both adult and adolescent singers, and focuses on literature specifically relating to the adolescent singing voice. A healthy voice stems largely from sensible and hygienic vocal habits. The cultivation of good vocal habits seems to be more difficult to achieve as our world becomes louder and busier. Adolescence is the time when most vocal habits form establishing into a unique voice. Thus, music educators working with adolescents must seize the opportunity to replace unhealthy vocal habits with healthy ones in these young singers. The review of literature illuminates the importance of not just vocal health in young singers but also respiratory health, hearing health and health of other kinds. Since a singer's body is his or her instrument, the whole body, not simply the larynx, must be healthy. With regard to adolescent vocal pedagogy, even after decades the works of John Cooksey, Lynne Gackle and Kenneth Phillips remain staples of the field. Others, including Robert Edwin, have contributed significantly to current understanding of demands on today's adolescent singer. No singer wants to suffer a vocal injury, but it is sometimes a reality, even for young, resilient voices. Common adolescent vocal injuries, pathologies and their causes are discussed in this document as well. The author provides prevention strategies for music educators to help guard the 21st century adolescent vo (open full item for complete abstract)

Committee: Robin Rice (Advisor); Kristina MacMullen (Committee Member); Julia Shaw (Committee Member) Subjects: Education; Health Education; Music; Pedagogy

Doctor of Philosophy, The Ohio State University, 2014, Speech and Hearing Science

Many voice pedagogy practices revolve around the notion of controlling airflow and lung volumes and focus heavily on the concepts of breath support and breath control. Despite this emphasis, the effects of increased respiratory muscle strength on airflow and phonation patterns in trained singers remain unknown. This study addressed whether singers could increase respiratory muscle strength with resistive training and whether respiratory muscle strength increases had any effect on voice and aerodynamic measures. A single subject design was used to answer the research questions. Improved breath support was hypothesized to manifest in differences in airflow, vibrato, and phonetogram characteristics. Six graduate-level singing students were recruited to complete the protocol which consisted of a baseline phase followed by either inspiratory muscle strength training followed by expiratory muscle strength training or vice versa. Results showed that these singers were able to increase respiratory muscle strength after completing the training program. Consistent changes in measures of aerodynamics and voice were not present among subjects, although some individual changes were noted. Future research may focus on the effects of respiratory muscle strength training in less advanced singers.

Committee: Michael Trudeau PhD (Advisor); Rebecca McCauley PhD (Committee Chair); Scott McCoy DMA (Committee Member) Subjects: Music; Speech Therapy

PhD, University of Cincinnati, 2001, Allied Health Sciences : Communication Sciences and Disorders

Defining the Broadway belt voice has been the subject of debate by voice teachers and other professionals for over sixty years. Unlike the classical voice, which has a significant literature base supporting scientific definition as well as pedagogical methodology, research on the belt voice is limited. Previous research on belting has provided limited and conflicting results as to its definition, nature, and production. The present study was two-fold in nature. The initial portion required casting directors to evaluate the belt voice quality of 20 musical theater majors who were trained in belting. Two specified vocalizes and six short excerpts from the belting repertoire were used for rating purposes. The raters assessed the belters on seven perceptual parameters (loudness, vibrato, ring, timbre, focus, nasality, and registration breaks) and reported an overall score. The four highest and four lowest average overall scores were used to establish elite and average belters for the second portion of the study. The second phase of the investigation evaluated unique acoustical, aerodynamic, and spectral differences between elite and average belters based on previously specified parameters. Results of the comparisons indicated specific perceptual, acoustic, spectral, and aerodynamic differences between groups. One of the recurring terms used to define belting is perceived loudness. However, the present study indicated vibrato and ring to be the perceptual judgements most highly correlated with overall score. Vibrato and ring also correlated strongly with perceived loudness. Objective analyses revealed group differences in the magnitude of the vibrato rate, spectral characteristics, and increased noise at high frequencies. Significant differences were also found between vowels. Elite belters showed an increase in the magnitude of vibrato rate in comparison to average belters. Findings regarding the strength of the harmonics and the interaction of the harmonics with the fo (open full item for complete abstract)

Committee: Dr. Linda Lee (Advisor) Subjects: Health Sciences, Speech Pathology

Doctor of Philosophy, The Ohio State University, 2023, Speech and Hearing Science

Preterm infants are at increased risk for long-term neurodevelopmental sequelae affecting all areas of development. Despite ongoing advances in medical care resulting in infants surviving from increasingly younger gestational ages at birth, the neurodevelopmental implications of extreme prematurity and its requisite NICU stay are not yet fully understood. Furthermore, preterm infants are at increased risk for neural insults, further complicating their developmental progression. Parental involvement in the NICU is a known contributor to improved outcomes; however, barriers to parental presence and involvement often reduce parents' ability to contribute to their infant's care. One potential way for parents to contribute to their infant's care, even if they cannot be present at bedside, is through parent voice recordings, and, particularly, through infant-directed language. However, very little is known about the acoustic properties of infant-directed language to preterm infants, namely infant-directed speech and singing, or how these infants respond to infant-directed auditory stimuli. This dissertation consists of 7 chapters examining infant-directed speech and singing with preterm infants and its potential as an early intervention. The first and second chapters provide a background on challenges associated with preterm birth and current approaches to care in the NICU. Chapter 3 provides the theoretical and neuroscientific basis for the use of infant-directed speech and singing as neurodevelopmental support for preterm infants in the NICU. Chapters 4-6 outline three experiments that sought to better understand how preterm birth affects infant-directed language with preterm infants and their mothers. Chapter 4 focuses on the acoustic features of infant-directed speech and singing of mothers of preterm infants recorded during the perinatal period and discusses those features in the context of well-established acoustic parameters of infant-directed language with (open full item for complete abstract)

Committee: Rachael F. Holt (Advisor); Jennifer P. Lundine (Committee Member); Janet Vuolo (Committee Member); Nathalie L. Maitre (Other) Subjects: Audiology; Music; Speech Therapy

Doctor of Musical Arts (DMA), Bowling Green State University, 2018, Contemporary Music

Roger Reynolds' Sketchbook for The Unbearable Lightness of Being is an unusual work, as it calls for a vocalist to accompany themselves at the piano. Though there are many contemporary singer/keyboard performers, this is not a common practice within the contemporary classical music community. The practice is not without precedent; there is ample historical evidence that self-accompanying was once an accepted and promoted practice within western art music. In contemporary contexts, works calling for a vocalizing pianist have become more prevalent over the last twenty years, but this has not been true for self-accompanying repertoire. Works requiring simultaneous vocalization and keyboard performance place a significant cognitive burden on the performer, and research in multi-tasking and automaticity highlight some of the issues relating to this type of performance. As one of only a few works Reynolds has produced for the combination of voice and piano, Sketchbook's construction is exemplary of Reynolds' compositional style. Access to his pre-compositional materials illuminates Reynolds' unique approach to composition, and his economical use of limited musical material is on display in this work. This document analyzes Sketchbook for both its musical characteristics and for the potential challenges it creates for the self-accompanying singer.

Committee: Jane Rodgers DR (Advisor); Ronald Scherer DR (Other); Katherine Meizel DR (Committee Member); Andrew Pelletier DR (Committee Member) Subjects: Music; Pedagogy; Performing Arts

Master of Science (MS), Bowling Green State University, 2018, Communication Disorders

As a singer, register transitions can be challenging to navigate. A singer must perceive where the transition is occurring and apply adjustments to smooth the transition. Within register transitions, one may experience various types of vocal instabilities. The primary aim of this research was to study the production mechanisms characterizing vocal instabilities in the untrained female singer. This was an exploratory study that included five untrained female singers who produced “normal” octave scales as well as scales as smoothly as they could. Simultaneous recordings of airflow, microphone, and EGG signals were analyzed. The scales were divided into three groups based on the perceptual consensus of level of smoothness. Unsteady scales contained aphonic segments, abrupt registration fluctuations, obvious intensity changes, and unexpected fundamental frequency (fo) variations. Subtler unsteady scales exhibited noticeable but “understated” quality changes, increased speed of fo changes or overshoots, and smaller yet evident intensity variations. The participants often produced perceivably smooth scales with minimal instability. Results suggest that untrained female singers are capable of producing perceptually smooth scales across register transitions. However, within some of these perceptually smooth scales, subtle changes and disturbances were noticed that result in the perception of minor instabilities. These subtleties are often seen more clearly within the airflow signal, EGG signal shifts, and fo rate of change than are aurally perceptible. For the unsteady scales, the more obvious instabilities were seen within nearly all measures, most notably in the airflow, fo, and intensity contours, and EGG waveform width and height. This study offers insights into a wider range of steadiness of vocal production where objective recordings reveal subtle changes that are difficult to hear.

Committee: Ronald Scherer (Advisor); Jason Whitfield (Committee Member) Subjects: Music; Speech Therapy

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2017, Communication Disorders

Airflow vibrato is the fluctuation in average airflow while singing with vibrato. Understanding airflow vibrato relates to a deeper understanding of its importance to physiological, pedagogical, and clinical aspects. Two studies were performed to examine airflow vibrato. The subjects for Study 1 were four professional Western classical singers, and for Study 2 four highly trained amateur singers. Aerodynamic and acoustic measures were compared among vibrato, bleating (a primarily adductory gesture), and external epigastric pumping (EEP, a primarily subglottal pressure manipulation). Utterances included speaking (phonation and whisper) and singing (constant /a/ vowel, different pitches and loudness levels). Study 1 demonstrated how airflow vibrato compares with fundamental frequency (F0) and intensity vibrato. The correlation between rates of airflow and F0 vibrato was moderately strong. Mean airflow vibrato extents were larger for the female singers than for the male singers, and increased with pitch increase for all four singers. For the males, average airflow extent was 30 and 75 cm3/s for their lower and higher pitch, respectively, and for the females, 47 cm3/s and 94 cm3/s for their lower and higher pitch, respectively. Study 2 was undertaken to better understand sources of airflow vibrato. Airflow modulations were produced during singing with vibrato and also while bleating and with external epigastric pumping. Bleating had the fastest alteration rate (9.5-12 Hz), whereas the other types had similar rates (vibrato: 4.8-6.0 Hz; EEP: 6.0–7.5 Hz). During phonation (combining all conditions), bleating had the largest airflow modulation extents (on average 144 cm3/s, compared to 30 cm3/s for vibrato and 46 cm3/s for EEP). Overall results suggest that airflow vibrato typically leads F0 vibrato, and often has a more complex waveshape than F0 vibrato. Hypotheses generated from the study include: (1) A primarily subglottal pressure driven vibrato may provide relat (open full item for complete abstract)

Committee: Ronald Scherer Ph.D. (Advisor); Alexander Goberman Ph.D. (Committee Member); Jason Whitfield Ph.D. (Committee Member); Mingsheng Li Ph.D. (Other) Subjects: Health Sciences; Music; Speech Therapy

Ph.D., Antioch University, 2014, Leadership and Change

The purpose of this study was to explore the personal singing and vocal journey of music therapists who are also trained as vocal psychotherapists with the Austin model of vocal psychotherapy. I was interested in learning how singing has been a healing influence for change and transformation in their lives. It is my hope that this research will offer music therapists new perspectives and information about how singing is important in healing for their own change and transformation, and for that of their clients. This research also may have implications for leaders of change as well as those who engage in vocal and singing groups, choirs and projects. Foundational literature relates to topics such as vocal improvisation, vocal psychotherapy, therapeutic singing lessons, sound healing, and singing for health and wellness, but no research exists that specifically explores the healing influence of singing as experienced by music/vocal psychotherapists nor the full spectrum of healing domains (energetic, emotional, physiological, etc.). I gathered data by recorded in-person or Skype interviews with five Canadian music/vocal psychotherapists, and analyzed the data from the interviews using portraiture. Five MP3 audio files are embedded within and are attached to the dissertation. A video recorded MP4 author introduction is included. The electronic version of this dissertation is at AURA, http://aura.antioch.edu/etds/ and OhioLink ETD Center, www.ohiolink.edu/etd.

Committee: Carolyn Kenny PhD (Committee Chair); Jon Wergin PhD (Committee Member); Sanne Storm PhD (Committee Member); Randi Rolvsjord PhD (Other) Subjects: Aesthetics; Energy; Health; Health Care; Music; Spirituality; Therapy

PhD, University of Cincinnati, 2011, Allied Health Sciences: Communication Sciences and Disorders

Cool-down exercises are routinely prescribed for singers, yet few data exist about the efficacy of active recovery or cooling down of the vocal mechanism. The purpose of the present study was to compare three aspects of vocal function after using different recovery methods following rigorous voice use. Vocal function was assessed using (1) phonation threshold pressure (PTP); (2) acoustic measures (accuracy of tone production, duration of notes and duration of intervals between notes); and (3) measures of subjective perception: perceived phonatory effort (PPE) and Singing Voice Handicap Index (SVHI). Data were collected after 10-minutes of cool-down exercises, complete voice rest, and conversation immediately following a 50-minute voice lesson. Data were collected again 12-24 hours later. Participants included actively performing elite singers (7 women, 2 men) enrolled in the graduate program (M.M., D.M.A.) at the University of Cincinnati's College-Conservatory of Music. While it was expected that PTP estimates after cool downs would be significantly lower than baselines and the other conditions, it turns out that PTP estimates after cool downs were significantly higher at the 80% level of the pitch range. Statistically significant correlations between PTP estimates and PPE scores were found when comparing levels of the participants' pitch ranges (10%, 20%, 80%). Mean PPE scores were highest at the 80% level of the pitch range. The acoustic measures yielded variable results. Cool-down exercises did not result in significantly more accurate tone production and shorter staccato note duration and duration of intervals between staccato notes as compared to baselines and recovery conditions. Instead, participants demonstrated greater accuracy of tone production during baselines and lesser accuracy after voice rest. Staccato notes were significantly shorter in duration after the conversation condition as compared to voice rest. Duration between staccato notes was signific (open full item for complete abstract)

Committee: Lisa Kelchner PhD (Committee Chair); Suzanne Boyce PhD (Committee Member); Wendy Leborgne PhD (Committee Member); Mary Stucky MM (Committee Member); Bradley Wilson PhD (Committee Member) Subjects: Speech Therapy

Doctor of Musical Arts, The Ohio State University, 2006, Music

A common dilemma for today's college voice professor is how to teach vocal diction effectively to the undergraduate student in the limited time allotted to these courses in a college music program. The college voice professor may rely on familiar and previously used texts, though other excellent resources have become available in the last decade. It is the purpose of this study to identify the diction books and supplemental sources currently used in the United States, and provide assessment of their suitability for teaching undergraduate voice students. A survey was conducted to determine which books and sources college professors currently use in vocal diction classes. The survey concentrated primarily on diction instruction resources for the Italian, German, and French languages, since these are the first languages that need to be mastered by the undergraduate voice student. The survey instrument was sent to all 1,733 institution members of the College Music Society in the United States. The 118 completed surveys which were returned formed the basis of this study. From the 118, twenty-two interviews were conducted with instructors who used different diction texts. The questions for both the survey and the interviews deal with the accuracy and accessibility of the books and sources used by the diction instructor, and the preferred structure and activities for this type of course. For results of the survey which featured a number of respondents, a bar graph format provides easy visibility. The most frequently used texts and supplemental sources are discussed in depth and are included in an annotated bibliography. Survey results indicated that "Diction for Singers" by Joan Wall, Robert Caldwell, Tracy Gavilanes, and Sheila Allen, is the textbook most widely used, with 60% of respondents naming it as their primary text. Supplemental sources identified and evaluated by respondents included books other than diction texts; dictionaries, song anthologies, recordings, soft (open full item for complete abstract)

Committee: Eileen Davis (Advisor) Subjects: Education, Higher; Music

Doctor of Musical Arts, The Ohio State University, 2002, Music

Unlike other instruments, the voice cannot simply be lifted from its hard case, examined and adjusted, fixed, cleaned, and tuned-up. Nor can the vocal folds ever be put away for safekeeping. It is but one component of a constantly functioning system, affected around-the-clock by its internal as well as external environment, making the guarantee of optimal performance impossible. The vocal fold mechanism is not primarily a musical instrument. Its many roles prevent it from ever being at rest. From assisting in swallowing, protecting the airway, helping lift heavy objects, to phonatory functions including sophisticated musical capabilities, its instrumental potential falls subject to misuse, wear and tear. As opposed to other musicians, singers cannot take their instrument out for repair and, as a result, are forced to rely on health care professionals and voice teachers for treatment and maintenance, putting themselves and their livelihood at the physician's mercy. It is crucial, therefore, that singers be able to communicate effectively in intelligent terms with medical professionals. Singers must equip themselves with enough knowledge to clearly convey specific feelings and difficulties with their instrument. Understanding of potential dangers and disorders, familiarity with a variety of medical procedures, and comprehension in various facets of diagnosis and treatments empowers singers to own, first and foremost just like other musicians, their instrument. The Owner's Manual for the Singing Voice is a compilation of knowledge acquired over three years of clinical and surgical observations at The Ohio State University, ExcelENT, and The Ohio Surgery Center. The Manual attempts to provide the tools mandatory for every singer's toolbox in a very user-friendly, technically correct, and accessible way.

Committee: Loretta Robinson (Advisor) Subjects: Music

Master of Arts, Miami University, 2003, Speech Pathology and Audiology

The primary purpose of this investigation was to examine the effects of Vocal Function Exercises (VFEs) on the aerodynamic parameters of open quotient, speed quotient, maximum flow declination rate, and subglottal pressure in 8 subjects between the ages of 6 years 2 months and 8 years 11 months with an interest in singing. Results were compared to normative data. This study also evaluated the difference between the average weekly phonation times of the subjects' Vocal Function Exercise #4 across 8 weeks of intervention. Each subject underwent aerodynamic assessment before and after the 8-week VFE intervention period. During the 8-week intervention period, each subject performed the VFEs twice a day. Results indicated significant difference between certain tasks of the aerodynamic measurements of open quotient, maximum flow declination rate, and subglottal pressure. A significant increase was found for the mean average weekly phonation times across the 8-week intervention period.

Committee: Barbara Weinrich (Advisor) Subjects: Speech Communication