THURMAN WELCH
bodymind & voice
bodymind & voice: foundations of voice education
foundations of voice education
“ ...only full-voiced, free-singing bluebirds”
(Book IV, Chapter 1)
A REVISED EDITION Co-editors Leon Thurman EdD Graham Welch PhD
1 P U B L I S H E R S The VoiceCare Network n National Center for Voice & Speech Fairview Voice Center n Centre for Advanced Studies in Music Education
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1 6/9/08
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A
REVISED EDITION
bodymind & voice: foundations of
voice education
" ...only full-voiced, free-singing bluebirds" (Book IV, Chapter 1)
Co-editors
Leon Thurman EdD Graham Welch PhD
Publishers The VoiceCare Network National Center for Voice & Speech Fairview Voice Center Centre for Advanced Studies in Music Education
bodymind & voice: foundations of voice education A
REVISED
EDITION
Co-editors Leon Thurman, Ed.D. Founder, Development Director, The VoiceCare Network ■ Specialist Voice Educator, Fairview Voice Center
Fairview-University Medical Center ■ Minneapolis, Minnesota, USA
Graham Welch, Ph.D. Directorof Educational Research ■ Director, Centre for Advanced Studies in Music Education ■ University of Surrey Roehampton London, United Kingdom
Publication Editor Julie Ostrem, B.S., M.B.A. Continuing Education Coordinator ■ National Center for Voice and Speech The University of Iowa ■ Iowa City, Iowa USA
Publishers The VoiceCare Network, Axel Theimer, D.M.A., Executive Director, Music Department, St. John's University Collegeville, Minnesota, 56321 USA, 320/363-3374,320/363-2504 FAX, atheimer@csbsju.edu National Center for Voice & Speech, Ingo Titze, Ph.D., Director, 330 Speech and Hearing Center, The University of Iowa Iowa City, Iowa, 52242 USA, 319/335-6600,319/335-8851 FAX, webmaster@ncvs.org Fairview Voice Center, Leon Thurman, Ed.D., Specialist Voice Educator; Carol Klitzke, CCC/SLP, Speech Pathologist, Fairview-University Medical Center 2450 Riverside Avenue, Minneapolis, Minnesota, 55454 USA, 612/672-7910, 612/672-2189 FAX, lthurmal@fairview.org
Centre for Advanced Studies in Music Education; Professor Graham Welch, Ph.D., Director; Froebel College, University of Surrey Roehampton, Roehampton Lane, London SW15 4HT, United Kingdom, +44-181/392-3020, +44-181/392-3031 FAX, g.welch@roehampton.ac.uk
Publication Information Library of Congress Cataloging-in-Publication Data: Bodymind and voice: Foundations of voice education [edited by] Leon Thurman, Graham Welch
pp. 860 Includes bibliographical references and index
1. Voice education-Singing and speaking. 2. Voice-Anatomy, function, acoustics, morphology. 3. Singers/speakers-Health and voice protection. 4. Neuropsychobiology of learning.
I. Thurman, Leon Ed.D., II. Welch, Graham, Ph.D. Revised Edition Copyright© 2000 by The VoiceCare Network®, the National Center for Voice and Speech, Fairview Voice Center, Centre for Advanced Studies in Music Education and the contributing authors. Original Edition Copyright © 1997
ISBN:
0-87414-123-0
Printed in the United States of America.
This book, including all parts thereof, is legally protected by copyright. Any use, exploitation or commercialization outside the narrow limits set by copyright legislation, without the publishers' and authors' consents, is illegal and liable to prosecution. No part of this book may be translated, reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the VoiceCare Network, National Center for Voice and Speech, and the contributing authors.
Publication Support Julie Stark, A.A., Production Editor, Doug Montequin, B.A., M.S., Science Reviewer, National Center for Voice & Speech Andrew Hackett, Assistant to the Editors, The Voice Care Network
contributing authors ■
Robert Bastian, M.D. Associate Professor of Otolaryngology, Stritch School of Medicine, Loyola University Medical Center, Chicago, Illinois
■
John Cooksey, Ed.D. Professor of Choral Music, School of Music, University of Utah, Salt Lake City, Utah
■
Mary Ann Emanuele, M.D. Department of Endocrinology, Loyola University Medical Center, Chicago, Illinois
■
Darrel Feakes, M.S., CCC/A Senior Audiologist, Minnesota Ear, Head & Neck Clinic, Minneapolis, Minnesota
■
Patricia Feit, M.A. Director of Vocal/Choral Music, Elk River Public Schools, Elk River, Minnesota
■
Lynne Gackle, Ph.D. Adjunct Professor of Choral Music Education, Director, Gulf Coast Youth Choirs, Inc., Tampa, Florida
■
Elizabeth Grambsch, M.A. Early Childhood Music Education Specialist, University of St. Thomas Conservatory of Music, St. Paul, Minnesota
■
Elizabeth Grefsheim, B.A. Co-Director, Son-Sheim Music School, Spring Lake Park, Minnesota
■
Norman Hogikyan, M.D. Director, Vocal Health Center, Department of Otolaryngology, University of Michigan Medical Center, Ann Arbor, Michigan
■
Carol Klitzke, M.A., CCC/SLP Speech Pathologist/Voice Specialist, Fairview Voice Center, Fairview-University Medical Center, Minneapolis, Minnesota
■
Anna Langness, Ph.D. Music Specialist, Bear Creek Elementary School, Boulder, Colorado
■
Van Lawrence, M.D. (deceased) Senior Otolaryngologist, MacGregor Medical Clinic, Houston Texas
■
John Leman, Ed.D. Professor of Choral Music (retired), College-Conservatory of Music, University of Cincinnati, Cincinnati, Ohio
■
Alice Pryor, M.Ed. Director, Texas Center for the Alexander Technique, Austin, Texas
■
Axel Theimer, D.M.A. Professor of Voice and Choral Music, Music Department, St. John's University, Collegeville, Minnesota
■
Leon Thurman, Ed.D. Specialist Voice Educator, Fairview Voice Center, Fairview-University Medical Center, Minneapolis, Minnesota
■
Mary Tobin, M.D. Division of Allergy and Immunology, Loyola University Medical Center, Chicago Illinois
■
Graham Welch, Ph.D. Director of Educational Research, Centre for Advanced Studies in Music Education, Froebel Institute College, University of Surrey Roehampton, London, United Kingdom
Hi
dedication Leon and Graham Gratefully Dedicate Bodymind and Voice: Foundations of Voice Education to Our Parents...
Marie Campbell Thurman and Virgil Thurman Joyce Welch and George Welch ...and to Our Primary Mentors in Education, Voice, and Voice Health Oren Brown Faculty of Voice, Juilliard School, New York (Retired)
Van Lawrence (Deceased) Senior Otolaryngologist, MacGregor Medical Clinic, Houston, Texas Charles Leonhard Professor Emeritus of Music Education, University of Illinois
Charles Nelson Professor Emeritus of Voice and Choral Music, Abilene Christian University, Abilene, Texas Robert Shaw (Deceased) Conductor Laureate, Atlanta Symphony Orchestra, Atlanta Symphony Orchestra Chorus
Charles Cleall Her Majesty's Inspector for Music (Retired) Stephen Rhys Lecturer in Music Composition, Royal Academy of Music, London (Retired)
Edmund Semmons (Deceased) Head of Music, Sir Walter St. John's School, London Desmond Sergeant Head of Music and Music Education, Roehampton Institute, London (Retired)
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table of contents Contributing Authors................................................................................................................................................................... iii Dedication.................................................................................................................................................................................... iv Preface...........................................................................................................................................................................................ix Reading this Huge Book: Suggestions andOrientations................................................................................................. x Fore-words: Sunsets, Elephants, Vocal Self-Expression, and Lifelong Learning........................................................................ xi Leon Thurman, Graham Welch
Volume 1 Book I: Bodyminds, Learning, and Self-Expression
The Big Picture............................................................................................................................................................................... 1
Chapter 1 A Brief Context about How We Know What We Know, and Do What We Do.................................................. 7 Leon Thurman Chapter 2 The Astounding Capacities of Human Bodyminds............................................................................................... 18 Leon Thurman Chapter 3 The Human Nervous System.................................................................................................................................. 27 Leon Thurman Chapter 4 The Human Endocrine System................................................................................................................................61 Leon Thurman
Chapter 5 The Human Immune System.................................................................................................................................. 68 Leon Thurman
Chapter 6 Human Sensory Experiences................................................................................................................................... 75 Leon Thurman Chapter 7 Internal Processing of Life Experiences and Behaviorial Expression................................................................. 86 Leon Thurman Chapter 8 Bodyminds, Human Selves and Communicative Human Interaction............................................................. 134 Leon Thurman
Chapter 9 Human-Compatible Learning............................................................................................................................... 188 Leon Thurman
Volume 2_____________________________________________________________________________________ Book II: How Voices are Made and How They are ’Played’ in Skilled Singing and Speaking The Big Picture.......................................................................................................................................................................... 303 v
Chapter 1 What Sounds Are Made Of................................................................................................................................... 307 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 2 What Resonance Is................................................................................................................................................. 316 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 3 What Vocal Sounds are Made Of..........................................................................................................................321 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 4 The Most Fundamental Voice Skill....................................................................................................................... 326 Leon Thurman, Alice Pryor, Axel Theimer, Elizabeth Grefsheim, Patricia Feit, Graham Welch Chapter 5 Creating Breathflow for Skilled Speaking and Singing...................................................................................... 339 Leon Thurman, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit Chapter 6 What Your Larynx Is Made Of.............................................................................................................................. 356 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
Chapter 7 What Your Larynx Does When Vocal Sounds Are Created............................................................................... 367 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim Chapter 8 How Pitches Are Sustained and Changed in Singing and Speaking................................................................ 382 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 9 How Sound Volumes Are Sustained and Changed in Speaking and Singing................................................. 394 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 10 How Your Larynx Contributes to Basic Voice Qualities................................................................................... 409 Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Chapter 11 The Voice Qualities that Are Referred to as 'Vocal Registers'.......................................................................... 421 Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 12 How Your Vocal Tract Contributes to Basic Voice Qualities........................................................................... 449 Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
Chapter 13 Vocal Tract Shaping and the Voice Qualities that Are Referred to as Vowels'............................................ 470 Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 14 Consonant Clarity Without Vocal Interference................................................................................................. 484 Leon Thurman, Axel Theimer, Patricia Feit, Elizabeth Grefsheim, Graham Welch Chapter 15 Vocal Efficiency and Vocal Conditioning in Expressive Speaking and Singing........................................... 492 Leon Thurman, Carol Klitzke, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit
Chapter 16 Singing Various Musical Genres with Stylistic Authenticity: Vocal Efficiency, Vocal Conditioning, and Voice Qualities................................................................... 515 Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
Volume 3 Book III: Health and Voice Protection
The Big Picture........................................................................................................................................................................... 523 vi
Chapter 1 Limitations to Vocal Ability from Use-Related Injury or Atrophy................................................................... 527 Robert Bastian, Leon Thurman, Carol Klitzke Chapter 2 How Vocal Abilities Can Be Limited by Immune System Reactions to "Invaders"........................................538 Leon Thurman, Mary Tobin, Carol Klitzke
Chapter 3 How Vocal Abilities Can Be Limited by Non-Infectious Diseases and Disorders of the Respiratory and Digestive Systems....................................................................... 546 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 4 How Vocal Abilities Can Be Limited by Endocrine System Diseases and Disorders..................................... 556 Leon Thurman, Mary Ann Emanuele, Carol Klitzke
Chapter 5 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Auditory System............................ 564 Norman Hogikyan, Darrel Feakes, Leon Thurman, Elizabeth Grambsch Chapter 6 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Central Nervous and Musculoskeletal Systems................................................................................ 573 Norman Hogikyan, Leon Thurman, Carol Klitzke
Chapter 7 How Vocal Abilities Can Be Limited by Anatomical Abnormalities and Bodily Injuries.............................582 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 8 Neuropsychobiological Interferences with Vocal Abilities............................................................................... 586 Leon Thurman, Carol Klitzke Chapter 9 Diagnosis and Medical Treatment of Diseases and Disorders that Affect Voice............................................. 598 Norman Hogikyan, Leon Thurman, Carol Klitzke
Chapter 10 Medications and the Voice.................................................................................................................................. 613 Norman Hogikyan, Carol Klitzke, Leon Thurman Chapter 11 Vocal Fold and Laryngeal Surgery...................................................................................................................... 620 Robert Bastian, Carol Klitzke, Leon Thurman Chapter 12 Sermon on Hydration (or "The Evils of Dry")................................................................................................... 632 Van Lawrence
Chapter 13 How Vocal Abilities Can Be Enhanced by Nutrition and Body Movement................................................. 637 Leon Thurman, Carol Klitzke
Chapter 14 Cornerstones of Voice Protection........................................................................................................................ 646 Leon Thurman, Carol Klitzke, Norman Hogikyan
Book IV: Lifespan Voice Development
The Big Picture........................................................................................................................................................................... 657
Chapter 1 Foundations for Human Self-Expression During Prenate, Infant, and Early Childhood Development........................................................................................................... 660 Leon Thurman, Elizabeth Gramsch Chapter 2 Highlights of Physical Growth and Function of Voices from Pre-Birth to Age 21.......................................... 696 Leon Thurman, Carol Klitzke
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Chapter 3 The Developing Voice...........................................................................................................................................704 Graham Welch Chapter 4 Voice Transformation in Male Adolescents..........................................................................................................718 John Cooksey Chapter 5 Understanding Voice Transformation in Female Adolescents..........................................................................739 Lynne Gackle Chapter 6 Vitality, Health, and Vocal Self-Expression in Older Adults.............................................................................. 745 Graham Welch, Leon Thurman
Book V: A Brief Menu of Practical Voice Education Methods
The Big Picture.......................................................................................................................................................................... 759
Chapter 1 The Alexander Technique: Brief History and a Personal Perspective............................................................. 760 Alice Pryor Chapter 2 Learning Speaking Skills That Are Expressive and Vocally Efficient.............................................................. 765 Leon Thurman, Carol Klitzke Chapter 3 Classifying Voices for Singing: Assigning Choral Parts and Solo Literature Without Limiting Vocal Ability........................................................................................ 772 Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit Chapter 4 Vocally Safe "Belted" Singing Skills for Children, Adolescents, and Adults................................................... 783 Leon Thurman, Patricia Feit
Chapter 5 Design and Use of Voice Skill 'Pathfinders' for 'Target Practice,' Vocal Conditioning, and Vocal Warmup and Cooldown........................................................................................................... 786 Leon Thurman, Axel Theimer, Carol Klitzke, Elizabeth Grefsheim, Patricia Feit Chapter 6 Helping Children's Voices Develop in General Music Education................................................................... 803 Anna Peter Langness
Chapter 7
Female Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection...................................................................... 814 Lynne Gackle
Chapter 8
Male Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection...................................................................... 821 John Cooksey
Chapter 9 Redesigning Traditional Conducting Patterns to Enhance Vocal Efficiency and Expressive Choral Singing................................................................................................................... 842 John Leman After-words: Science-Based, Futurist Megatrends - Voice Education in the Year 2100................................................... 848 Leon Thurman
Appendix 1: Brief Biographies of Contributing Authors....................................................................................................... 850 Appendix 2: Brief Descriptions of Publishing Organizations............................................................................................... 856 Index........................................................................................................................................................................................ 861 viii
preface t has given me personal pleasure to help sponsor the production of Bodymind and Voice. As director of the National
I
Center for Voice and Speech, an organization supported by the National Institutes of Health, I have been given a mandate to make research in the area of voice and speech more accessible to the consumer. But who is the primary consumer of information about voice? Professional vocal artists always come to mind first, but they are a small percentage of those who either make a living with their voices or rely on their voices for avocational and recreational endeavors. The many teachers, salespeople, choral singers, and story tellers of our country (and the world) are given far too little information about how that little sound source in the throat works. Even less is given to them about how to protect, preserve, and train this instrument for optimal usage. Bodymind and Voice is a significant step
toward correcting this problem. Scientists and physicians could argue about some of the terminologies, analogies, and
metaphors used in this text, but little argument could be made about the interest of the authors to communicate effectively—to speak in the language of the consumer. Even less argument could be made about the passion the authors display as educators. They are more than lecturers and presenters; they nurture and teach. The love for their audiences and their students rings out. To some their book may be the first and final reading about voice, but I hope that for most it will be the beginning of an adventure into the science and art of vocal communication. Ingo R. Titze, Ph.D. September 1997, May 2000
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reading this huge book! Suggestions and orientations ■
Begin by reading any chapter in the book that attracts your interest
If there is background information that you need for a more complete understanding, you will be referred to the chapter(s) in the book where that information is located, and you may find information in the references.
■
The "Forewords to This Book" is not written in a conventional way Begin with it? It is intended to express the core substance or feeling of this book. The book's editors also express a sense
of where Bodymind and Voice "came from" and what's in it.
■ In Book I, you may wish to begin by reading Chapter 9 first.
Its presentation of "real-world" human-compatible learning practices is based on neuropsychobiological documentation from the first eight chapters in Book I. ■ Bodymind and Voice can be thought of as a kind of turn-of-the-century encyclopedia of human-compatible learning and of vocal self-expression in speech and vocal music. Most any curiosity about human voices and human learning is addressed somewhere herein. When a wonderment or question or a difference of opinion arises in your everyday experience, check the table of contents or the index for where relevant information can be found.
■ In Bodymind and Voice, concepts and actions about human learning are founded in the neuropsychobiological sciences, and concepts and actions about vocal self-expression are founded in the voice, speech, and voice medicine sciences. In so many ways, we believe that the benefits of optimal empathic human relatedness, constructive compe tence, self-reliant autonomy, and exquisite self-expression have been withheld from many human beings. How? Assumptions about "reality", that were once logical and "right", have pointed many people (includ ing ourselves) toward limitations rather than optimal benefit. Many long-held assumptions about the nature of human learning and vocal self-expression are now being questioned or have been shown to be incomplete,
inaccurate, or invalid. In conceiving, writing, and editing this book, we have done the best we can to set aside our own familiar patterns of thinking, feeling, and acting about human learning and about how human beings express themselves
well in speech and song. We undertook a delicious adventure: to look preponderantly into the accumulated perspectives of the relevant sciences in order to learn "what actually happens", from big pictures to finer details, and to present documented evidence for alternative ways of "looking at" human learning, speaking, and singing. We believe that, even though the scientific method is carried out by fallible human beings, it is still the best
means we human beings have of finding out what is "real", or what is more completely "real", in our world of human experiences. That knowledge can help us point ourselves toward perceptions, conceptions, and actions that
are emotionally satisfying and optimally beneficial to us and to our fellow human beings. ■ x
See the "Big Picture" at the beginning of each book for information about content.
fore-words to this book sunsets, elephants, vocal self-expression and lifelong learning Leon Thurman, Graham Welch
This book is too big." "It covers way too much. It's way too complicated-
just look at that table of contents'' "If this book is just a rehashing of what's already been written about voices, why should I go to the expense of buying it and the trouble of reading it?"
pretty sure that much of this book is not a rehash of what has already been written in books about voice skill learn
ing, but again, that's for you to decide. Most of all, we hope to communicate some of the passion that all of the book's contributing authors feel about human beings and vocal self-expression. Along the way,
you just publish five different books? Maybe I don't want
we hope to introduce you to what we believe to be some of the book's unique perspectives.
to know about the effects of endocrine disorders on voices or about bodyminds, whatever that is."
First Wonderings
"A book divided into five different books?! Why didn't
We admit it. The book is big. And some of its parts
are more complicated than some people may ever be ready for. But we wonder if, maybe, some science-based detail about voices or bodyminds may open a door that leads to: 'Aha!!" "Hmmmmmm. So if that's what happens, then maybe if I...." "Ms Music, I really like to sing. It makes me feel like I'm flying" Well, you'll have to judge for yourself about the book, but in the rest of these Fore-Words, we would like to make the case for this book's bigness, its sometime complicated ness, and why it is five books rolled into one. Our intent is that you can begin reading it with any chapter that strikes your interest, and that if you need additional background
to fully understand what you are interested in, you will be pointed to where you need to go. And by the way, we're
The choral conductor was a first-rate musician. His life-mis sion was to serve music by getting singers to make the music of master composers come alive, being true to their vision of how the music was to be performed. He detested recruiting singers for his choirs, but he had to. There was about a 35% turnover in membership every year. He attributed the turnover to a lack of self-discipline by the singers. His singers called him "Old Eagle Ear". He always heard when they made a mistake or did something wrong, and he always pointed it out. He let them know that perfection was the goal in every piece of music they performed. He was the master interpreter and the corrector of their mistakes. On a few occasions, a singer or two asked him, "You always tell us when we do something wrong. Do we ever do anything right?" A well known singing teacher taught private lessons to an 18year-old male singer in that choir. She taught in much the same way
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as the conductor. She said to him once, "Adam, you have a very nice voice, hut it will never be a solo-quality voice." At age 22, Adam learned that he did have a solo-quality voice, and at age 29, he learned that the strong fear he felt at the prospect of singing for others was closely related to his earlier choir and voice lesson experiences.
And thus it was so. Those boys loved to sing so much, that they-with help from their parents-were not going to be stopped by common customs or curriculum policies. They had mastered expressive singing skills and in their six years of music classes, they had learned that music and skilled, expressive singing were fascinating and filled with MMMMMMMMMMMMM experiences.
Linda Mack, Ed.D., Professor of Choral Music at Lewis & Clark College, Durango, Colorado, once started a community chorus of people
who "knew" that they could not sing. As part of her doctoral disserta tion (1979), she interviewed the members of that choir. An 86-yearold man told her: "As a child, I loved to sing. I sang all the time. One day the music teacher at school had us all sing for her by ourselves, and she divided us up into two groups-the bluebirds and the crows. "I was a crow. "Well, I grew up on a farm, and I knew what crows sounded like. I haven't sung since. "But I guess that before I die, I want to learn how to sing."
She taught grades K through 6 for a public school in Minne sota. The first group of 6th grade children that had been her students since their kindergarten year were preparing to audition for the junior high school choir director. During the next school year, they wanted to sing in either the 7th and 8th grade concert choir or the girl's choir. Every single one of her sixth grade students auditioned. When the choir lists were announced, 23 boys were not placed in the concert choir. They were turned away from any singing experi ences at the junior high school. The reasons? (1) The choir director had never had that kind of male turnout for the auditions; (2) the select concert choir had to have a balance of SATB voices and most of these boys were unchanged-too many sopranos who cannot sing in the tenor pitch range; (3) only the best singers could be selected for the best choir; and (4) there was no boy's choir because in previous years, there had never been enough boys who were interested. The story does not end there. Those boys wanted to sing so much, that they asked their par ents to help them be in a choir. Several parents met with the junior high school principal. They pointed out that their sons had been turned away from membership in the concert choir. The girls who had not been selected for the concert choir were placed in the girl's choir. There was no boy's choir, so they urged the principal to create one for the 23 sons of taxpayers who voted in school board elections.
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Physicians change the anatomy the biochemistry the physiology, and the health of people. 50 DO TEACHERS. Physicians have to know rather clearly and in great detail what it is they are changing and how the changes will
affect life processes. They must be intimately familiar with
how their work changes the human nervous, endocrine, immune, digestive-metabolic, and musculoskeletal systems, among others. Does the work of teachers really change the anatomy, the biochemistry, the physiology, and the health of people? Does the education of teachers include a detailed knowl edge of how the nervous, endocrine, immune, metabolic, and musculoskeletal systems of human beings are changed by teaching-learning experiences? When we human beings interact with people, places,
things, and events in our lives, we say that we have percep tions, emotions, cognitions, and memories, and we say we have learned and behaved, and have been in and out of health. When those psychological processes change in us, we say that we are changed, do we not? The evidence is in. There is no question about it. Change in what we call physical, psychological, and health processes are brought into existence by changes in: 1. nervous system anatomy, physiology, and biochem istry; 2. endocrine system biochemistry and glandular anatomy; 3. immune system cellular processes and biochemis try;
4. digestive and metabolic anatomy and biochemis try; and 5. neuromusculoskeletal anatomy, biochemistry, and physiology.
When we encounter a novel sensorimotor experience
that engages our conscious attention (such as learning to drive an automobile or learning a new song), the prefrontal
cortex of our brains activates and "entrains" a wide variety of other brain areas as we make sense of the experience and gain mastery of it. With increased re-encountering of the experience, unneeded brain areas no longer activate. Even
tually, these sensorimotor processes are largely transferred
to subcortical motor areas where more automatic, habitual, or other-than-conscious action is carried out. The more detailed, intricate, and fine-tuned the sen sorimotor experiences become, (1) a greater number of neu rons will be selected into the neural networks of the brain that activate the neuromuscular coordinations that are in volved, and (2) more neuronal dendrites and synapses will be formed. The finger and hand areas of the sensorimotor cortex will be larger, for instance, in experienced piano and violin players, and the laryngeal areas will be larger in ex perienced, expressive singers and speakers (Book I, Chapter 7 has some details). Unpleasant internal feeling states that are enacted dur ing the evolution of these skills involve activation of inhibi tory neurochemical processes that reduce the probability that the experiences will be voluntarily engaged in again. Pleas ant internal feeling states that are enacted during the evolu tion of these skills involve activation of excitatory neuro chemical processes that increase the probability that the ex periences will be voluntarily engaged in again (Book I, Chap ters 2, 3, and 7 have some details). In general, we are more
likely to get sick if our immune system functions have been suppressed by distressful life experiences, and we are more
likely to avoid being sick if our immune system functions have been enhanced by interesting, self-fulfilling experiences
in emotionally safe settings (Book I, Chapter 5 has some details; also Book III, Chapter 8). When we have life-learning experiences, the anatomy,
biochemistry, and physiology of our brains are changed. When we say that a person becomes frightened at the pros pect of self-expression through singing or speaking, we are saying that past experiences with people, places, things, and/ or events related to singing and speaking "taught" that per son a well documented physio chemical reaction that has been given several word labels such as threat, fear, stage
fright, performance anxiety (Book I, Chapters 2 and 4 have
When we say that a child once sang all the time and loved to sing, and something a teacher did, truly following a
well known teaching method of her time, stopped cold that self-expressive love of singing for nearly 80 years, we are re ally saying that what the teacher did changed the child's neuroanatomy, biochemistry, and physiology. That particular teacher, of course, lived in a time when the intricacies of neuroanatomy, biochemistry, and physiology had not yet
been fully discovered. Mind and body were still separate, and teachers affected non-physical minds, not bodies. The teacher was doing the best she knew how to do under her life circumstances, but...she never had a clue about how the
method changed that person's life. On the other hand, when we say that every child in an elementary school's sixth grade wanted to sing in a seventh grade choir, well, that teacher influenced a very different array of perceptions, emotions, cognitions, and memories over their seven years together, compared to the other teacher. And we would say that they learned and behaved differ
ently. Yes, very different neuroanatomical, biochemical, and physiological changes occurred.
Please forgive us for writing some serious introduc
tory words about bodyminds. What Is a Bodymind? At first glance, the term bodymind may create an un easy feeling in some people. It may be associated with interpretative, mystic points of view about human beings that have little scientific basis, if any. The use of bodymind in this book has a scientific basis. Historically, mind has been thought of as a non-physi cal entity that "resides" in each human being and is separate
from a human being's body. The mind "operated" the body. Conscious awareness, rational thinking, and intention were purely "mental" activities that had no physical manifesta tion. The unruly passions or emotions had to be con trolled by a rational mind because they were regarded as two separate mind processes. Currently, the terms psychol ogy, psychological phenomena, or cognition are commonly used as substitutes for mind, but psychological language com monly continues the disassociation between psychological
phenomena and physio chemical processes in the whole body. Among many cognitive psychologists, the biological processes of the whole body, including nervous system
some details.) xiii
processes, are not considered relevant to an understanding
various attachment disorders, and so forth. Their experi
of mind (more details in Book I, Chapter 1). Although mind-body and emotion-cognition duali
ences of the people, places, things and events of their lives have altered their electro-physio-chemical constitution away from a balanced and healthy state of being. Medical practitioners are gradually dismantling the historically separated mind-body concepts of "physical health" and "mental health". There are fewer "plain" psy
ties are still assumed in everyday social interaction, and in nearly all educational practices, there is overwhelming evi dence that these centuries-old duality assumptions are not accurate and never were. Several scientists who have vast backgrounds and renowned research experience in the ge netic and neuropsychobiological sciences (including Nobel laureates) have assembled viable biological theories of con sciousness (Edelman, 1989; Crick, 1994; Damasio, 1994). Based on massive amounts of research that have been car ried out in the past several decades, there now is well estab lished evidence for the inseparable intermeshing of (1) all
human sensory or perceptual experience, (2) all internal bodily processings that are commonly referred to as think ing, reasoning, cognition, feelings, emotions, empathies, in tentions, judgements, memory, learning, immunity, and health, and (3) all of the behavioral expressions of those internal processings (more details in Book I, Chapters 2 through 8). A biological explanation of consciousness and psy chological phenomena represents an astonishingly differ ent explanation of what we refer to as mind. According to
this point of view, for instance, photosynthesis is an adap tive biological feature of plant life, and consciousness and intentionality ("mind") are adaptive biological features of human life (Searle, 1992). The two processes differ vastly in their complexity, of course, and that is part of the reason why photosynthesis does not produce consciousness and intentionality. The world renowned neurologist and cogni
tive neuroscientist, Antonio Damasio (1994, p. 118), adds, "...the separation between mind and brain...is mythical....The mind is embodied, in the full sense of the term, not just embrained." So-called mental diseases are physiochemical diseases of the brain. Although genetic and epigenetic processes can pro vide a greater susceptibility for physio chemical diseases in the brain, life experiences can produce such dispositions as well (see Book I, Chapter 8). For example, people who are emotionally abandoned to some extent during some or most of their growing-up years are likely to manifest a range of self-destructive and/or anti-social behaviors. They may in clude depression, schizophrenia, defensiveness, aggression, xiv
chiatrists, neurologists, endocrinologists, and immunolo
gists in medicine, and fewer plain psychologists. Now, there
are physiological psychiatrists, neuropsychologists, psycho biologists, cognitive neuroscientists, psychoneuroendocrinologists, psychoneuroimmunologists, and so on. The search is on for a single term that reflects the unity of psy chophysical processes. Body/Mind, body-mind, and mind-body are common forms that preserve the duality. The unifying term bodymind appears to have been coined by Candace Pert, Ph.D., former Chief of Brain Bio chemistry for the Clinical Neuroscience Branch of the Na tional Institute of Mental Health, Washington, D.C., USA. [She is now Pharmacologist and Adjunct Professor, Depart ment of Physiology and Biophysics, School of Medicine, Georgetown University, Washington, D.C.] The term is based
on the discovery that:
1. biochemical transmitter molecules enable multi channel communication between the nervous, endocrine, and immune systems (Strand, 2000); 2. biochemical receptor sites for these transmitter molecules are embedded in the surfaces of cells in the ner vous, endocrine, and immune systems, and also in cells of organs and systems throughout the body; and 3. all such processes activate the perceptions, feelings/ emotions, memory, learning, behavior, and health of all
human beings. In a 1986 article for Advances magazine, Dr. Pert wrote, "I believe that neuropeptides and their receptors are a key to understanding how mind and body are interconnected and how emotions can be manifested throughout the body. Indeed, the more we know about neuropeptides, the harder it is to think in the traditional terms of a mind and a body. It makes more and more sense to speak of a single inte grated entity, a 'bodymind'" [Neuropeptides are a promi nent type of transmitter molecule.] In this book, we will base our use of the term bodymind in the neuropsychobiology of perception, memory, learn ing, behavior, and health.
• Neuro- because the human nervous system is cru
cially and powerfully involved; • Psycho- because all of our physio chemical processes produce our perceived psychological phenomena; • Biology because human bodyminds and the processes that make us bodyminds are biological in their essential nature. All environmental interactions, adaptations, and learn ings are carried out by our human bodyminds. All self expression, therefore, is a manifestation of bodymind pro cesses including, of course, all vocal self-expression in speak ing and singing. To approach teaching and learning and self-expres sion without a consideration of how bodyminds carry out
those functions, would be like trying to repair a television set without considering its electronic functions. Without considering how bodyminds "work," we run the risk of asking
the impossible of ourselves and others, of bruising or crush ing self-identity, of contracting preventable diseases that limit self-expression, of denying to ourselves and others an op timum fulfillment of our potential for self-expressive speak
ing and singing. We also run the risk of presenting insig nificant, comparatively uninteresting experiences for young
bodyminds to encounter, and we risk being considered an educational frill. [Books I and III address these matters.] On the other hand, if people who are called teachers know how their teaching affects the neuroanatomy, bio chemistry, and physiology of people who are called students, we may be able to teach so that all sixth graders every where will want to audition for their junior high choirs,
into which they will all be accepted because they are all skilled, expressive singers. And they will be more likely to interact more empathically with other people. And they just may grow up to confidently and skillfully speak in front of groups of people, to seek out and be fulfilled by singing solo songs for others, to sing in choirs for a lifetime, be
come members of boards of education who vote enthusi astically for effective school music programs, become mem bers of legislative bodies that stand to sing in four-part harmony before the daily deliberations, and most impor tantly of all, sing expressively for and with their own chil dren.
Second Wonderings
For over two years, a high school choral conductor's high so
prano voice had gradually deteriorated. She spoke and sang with severe hoarseness and very limited pitch and volume range. She had hem examined medically three times by general practice and ear-nosethroat physicians with varying diagnoses. She was treated for aller gies, asthma, upper respiratory infections, post nasal drip, and depres sion. She kept a list of medications that had been prescribed for her over the two years that covered three typewritten pages! One course of speech-voice therapy during that time had not resolved her extreme vocal limitation. A K-12 music educator's voice was severely dysfunctional for ten years. A clear vocal sound could not be made at all, pitch range was limited to about one octave, and vocal volume was greatly dimin ished. So much neck-throat effort was required for speaking and sing ing that neck muscles had bulked noticeably. Four different medical examinations were undertaken, resulting in inconclusive diagnosis. Brief, but unsuccessful voice therapy was provided by one speech pathologist and a singing teacher. Insurance company coverage for continuing treatment had been urged but denied. Eventually, she resigned herself to a permanently dysfunctional voice. A voice educator presented a program on voice skills with a group of 5th and 6th grade children. He noticed a child who had a noticeably hoarse voice quality when she spoke and sang. Her upper register pitch range was severely limited and her voicing was rather effortful. He suggested that the teacher recommend an examination by a voice-ear-nose-throat doctor and the school speech-language patholo gist. The teacher was surprised and said that making such a recom mendation had never occurred to her. When the parents were contacted, they said that the girl had always had a hoarse voice, and they thought that was just the way her voice was supposed to sound. The girl was seen by an ENT physician and she had long-standing vocal fold nod ules in the usual locations and a white nodular area toward the rear of her left vocal fold. Eventually, the two teachers and the child were exam ined by an interdisciplinary voice treatment team made up of a voice-ear-nose-throat physician, a voice experienced speech-language pathologist, and a specialist voice educa tor who was trained and experienced in the therapeutic care
of vocal performers. After taking an extensive medical and
vocal health history, using a fiberoptic laryngeal videostroboscope to videotape her vocal folds with high xv
magnification and slow motion, and observing and dis
cussing all of the diagnostic and evaluative findings, the team concluded that the first teacher had a large hemor rhagic polyp on her right vocal fold (described in Book III,
Chapter 1) and severe laryngo-pharyngeal reflux disease (described in Book III, Chapter 3). Her condition was greatly influenced by a hyper-extroverted personality and profes
sional commitments that several people would be challenged to complete. An extensive medical and vocal health history and fiberoptic laryngeal videostroboscope recordings also were obtained with the second teacher. The school's heating sys tem used coal and the choral room was very close to the furnace. Furniture in the room was covered with coal dust by the end of every teaching day, and this residue was in haled by the teacher and students. Following medical diag nosis and voice evaluation, the team concluded that this teacher had a paralyzed left vocal fold (described in Book III, Chapter 6) and a condition called sulcus vocalis on both vocal folds (described in Book III, Chapter 1). Both teachers required surgery and voice therapy, fol lowed by reconditioning of larynx muscles and vocal fold tissues, so that their voices could assume the best possible function. The first teacher's soprano capabilities returned, but her greatest challenges were to change the lifestyle choices that precipitated the condition, that is, numerous profes sional commitments versus personal restoration time, voice use versus voice recovery time, and her eating and sleeping patterns. The second teacher's surgery moved her para lyzed fold toward her functioning fold so that a clearer voice with minimized effort was possible. Therapy focused on physical and acoustic efficiency in the changed voice-use circumstances and on optimum reconditioning of larynx
Would we have fewer problems with our own voices if we knew more about what can happen to them and how
to deal effectively and quickly with such problems? Would we be able to help other people who have voice problems if we were comprehensively knowledge able about voice disorders, how they happen, how to rec ognize them, how they are treated, and who should treat them?
Third Wonderings An 11 year-old sixth grade hoy has enjoyed singing in music
classes throughout elementary school and admires his music teacher At the beginning of his sixth grade year, he notices that he can no longer sing the higher pitches of the songs that his music teacher and classmates are singing so easily As the year progresses, he notices that his voice is not any good anymore. It cracks when he tries to sing the higher notes, and he has to work his voice muscles so hard when he sings, that he just stops. The teacher is surprised that he is no longer singing and has started disturbing other children when they are sing ing. He occasionally reprimands the boy, and their admiring relation ship deteriorates. The boy does not audition for the junior or senior high school choirs, and rarely sings again after the sixth grade. A high school sociology teacher had been raised by her grandfa ther. She had never been able to sing, and always wanted to. Specifi cally, she had never been able to sing "Happy Birthday" for her beloved grandfather on his birthday. When she was young, siblings, peers, and teachers had ridiculed her early attempts at singing. At the age of 21 years, with her grandfather at age 88, her concern was deeply felt. She had been led to believe that she was a "monotone", and that learn ing to sing was not possible, especially at her age. The boy had begun his pubertal growth. His voice was beginning its adolescent transformation. Perhaps the
Could the teachers' voice disorders have been pre vented by preemptive voice health education during un dergraduate training? Could early and expert medical diagnosis with func tional evaluation followed by specialist voice therapy have prevented the extensive distress over their near loss of voice function?
teacher lives in a culture where male adolescent voices be come broken during early adolescence. In such a culture, adolescent voice transformation is misunderstood and sing ing by boys of that age is "stopped for their own good." Or, perhaps the teacher lives in a culture where the training of music educators rarely provides complete, accurate, and useful education about how to guide adolescents through their voice transformation. Elementary school music edu
Can the voice disorders of school students or family members be observed early and dealt with by an educator
cators do not need that education at all, of course, because the phenomenon never begins during the elementary school
muscles and vocal fold tissues.
who has comprehensive voice education? xvi
years.... The sociology teacher saw an ad for a class that prom
ised to teach people who had never sung with accurate pitches, how to do so. With great apprehension, she en rolled. Her grandfather's birthday was two months away. The teacher of the singing class was especially determined
to see her through this learning process and spent extra time with her. At the birthday party, she sang "Happy Birth day" for her beloved grandfather by herself. Tears and em braces of joyful satisfaction and love followed. What would happen if all educators (especially edu cators of vocal self-expression):
1. were knowledgeable about the effects of physical
maturation on self-expressive vocal capabilities? and 2. knew many ways to help people of all ages to de velop self-expressive sound-making, speaking, and singing skills?
Final Wonderings
The Pirsigs, however, did get to enjoy the mmmmmmm of nature's sights, sounds, and sensations-except when they were waiting for the repairs. So: Could there be a relationship between the mastery of efficient speaking and singing skills, preventive voice health maintenance, and the mmmmmmmmmmmm of expressive speaking and singing? During the past forty years, on our respective sides of the Atlantic, we have sung in a fairly large number of ama teur and professional choirs; performed in solo recitals and operas; acted in plays, musicals, and radio/TV commer cials; and announced on radio. We have studied choral conducting and music education methods in several presti
gious settings. One of us (Graham) has studied singing privately with 3 singing teachers, and the other has studied with nine. In undergraduate and graduate speech and the atre training, voice skills were never addressed. We were asked to use many different vocal techniques in our private singing lessons. In music education and choral methods courses, in the choirs in which we sang, and at the choral conductor convention sessions and summer work
He and his teenaged son traveled on their one motorcycle from
shops that we attended, we learned many quick-fix gim
their hometown of Minneapolis, Minnesota, to the west coast of Or egon. They traveled with a married couple-family friends-who rode on their own motorcycle. They all wanted to experience the real countryside, so they rode the smaller U.S. highways-not the Interstates. Ahhh! Celebrate the sensory joys of the open road-the beautiful scenes offarmland plains, trees, hills, and wide open sky; the sounds of mountain echoes and crickets at night; the smells of newly mowed grass; the feel of the wind and the rain in their faces and hair. Mmmmmmmmmmmm! At the time, Robert Pirsig (1974) was a writer of technical manu als for a manufacturing company in Minneapolis. He appreciated how machines worked, and what to do to maintain them in working order. At the end of each day's ride, he checked the tuning and fluid levels of his motorcycle. Small adjustments were made when neces sary. The couple, on the other hand, were into the sensory joys of the trip—the wind and the rain in their hair, the mmmmmmm of open road travel. They had no interest in how to ride their motorcycle plea surably and protectively, and they were clueless about how their ve hicle worked and the details of motorcycle maintenance. And their motorcycle kept breaking down. The trip was interrupted by visits to motorcycle repair shops and waiting for the delivery and installation of spare parts. For them, mmmmmmmm eventually became arrghhhhh! and even #@%*}:\@%#!
micks to get our students-singers to sing the music correctly. We developed quite a "bag of teaching tricks" such as: 1. sing "on top of the pitch", raise your eyebrows to avoid singing flat or lower them to avoid singing sharp; 2. lift your upper lip and cheeks in a perpetual smile to brighten or focus your tone; 3. avoid singing any vowel that is not a cardinal vowel (will becomes weel, for instance);
4. match voice qualities in choir seating arrangements, so that the reed, flute and string voices will create a blended
choral sound;
5. sing as though you are older singers than you are, or sing like you are opera singers;
6. "place" your upper tones through the top of your
head for good resonance; 7. don't sing loud passages at full volume in the final rehearsal-just mark it and save your voices for later. We know that all of our teachers and conductors taught in the best way they knew how at that time in their lives. They had our best interests in their hearts when they taught us solo and choral singing skills, and we learned useful skills from all of them. Over the years, however, we became somewhat puzzled-especially when we changed singing xvii
teachers or choral conductors. With some frequency we
or between your eyes, or out the top of your head). Lift
were:
your cheeks in a quasi smile to brighten your tone. See that
1. asked to do tasks that conflicted with what a previ ous teacher or conductor had taught;
nail in the wall over there? Drive it into the wall with the
2. given conflicting, sometimes puzzling anatomicphysiologic-acoustic explanations of vocal production, with terminology that sometimes was confusing or unclear.
laser beam of your focused tone. Warmer colors of tone can be added by rounding your lips on all vowels." Other teachers wanted us to produce "more resonant tone" by opening our throats more. We were instructed to use the sense of a yawn when singing, and to sing with a
For instance, at various times we were taught three very conflicting ways to breathe for singing.
low larynx. The /oo/ vowel or the schwa vowel /uh/ were frequently used in vocal exercises. "Lift your soft palate.
1. Some teachers taught the so-called "down-and-out" way to create exhaled breathflow for voicing. "Push your
Feel like you have a pear (or hot potato, or...) in your mouth
gut down with your diaphragm like you are defecating a resistant solid-waste bolus from your body. Your gut must push so strongly that someone could hit you in the stom ach while you are singing and your tone would not be affected. To sing well, you will need to develop powerful back muscles" 2. Some teachers taught the so-called "in-and up" way to exhale breath for singing. "Your abdominal and rib cage muscles contract to press your guts up underneath your
and upper throat, and sing with 'pear-shaped' tones. Feel the yawn in your throat when you sing" At times, in choirs, we were confused about whether
we should sing the /ah/ vowel with a "three-finger-wide" jaw-mouth opening, or a "two-finger" opening. Regardless, one of us (Leon) set his jaw into a held-open position to make sure that his mouth was open widely enough. One
teacher, though, asked him to place a pencil cross-wise in the mouth and gently bite down on it to hold it in place, and then to speak all the vowels of the English language as
diaphragm which moves upward to create a positive air pressure in your lungs." 3. Other teachers wanted us to learn a balanced inter action of the breathing muscles for singing exhalation-
clearly as possible. The point was that all the vowels could be spoken very clearly only by adjusting the pharynx while the jaw-mouth was held in a nearly closed position. This manner of articulating vowels was to result in the purest,
appoggio, in the Italian language. "Your diaphragm muscle is involuntary, so you cannot consciously control it. When
most open-throated and resonant tone possible.
you are balanced, your abdomen and chest wall will barely move, if at all" When we (or a choir we were in) were not singing up
to expectations a common phrase was, "You need more breath support; breathe from your diaphragm," and teach ers or conductors would point to their abdomen. For many years, we had little idea what the term meant. We thought
that the abdominal wall was the diaphragm muscle, and that tightening it was how you increased breath support (we were actually engaging several abdominal wall muscles).
Some teachers wanted us to "focus the tonal reso nance by placing it in the facial mask". We were instructed to place the tone as far forward as possible to make the tone as bright and "ringing" as possible, and to use nasal conso nants and the /ee/ vowel on progressively ascending pitch exercises. "Focus your tone into your teeth (or nose, or face, xviii
Registers and register "breaks" were the greatest mys teries. Different teachers and vocal pedagogues had widely different points of view about what registers are, how many registers existed, and what their appropriate labels should be. What did head voice and chest voice mean? Several teach ers said that everything above chest is your falsetto register, but we could produce two very different sound qualities above chest voice. Heavy mechanism, chest, and modal were terms we encountered for the register that had the lowest pitch range. Some people said that head was just above chest, and falsetto was above head. Others said that falsetto was just above chest, and head voice was above falsetto. [To us, falsetto was that upper pitch range, female-like sound that was unique to males.] Others said that the lowest register was chest voice and highest register was head voice, and there was a middle register in between that was a "mixture" of chest and head.
She slapped her abdominal wall with her hands and said,
"Breathe from your diaphragm, Leon." With that communication,
Irma Lee Batey showed me where my diaphragm was. When my diaphragm "filled up", my chest and shoulders fell down. The falling of my shoulders and chest was never mentioned, so...I had learned how to breathe right. Years later, I learned where my diaphragm muscle was actually located. I also learned what its functions were, and the interrelation ship between how my skeleton was arranged and the efficiency of my breathing and voicing. Ms. Batey was my first college-level singing teacher. I still re member her with great respect and fondness. She was a very strong woman and a good person, but eventually, I concluded that her knowl edge of voice and voice skill teaching was not very extensive.
in nighttime. As any area of the Earth rotates into the sun light, people standing on the planet will experience the illu sion that the Sun is moving up from the horizon, thus the expression sunrise. The illusion continues through the day
time, and daytime ends with sunset, as their part of the Earth revolves away from the Sun. That is what is real about the Earth and the Sun, and
that raises some disturbing questions! Can we human beings make logical assumptions about what is real, based on direct experience, and then accept the assumptions as TRUTH, and convey the assumptions to others as the way things really are? Can what we directly experience with our senses al
ways be reliable? Elephants? Three men-blind from birth-approach an elephant.
Can the credibility of singing teachers, choral conduc tors, and music educators be called into question if confus ing, conflicting, or inaccurate information about voices is delivered to learners as they change from one teacher to another? Can the credibility of the voice education profes
sions become suspect?
Wondering Toward Roads Less Traveled Sunsets? To begin each day, does the Sun really rise in the di rection we call the East, then move across the sky as the day
passes? And to begin each nighttime, does it set in the direction we call the West?
If you've learned something from the legacy of Nicolas Copernicus and Galileo Galilei, you would be inclined to say, "No". But, wait a minute. Nearly everyone-including you-
has been awake early enough in the morning to directly expe rience the Sun rising-and it moves across the sky and it sets, just the way it was described above. How can anyone say that the Sun does otherwise? If you believe Copernicus and Galileo, you would say that the Earth orbits around the Sun, and as it does so, it revolves on its own axis. The half of the Earth that faces the Sun is in daylight and the half that is away from the Sun is
They are asked to describe the elephant. The first man encounters one of the elephant's legs. 'Aha! Elephants are like trees!" The second man encounters the elephant's tail. 'Aha! Elephants are like ropes!" The third man encounters one of the elephant's sides. 'Aha! Elephants are like curved walls!" Are their perceptions accurate? Basically, yes. So, what's the problem? Could the perceptions of the men be limited because they had not yet perceived "whole elephantness"? Can perspectives that are limited to parts of a whole reality, be perceived as the whole reality, until placed in the context of The Big Picture? Sunset Assumptions, Part-Elephant Perceptions, and Voices? In our culture, when a person speaks and then sings,
we become consciously aware of the obvious differences between the two. Singing teachers help people with their singing voices. Speech trainers help people with their speaking voices. So, can we make the logical assumption that we have two anatomical structures that produce our two voices, so that when we sing, we use one larynx, and when we speak, we use our other larynx? And, of course, do we have two completely distinct brain areas that produce sung and spo ken language? xix
Two Scenelets: An elementary school music educator with a hoarse voice sees an ear-nose-throat physician. The physician notes that the patient uses his singing voice in his work, diagnoses "singer's nodules'' and says, "Stop singing for three weeks and then I want to
examine you again'' The patient complies completely, returns, and there are no changes in the size of the nodules. The physician begins to discuss further treatment options including surgery. A choir is singing a composition that includes a section for spoken chorus. The music is about human determination and cour age and the singing is high in volume. The choir sings skillfully with a beautiful choral sound. When the speaking section happens, the group's vocal quality suddenly sounds tense, edgy, pressed, and some what unpleasant to listen to. To that choral director, they were using their speaking voices, and she had never been taught any speaking voice teaching methods, so, they just used their "natural" speaking voices.
We have one voice, not two. We have one collection of neural networks-from both cerebral hemispheres-that produce both singing and speaking (with variations that produce the obvious functional differences). Speaking and singing are two ways we coordinate our one voice to ex press ourselves. There is more similarity in the two coordi nations than there are differences. Most of the types of methods that help speakers speak more skillfully and ex pressively can also help singers sing more skillfully and expressively, and vice versa. But in the United States, most members of the Voice and Speech Trainers Association are likely to say that they are not trained to teach the singing voice to speakers and ac tors, and most members of the National Association of Teachers of Singing are likely to say that they are not trained to teach the speaking voice to singers. Among teachers of singing, including vocal music edu cators and choral conductors, a centuries-long tradition of vocal pedagogy has been developed. According to Mori (1970), the earliest discovered written evidence for a West ern civilization tradition of vocal pedagogy appeared in
documents from the pre-Renaissance middle ages. These concepts were described long before human cadavers had been dissected to find out what was inside and before physi ologists had discovered how voices worked. In those times, when singers sang in their upper pitch range, they felt a prominence of vibration sensations somewhere in the front
and top of their heads. They thought their voices were coming from there, so they called that way of singing their
head voice (voce di testa). When they sang in their lower range, they felt a prominence of vibrations in their throats and upper chests. They then thought that their voices origi
nated from there, so they called that way of singing their throat voice (Mori, 1970). Singers and singing teachers of the 17th century also wrote of two voices, but labeled them chest voice (voce di petto) and falsetto voice (falsetto then re ferred to all pitches produced above chest). When some singers sang in their middle pitch range, they noticed sensa tions and sound qualities that were different from those that they noticed when singing in their uppermost and lower ranges. This came to be called middle voice. How Can We Develop Accurate Assumptions and Whole-Elephant Perceptions of Human Voices? Copernicus and Gallileo set off an enormous revolu tion in human perception and learning that has changed
world history. It grew into a process that we now refer to as science. Before that revolution, sunset assumptions and part-elephant perceptions about the nature of the physical
world were embedded in the tightly controlled doctrine of the Roman Church (Book I, Chapter 1 has some details).
Those points of view were regarded as unquestionable truths, so Copernicus and Gallileo were the first to doubt some very strongly entrenched biases of their time. Originally, the scientific orientation promised to elimi nate the influence of all human biases so that valid and reliable knowledge could be gathered. So, the scientific method was invented as a means of determining objective reality and thus overcoming subjective bias. This is not possible-never has, and never will be. Scientific "objectivity" implies that the human beings who engage in scientific investigation can disconnect the
parts of their brains that process feeling and emotions (bi ases) from those brain parts that process perception and conceptualization. For instance, in scientific investigations there is a possibility that human investigators-inside or out side their conscious awareness-may orient research proce dures and findings so that a previously held, emotionally embedded point of view is supported. In spite of those realities, the methods of science are still the best means we human beings have yet devised to
minimize the influence of human bias. In judging the cred ibility of spoken or written communications-or of teaching methodologies-the scale of validity and reliability in Table
1 may be helpful.
Developing Accurate Assumptions and Whole-Elephant Perceptions When We Teach Expressive Voice Skills In the past few decades, there has been-and continues to be-an explosion in voice research in the fields of anatomy,
Sunset Assumptions, Part-Elephant Perceptions, and Voice Education The process of teaching singing skills to other people
physiology, acoustic physics, the neurosciences, medicine,
is commonly referred to as vocal pedagogy. Traditional
voices have been and are continuing to be invented. The volume of this research is now so great that scientists who study the nature of vocal anatomy, physiology, acoustics, and health are now allied in new scientific fields of voice
vocal pedagogy has a long and distinguished history. It originated at least in the middle ages and includes a centu ries-long accumulation of knowledge about singing by adults. The tradition developed and grew during times when
human beings had little or no idea what vocal anatomy looked like, how it actually functioned, or what the nature of sound was. In order to devise tasks that would help people achieve the goal of skilled singing, sunset assump tions had to be made about such matters, and part-elephant perceptions were inevitable (Jorgenson, 1980). Mostly, the assumptions were based on physical sensations observed by experienced singers, and on sound qualities observed by experienced singing teachers. The absence of precise knowledge about vocal func tion led to the development of: 1. explanations of vocal function based solely on per sonal sensation and opinion; and
2. the use of metaphoric language in the voice skill development process.
Historically, speech training has emphasized language
and psychology. Instruments for gathering more detailed and accurate information about the actual functioning of
science and voice medicine. The new scientific information frequently has impli cations for the teaching of voice skills. Some of the neces-
Table 1 A Scale of Validity and Reliability for Spoken or Written Communications and for Teaching-Learning Methodologies
1. Unsubstantiated, raw opinions:
Hearsay assumption and per
sonal interpretation or judgment is based solely on a person's history of feelings and emotions with little or no "facts" to substantiate it They are speculations based only on personal preferences, pleasant-unpleasant feel ing biases, and associated behaviors. In other words, opinions are like belly buttons-everybody's got one.
2. Opinions or explanations based on careful, studied observa tion and informed intuition: Complex phenomena are repeatedly ob served through one or more of the observer's senses. Categories and sub categories are formed, and then the phenomena are described as extensively and completely as possible in literal or metaphoric language or in the sym bols of mathematics. Studied observations may be generalized to form insights, guesses, or relational concepts related to observed phenomena.
articulation, pitch inflection, and voice projection, and has empha
sized skilled breathing as fundamental to training the speak ing voice. In more recent decades, voice skills have gradu ally been added. Speech sciences have a long history in Western civilization. Most of the science has been devoted to helping speech-language pathologists (referred to as
phoniatricians in Europe) whose occupation is to provide therapeutic voice rehabilitation to people whose voices are not functioning normally. A new program of comprehen sive study in voice is called vocology. It originated at the National Center for Voice and Speech at the University of
Iowa, and it integrates speech communications, speech pa thology, and singing with voice science. A new interna tional voice journal is now named Logopedics Phoniatrics
3. Scientific findings: The method of science is used to systemati cally identify and/or analyze a detail of complex phenomena, and prior findings, scientific procedures, results, and implications are described and published for all to observe and evaluate.
4. Scientific theories: Several-to-many scientific findings related to a complex phenomenon are assessed to explain "big picture" relationships between the findings. Theory must have evidential substantiation but the evidence is always subject to continuing evaluation in the light of ongoing scientific findings. 5. Scientific facts or laws: The scientific method has been used to
observe and explain complex phenomena for cause-effect relationships. Rep lication of early findings have consistently validated and verified the obser vations and explanations, so there is a very high accumulation of evidential substantiation. The probability that the same findings will occur under the same or similar circumstances is extremely high. 6. SWAGs: Speculation that is based on broad science-based knowl edge and personal experiential memory so a Scientific Wild-Assed Guess is made. In other words, same as item two above.
Vocology. xxi
sary assumptions of the past are being confirmed, some are
While the guiding processes of voice education have a
being disconfirmed or challenged, and some are being up
scientific foundation, that does not mean that learners should
dated. All of us who are concerned about expressive speak ing and singing and voice health have an opportunity to
In the 18th century, a common practice among physi
be inundated with uninteresting scientific minutiae that are beyond their current biological and experiential age and are guaranteed to drive them away from passionate vocal self-expression. That would completely violate the most important principles of learning that are derived from the neuropsychobiological sciences. Those principles indicate that when the guidance processes are suffused with fasci nating exploration and discovery of personal self-expres
cians was the cutting open of a large vein in a patient to
sive capabilities, then constructive learning occurs along with
allow a brief period of bleeding in order to rid the body of
a bonded attachment with the people, places, things, and events that were experienced in the process. Voice education guidance processes may be grouped in the following categories: 1. singing and speaking skills; 2. health and voice protection;
examine concepts and teaching approaches in light of more
accurate information about vocal anatomy, physiology, and acoustics. But, why bother?
infectious poisons. Would we choose physicians for our
selves who use practices that are based on assumptions
and perceptions from 300 years ago, 100 years ago, even 30 years ago? Would we see physicians who had not exam ined their own medical practices and updated them as new science-based discoveries, procedures, and approaches were developed? People who see physicians for help typically expect state-of-the-art care. They expect that the physi
3. verbal and non-verbal interactions; and 4. teaching-learning methods that result in people of
all ages loving to express themselves skillfully with their voices.
cians will have had deep training in the physio chemical processes that sustain human life, deep training and experi
Key to the practical usefulness of scientific findings
ence in how to diagnose and treat human disease, and they
and theory is the translation of the scientific language into
expect that physicians have kept up-to-date in the latest knowledge and current practices in their profession.
terms that non-scientists can easily understand and com
How many singing teachers, speech trainers, music educators, and choral conductors are aware of the phe nomenon of acoustic loading and overloading of the vocal folds? It has enormous implications for helping people produce the sound qualities that reveal the innate vocal talent that nearly all human beings possess. The phenomenon of vocal reg isters is richly affected by acoustic loading (Book II, Chap ters 9 through 12 have details).
and How They Are 'Played' in Skilled Speaking and Sing ing" all chapters begin with a section that is written in ev
In this book, the term voice education is an umbrella term that refers to the process of guiding other people (bodyminds) as they develop and maintain self-expressive abilities that include voice. Voice educators, however, base their human-to-human interactions and their guidance pro cesses on the neuropsychobiological, voice, and voice medi cine sciences. These knowledge-ability domains are the foundations of voice education.
xxii
fortably use. Particularly in Book II, "How Voices Are Made,
eryday colloquial language, and only the necessary ana tomic, physiologic, and acoustic terms are introduced. Following that section of the chapters, there is a sec tion labeled For Those Who Want to Know More... It presents a gathering of documented scientific details that are intended not only to deepen the knowledge base of voice educators but to substantiate the concepts presented in the colloquial sections of the chapters as well.
Comprehensive and Specialist Voice Educators As a result of training and experience, comprehensive voice educators are able to guide people in all four of the areas listed above, but in addition, they have the training
and observational skills to determine who may have a voice disorder that may require medical examination and thera
peutic evaluation. Comprehensive voice educators also are able to communicate skillfully with such people, or their parents-guardians if they are under age, so that they under stand the importance of seeking specialist attention, and they personally know the voice-experienced medical and thera
peutic personnel from which help could be sought And finally, comprehensive voice educators also have the skills to serve as an auxiliary member of a cooperative voice treatment team (see next paragraph) in the rehabilitation of people who are recovering from a voice disorder. In other words, when people have been diagnosed and therapeuti cally treated for such a voice disorder, and they are return ing to their "real world", comprehensive voice educators are qualified to assist them in accommodating their new
confidence. Vocal abilities are not just valuable in preparing and presenting musical and dramatic expressions, but are quite valuable in everyday living such as getting and per forming employment and for effective social communica tion. Fear, anxiety, social pressures, stress reaction, burn out, and depression all affect the mastery and display of self-expressive skills and self-confidence (Book I, Chapter 9, and Book III, Chapter 8 have details).
When we help people with their voices, we are influ encing their neuroanatomy, biochemistry, and physiology. "Technique lists," "tricks" and "method procedures" alone, while helpful up to a point, ultimately limit us into roles
thologist, and a specialist voice educator. In addition to all
that are like TV repair technicians. Deep contextual knowl edge and experience empowers us to design learning expe riences that help people develop such life-abilities as em pathic relatedness, constructive competence, and self-reli ant autonomy. Broad context enables us to evaluate our designed learning experiences, modify them or discard them, create new ones and to know how to improvise modifica tions "in the moment". Breadth of understanding undergirds
of the skills that comprehensive voice educators have, spe
the practical, and frees us to be creative, exciting senior learn
cialist voice educators have undergone the training and ex perience that qualifies them to participate as a professional
ers. Vocal self-expression really cannot be separated out from everything that we human beings are and may be
of equal status in the therapeutic rehabilitation of people
come.
whose voices have become disordered. They may be allied
So, all of this book's authors hope that its bigness, complicatedness, and comprehensiveness will help us all be healthier, more fulfilled, and more expressive human be ings, and we hope it will provide more wherewithal' to us so that we can help others be the same. A map is not the actual territory. If you so choose, this book can become part of a map. What you do is the territory.
voice and voice protection skills to that real world. The
colloquial parts of the chapters in Book II are written with comprehensive voice educators in mind. Cooperative voice treatment teams are made up of a voice-ear-nose-throat physician, a speech-language pa
with or employed by a private medical practice or a hospi tal, and legally, their therapeutic work is under the auspices of the physician and speech-language pathologist. The For Those Who Want to Know More... sections of the chapters in Book II are written with specialist voice educators in mind.
The Conclusion Line The parts of us that produce voice are interfaced with
References
a wide array of biological functions. Our voices are inti mately connected with everything we have ever experienced,
felt, learned, or done, and those are all biological processes. So, when we deal with human voices we are not just teach
ing voice skills that can be used as an instrument for music-making.
Crick, F. (1994).
The Astonishing Hypothesis.
New York: Charles Scribner's
Sons. Damasio, A.R. (1994).
Descartes' Error: Emotion, Reason, and the Human Brain.
New York: Avon Books.
Edelman, G.M. (1989). The Remembered Present: A Biological Theory of Conscious ness. New York: Basic Books.
The state of our neuropsychobiological selves is re
flected in the state of our voices. Mastery or lack of mastery of self-expressive skills can contribute to or subtract from what we sometimes refer to as self-identity, self-esteem, and self
Jorgenson, D. (1980). History of conflict. The NATS Bulletin, 55, 51-55.
Mack, L. (1979). A Descriptive Study of a Community Chorus Made Up of 'Non-Singers'. Unpublished Ed.D. dissertation, University of Illinois at Ur bana-Champaign.
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Mori, R.M. (1970). Coscienza della Voce nella Scuola Italiana di Canto.
Milan:
Editzioni Curci.
Pert, C.B. (1986). The wisdom of the receptors: Neuropeptides, the emotions, and bodymind. Advances, 3(3), 8-16.
Pirsig, R. (1974). Zen and the Art of Motorcycle Maintenance. New York: William Morrow.
Searle, J.R. (1992). The Rediscovery of the Mind. Cambridge, MA: MIT Press. Strand, F.L. (2000). Neuropeptides: Regulators of Physiological Processes. Cambridge, MA: MIT Press.
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book one bodyminds, learning, and self-expression
This Page Intentionally Left Blank
the big picture n a book on voice education, isn't it overkill to
I
excitatory synapses will be formed, the functional integrity
address the neuropsychobiology of perception, memory, learning, behavior, and health? Why not
of synaptic connections will be altered physio chemically,
Everything that we human beings experience, do, feel, learn, think, say, or sing involves changes in our anatomy,
ings of human bodyminds points any educational enter
and production of transmitter molecules will be increased just address voice anatomy, function, and health-like or most decreased in the nervous, endocrine, and immune sys voice books do-and be done with it? tems. As a result, unique patterns of perceptual, valuePhysicians change the anatomy and biochemistry of emotive, conceptual, and sensorimotor processing are people, and often their physiology as well. formed. So do educators, be they singing teachers, speech train So, why go into this level of detail about human learn ing and self-expression in a book on voice education? ers, music educators, choral conductors, theatre directors, 1. An appreciation of the absolutely astounding work school teachers, professors, or parents.
biochemistry, and physiology-especially in our brains. Our nervous, endocrine, and immune systems are functionally integrated and can alter electro-physio-chemical processes throughout our bodies at genetic, molecular, cellular, tissue,
prise in human-compatible directions, rather than uninten tional human-hurting ones.
organ, system, and behavioral levels. These changes pro
2. All learning results from interactions between the people, places, things, and events of our world. Those ex periences result in what we call perception, feeling, memory, cognition, learning, behavior, and health. It is changes in the
duce what are commonly termed the human mind and our
nervous, endocrine, and immune systems-regulated and modulated
behavior psychology. But it is our biology that actually processes and constructs what we perceive, feel, remember, and learn.
by transmitter molecules-that bring perception, feeling, memory cog nition, learning, behavior, and health into existence.
When people who are called teachers interact with
Some educators may not be familiar with such an
people who are called students, some types of interactions can contribute to inhibition of vocal self-expression in both
groups. Other types of interactions can contribute to an enhancement of vocal self-expression. Inhibition or en hancement of vocal self-expression can be learned. Learn
ing means that as bodywide physio-chemical networks are altered, new nerve tissue filaments are likely to be grown in various neural networks of the brain, new inhibitory and
orientation.
Actually, this book's framework for human
learning represents a relatively different way of conceiving teaching and learning processes. And even though it may make some of us uncomfortable, we need to know how what we do affects the anatomy, biochemistry, physiology, and health of the people we teach. And, just as importantly,
we need to know how teaching affects our own anatomy, biochemistry, physiology, and health.
the
big
picture
1
Helping People Love to Learn and Express Themselves: Integrating Theory and Practice Nearly all educators have their students' best interests
at heart Always. Just like nearly all doctors have their patients' best interests at heart Educators have had to make practical decisions about what to do based on what was available to them-mostly the accumulated practices of ex perienced teachers, their own accumulated experiences, and culturally delivered implicit assumptions about the nature of human beings and their learning. Three assumptions seem to underlie the real world of class-and-grade assem bly-line schools: (1) minds are nonphysical entities that op erate bodies, and schools are for minds, (2) what we call feelings and emotions are separable from cognition and aca demic behavior, and schools are about cognition and aca demic behavior, and (3) all human beings of the same chro nological age should learn the same abilities at the same rate. To get "results", many such schools predominantly use
the train cannot steer us onto alternative tracks on its own. The train's engineer makes those decisions. The engineer represents our conscious awareness and decision-making capability. If our engineer is to steer us into interesting, beautiful landscapes, she or he will be helped by (1) a jour nal of previously traveled tracks, (2) a map of possible des tinations, (3) criteria by which destinations are selected, and (4) plans for how to get where we want to go. The caboose is at the rear of the train. It represents a place where conscious memories are stored and evaluated, plans for the future are made, and where symbolic expres sion occurs (thinking and talking). So, in order to evaluate past travel, and think and talk about future options, the
engineer has to stop the train of life-living and go to the
are decontextualized away from "real life", (3) conscious
caboose. When the directions are decided and plans are made, the engineer goes back to the engine and starts the train moving again. New experiential adventures are then possible that can add to, subtract, or change the nature of the train's passenger and cargo cars. Instead of "Ready, set, go", a high percentage of our actual experiential reactions are more like, "Ready, go...set" (Oliver, 1993, p. 7). The chapters of this book are written in the caboose of the train of thought and action, and that's where you are now as you read. We're temporarily stopping our experi
analysis, including correction of "errors" and "mistakes", (4)
ential trains so that we can evaluate past and recent educa
(1) linguistic telling, reading, and writing, (2) language-based, short-answer, standardized and non-standardized tests that
extrinsic rewards that have little or no relationship to the
tional tracks that we have traveled, become familiar with
abilities that are to be learned, and (5) military-like coercion
updated maps that present alternate possibilities, evaluate
and punitive discipline. Are these the most effective ways to educate people for 21st Century realities? How do we determine what the most effective ways are? A train of thought and action is moving along the track of an experience (Oliver, 1993, pp. 9-11, 169-171). The first human reaction to an experience occurs in just a few
new travel directions, make travel plans, and anticipate pos
hundred milliseconds: a high-speed, other-than-conscious appraisal of the people, places, and things that we encoun
ter. Within a few more milliseconds internal body sensa
tions are generated that we often refer to as feelings or emo tions. The train's engine represents those feeling sensations because those feelings lead into existence our automatic, habitual, outside-of-conscious-awareness patterns of be havior. Our automatic reactions are represented by the train's
sible new adventures. A term that we all use for such analysis, reflection,
and planning is theorizing. Educational and learning "theory" have a bad reputation among some educators. The "theory" to which many eductors have been exposed has not been useful. There is not enough time to theorize about the most effective ways to interact with learners. The real world of "What do I do on Monday, Tuesday, Wednesday, Thursday, and Friday?" must be dealt with. Typically, teachers activate their habitual teaching patterns that were learned implicitly when they observed their own teachers in elementary, middle
passenger and cargo cars. There are many experiential tracks that our trains of
school, high school, and college. Those behavior patterns are based on assumptions (theories) about how people learn of which teachers are often not consciously aware. What is "theory"? In Western science, theory is an
thought and action can travel on, and the engine that pulls
explanation of what actually happens when observable
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events turn out the way they do. A theoretical explanation must have considerable, studied evidence to substantiate it Research evidence may present many "bits and pieces" of a larger, patterned "picture," but a theory suggests how the parts are related in a "big picture". Effective theory points people toward what to do in order to accomplish goals effectively It is the basis upon which useful practices or objects are created. Practical application of a theory generates observable data that can help validate the theory or be used to modify it. Assuming questions of what to learn are settled, is it reasonable to say that decisions about educational practice (what to do) need to be based on the best available research findings and on theories that address the following ques tions? 1. What happens inside us human beings, and to our behavior, when we learn in the most constructive, produc
tive, and beneficial ways? 2. What are the most effective ways to arrange educa tional environments so that constructive internal events and behaviors are most likely to occur? 3. What are the most effective ways for teacher-people and student-people to interact and communicate so that both groups experience emotional connectedness with the other, and optimally constructive, productive, and benefi cial learning is facilitated?
centered teaching? Some people physically punish children by hitting them in order to teach them "discipline". To them,
that practice is in the best interest of children, so therefore, it is child-centered. What about teachers who regularly use threatening
consequences as a "motivational tool" to achieve compliant behavior by students? Or teachers who commonly use an adversarial language of coercion and control when setting goals, and languages of dependency or accusative judgment when delivering feedback? What about teachers who regu larly call attention to what they perceive to be student in adequacies, and rarely call attention to increasing mastery. A spelling test is given. Ten words. A student spells eight of
them accurately, and two are spelled creatively. Where do
the red pencil marks go to call attention to the results? Are these examples of child-centered teaching? Learning processes involve a great deal of what we call psychology. Speaking and singing with optimum skill and expressiveness are rather complex acts that require a somewhat lengthy string of branched learning experiences.
They necessitate a blending of what can be referred to as cognitive-emotional-behavioral abilities. Whether or not people choose to continue singing over their life-span de pends to a large extent on how their earlier singing experi ences felt to them, pleasant or unpleasant, successful or un successful. Not only must there be decisions about what
"'Tis the gift to be simple..."
Simple generalizations
music to sing, what skills to learn and in what sequence;
about complex realities can produce feelings of pleasant well being and they can arouse feeling-charged commit ment to a preferred course of action. And that can be a very good thing. However, the prickly American humorist and newspaper columnist of the early 20th century, H.L.
there also are decisions about how the human beings in volved will interact with each other (see Chapter 9). Guid
Mencken, is supposed to have said, "To every complex ques tion, there is a simple answer. And it's wrong!" Simple, feel
good generalizations need to be supported by valid, verifi able details. If they are not, they can point us toward unex pected derailments of our trains of thought and action. Can both angels and devils be in the details? For example, an educator may passionately say, "I be lieve deeply in child-centered teaching", and other educa tors may nod affirmatively. The opposite, of course, is teacher-centered teaching. Teachers must lead any orga nized learning situation, so, what criteria will be used to determine the difference between child-centered and teacher
ing the learning of skilled, expressive speaking and singing
includes interactions that significantly influence those reac tions. Constructive verbal and nonverbal communication skills are major tracks to steer our trains onto as we help people develop a love of expressive singing and speaking.
A Teaching Profession *! In the mid-1960s, teachers in the United States at
tempted to establish themselves as members of a profession. Back then, common yearly wages for first-year teachers ranged
from about $4,000 to $6,000. Teachers highlighted their value to society, in part, by claiming that their training and exper tise were comparable to the already highly valued profes
sions such as physicians, lawyers, architects, and engineers. the
big
picture
3
Many similarities between teaching and the traditional pro
engine that requires gasoline or other fuel, that it has brakes
fessions were noted, but one significant difference was never brought fully to the attention of educators or the public. All of the traditional professions require deep education in ex tensive, universally accepted theoretical knowledge. Lawyers must learn many theoretical principles of social organization, law, and jurisprudence as well as the traditions, forms of court room practice, and precedent decisions. Architects and en gineers must learn many forms of mathematics, physics, and other bodies of theoretical knowledge before they can create a bridge or a supercomputer. Physician diagnoses
and lights and so forth. We can call this the orientation
and medical and surgical treatments are built up from de tailed theoretical foundations in human anatomy and physi ology, biochemistry, pharmacology, and years of mentored training in medical practice. In these professions, foundational knowledge begins to be learned during pre-practice training. If pre-practice theoretical knowledge is not assimilated sufficiently, train ing is delayed until it is, or training is discontinued. Practic ing professionals continually update their theoretical knowl edge throughout their careers. If the updating lags, effective practice can be compromised. Why? The day-to-day decisions made by practicing members of those professions are richly rooted in that knowledge, and current decisions depend on its current accuracy Is there a rich tradition of universally accepted theoretical knowledge that guides educational practice? No, but sig nificant progress has been made in the past decade. The big question is, "When will it become a universally standard aspect of pre-service and in-service teacher education?" Leslie Hart was the first person to (1) document the
inadequacies of traditional educational practice (The Class room Disaster, 1969), (2) assemble a brain-based theory of learning (How the Brain Works, 1975) and (3) apply that theory to educational practice (Human Brain and Human Learning, 1983). Hart (1983, pp. 20-27; 1998, pp. 43-54) clarified the practical relationships between theory and practice by con sidering "levels of knowledge structure" and "levels of ex pertise". He used the metaphor of floors in a building and the design, manufacture, and operation of automobiles as a way of conceptualizing his point of view. • "For example, think of the ground floor of our structure of expertise as occupied by those who do not drive, but know what a car is, what it is for, that it has an
4
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level.
• "On the next floor are the many who can operate a car on a procedural basis. They know how to start the motor by turning a key, how to move the gear shift, how to
press the throttle to control speed, and so on; but they may have little idea of just what happens when the key is turned or the gearshift lever is moved. • "On the third floor are those who do have a gen eral grasp of the mechanics of an automobile. This is the comprehension level. By knowing to a degree "what is going on" they drive more expertly, detect developing prob lems, and are able to take simple remedial actions to deal
with difficulties. • "On the next floor of our structure are the mechan ics and skilled amateurs, those whose understanding is deep
enough to test and repair. This is the technical level. • "On the fifth floor are the engineers who employ far deeper knowledge to evaluate materials and parts, direct production, and use sophisticated instruments to test and measure results. This is the lower engineering level. • "On the sixth floor are various design engineers with deep knowledge that permits them to design parts, subsystems, and perhaps an entire vehicle. At this level, more and more of the work is done on paper or on com puters, making more and more use of theory. • "Occupying the highest floor are specialists, scien tists, and researchers; a physicist concerned with the be havior of hot gasses in a cylinder, a chemist involved with antipollution catalysts, a mathematician analyzing front end
geometries, all working intensively with theory." When a car's motor is chugging, an auto mechanic is
the level of expertise needed for testing and repair (technical level). The design and production of reliable, precisionmade, longer-lasting, and aesthetically interesting automo biles requires experts from the top three levels who must use increasingly deep-background theory to guide their prac tical actions. "The higher the responsibility, the greater the need for sophisticated theory" (p. 51) • "Where for millennia we did things procedurally, 'the way things were always done', we now are far more
dependent on theory....a three-year-old can procedurally operate a color television, an incredibly complex, precision
Conclusion
apparatus, because somewhere there are people at the vari
Peter Drucker (1969, p. 192) wrote a book about hu
ous structural levels who utilize the theories that are the foundation for television....
man organizations (including schools), and cautioned that "The most difficult and most important decisions in respect
• "As shocking as it may be, we must realize that we have not had a parallel knowledge structure in education. Education's "higher ups" do not necessarily have more grasp of theory. A viable theory of learning and theory of teach ing just hasn't existed to any extent! The procedures that
to objectives are not what to do. They are, first, what to abandon as no longer worthwhile and, second, what to give priority to and what to concentrate on....The decisions about what to abandon are by far the most important and
are widely used in schools do not rest on sound, substantial theoretical foundations. In that sense, education has never entered the twentieth century. It is still fundamentally back in prescientific times and more and more suffering the con sequences." (pp. 24-26) At which of Hart's levels of knowledge structure and expertise are teachers who begin teaching after four years of
college? Procedural? Do they teach the way they were taught as youngsters in primary, middle, and high school and in college, or do they teach the way they were taught to teach? What if they are taught to teach in the same way that they were taught? At which level do most experienced educa tors function? Comprehensive? How many teachers com bine the use of sophisticated learning and educational theory at the lower engineering and design engineering levels? Would the specialist levels be filled by neuropsychobiological
scientists? At which level are parents, legislators, school board members, educational administrators, or inspectors?
Pre-service educators may take courses that supply an eclectic, simplified sampling of claimed theoretical con tent, such as introductions to psychology, sociology, and philosophy. More often than not, "methods" courses are based on theoretical opinion, practical experience, and, in
some cases, an array of "tricks and gimmicks that work" (What does "...that work..." mean?). Some methods systems have been devised and are based, to some extent, on scien tific research findings. But to what extent have the implicit assumptions about the "nature of human beings", that un derpin the studies, been examined, and how might they affect validity?
the most neglected." What would constitute real learning and educational theory, and would it make a significant difference in what teachers do every day? A "vastly different form of educa tion," as suggested by the Averch Report (1972), would have
to emerge from vastly different theoretical sources than have traditionally existed. Until Hart (1975, 1983) proposed his brain-based "Program-Structure Theory of Learning" (ab breviated to "Proster Theory"), no learning theory had ever been based on wide perspectives of the actual "internal op erations" of human beings such as occurs in their nervous systems. As noted in Chapter 1, most philosophers and psy chologists now realize that all of the human sciences are allies in the process of understanding how human beings learn, that is, (1) make sense of their world, (2) react to threat and benefit, and (3) gain mastery of self and world. A cru cial foundation to that process is understanding how the
nervous, endocrine, immune, and transmitter molecule sys tems interact in whole human beings. The nine chapters of Book I cannot possibly present all of the details of human neuropsychobiological anatomy and function that have been discovered by scientific inves tigation. Neither can all of the implications of those find ings for human learning be presented. A big picture with some details is presented in the hope that voice educators can exert a more pervasive and constructive influence on the human experience. Take a comfortable seat in your caboose, "keep your hand on the plow and hold on" (as the slave spiritual sings). Maybe this can be an adventure.
the
big
picture
5
Chapter 1-A Brief Context about How We Know What We
Know, and Do What We Do Chapter 2-The Astounding Capacities of Human Bodyminds Chapter 3-The Human Nervous System Chapter 4-The Human Endocrine System Chapter 5-The Human Immune System Chapter 6-Human Sensory Experiences Chapter 7-Internal Processing of Life Experiences and Be havior Chapter 8-Human Selves and Communicative Human In teraction Chapter 9-Human-Compatible Learning
References Averch, HA, etal. (1972). How Effective Is Schooling? Santa Monica, CA: Rand
Corporation. Drucker, P.F. (1969). The Age of Discontinuity. New York: Harper and Row. Hart, L.A. (1969). The Classroom Disaster. New York: Teachers College Press. Hart, L.A. (1975). How the Brain Works. New York: Basic Books, Inc.
Hart, L.A. (1983). Human Brain and Human Learning. Kent, WA: Books for Educators.
Oliver, E. (1993). The Human Factor at Work: A Guide to Self-Reliance and Consumer Protection for the Mind. Canton, MI: MetaSystems.
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chapter 1
a brief context about how we know what we know, and do what we do Leon Thurman
uman beings do not move, sense, feel, or
H
think without nervous system activity--
Knowing, and Knowing About Knowing
mainly the brain. The brain is an organ of the According to cognitive archeologists, cognitive fluid adult body that is estimated to contain over 100 billion ity (global mapping within the brain; see Chapter 3) ap neurons and over 900 billion support cells, according to pears to have emerged in the brains of Homo sapiens sapiens estimates by neuroscientists (see Chapter 2). It is the cen (modern humans) between 60,000 and 30,000 years ago tral locus for the regulation of all bodily processes, the (Mithen, 1996, p. 194). Before that time, cognitive domains perception and "interpretation" of all sensory experience, that Mithen refers to as general intelligence, social intelli and the internal initiation of all movement, thought, con gence, technical intelligence, and natural history intelligence scious and other-than-conscious awareness, as well as feel were distinct operations that could not be integrated. The ings, moods, and emotions. The brain is interfaced with earliest language was spoken, and emerged almost exclu the endocrine (glandular) system and the immune system sively within the social intelligence. With the development in carrying out learning, behavior, protective, and healing of cognitive fluidity, however, all of the cognitive domains functions. The complexity of the human brain is greater became integrated and language proliferated. The earliest than for any animate creature on earth, and is the principal speculations about the origins and nature of the physical reason for the vast adaptive (learning) capabilities of hu world, and the nature of human knowing, were elaborate, man beings. anthropomorphic mythologies that were passed to suc We do not consciously sense the operation of the ner ceeding generations by means of crafted objects and im vous system. Other than for some aspects of pain, it does ages and spoken language (Mithen, 1996, pp. 164-167). not have sensory nerves that enable any sensation of its Written symbols of spoken language emerged about function. We do not sense any of the brain's functions. For 5,000 years ago (Mithen, 1996, p. 27), and then the my many centuries of recorded history, little was known about thologies could be recorded in written form. Among di the brain, and nothing was known about its function in, verse peoples, written language also enabled a sharing of for instance, conscious awareness or "knowing." Histori speculations about the physical world and human know cally, therefore, explanations of human knowing were rea ing so that they could be analyzed and evaluated. In West soned speculations, philosophies, or theories that were ern civilization, reasoned speculations about the nature of based on the experiences, perceptions, assumptions, and reasonings of the people who originated them. a
brief context
7
the world and people first emerged in the ancient Greek
Until about the 15th and 16th centuries, the philosophi
civilization and came to be called philosophy (Greek: philo+ sophos = loving that which is wise). The English title of Aristotle's treatise on the natural world, Metaphysics, was adopted as the categorical term for philosophies about the nature of the physical world (Greek: meta- + phusika = pursuit of physical nature). Philosophies about the nature of human knowing have come to be cat egorized by the term epistemology (Greek: episteme + logos = knowledge words). Two other philosophical categories arose, ethics (Greek: ethos and ethikos = moral character) and aesthetics (Greek: aisthetikos = that which is perceptible by the senses; aisthesis = sense experience). Ethics related to interacting morally, justly, and honorably with other human beings, and aes thetics related to the sense reactions that result from con templating nature or expressive "objects" that have been created by human beings. Elaborated, consistent philosophi cal systems such as idealism, realism, and naturalism have
cal writings of Plato and Aristotle, woven together with
been formulated that have encompassed all four of the
above areas of philosophical discourse.
Knowledge About the Physical World In the time of Socrates and Plato, learned people knew that the physical world was made up of four elements— water, earth, wind, and fire. Aristotle introduced methods of descriptive observation of the physical world. Time concepts were derived from observations of astronomical events such as daylight and dark and the cyclical positions of the sun, moon, and stars. The writings of the 2nd century Greek physician Galen (131-220) were quite sophisticated in their knowledge of the human body, including the brain and the vocal organs (von Leden, 1997). He was the preeminent physician of his
time, and he wrote over 300 books, of which only about 120 remain in existence. He was the first to describe the
laryngeal cartilages and paired muscles, and described the larynx as the organ of voice production. He wrote a trea tise on voice (which did not survive), and is regarded as the founder of laryngology. His writings were regarded as the "bible" of medicine for about 15 centuries.
8
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standard religious doctrines, constituted the accepted knowl
edge about the physical world. But, with the invention of printing in the 15th century came gradual increases in the distribution of basic information, written philosophies, in creased critical analyses of them, and richer curiosity about and exploration of the nature of the physical world.
For
example, the first extensive, detailed, printed human
anatomy book was published in 1543, De Humani Corporis Fabrica (the human body structure) by Andreas Vesalius (1514-1564). From the controversies that arose between
diverse philosophies and observations of the physical world, there evolved a need for greater substantiation and valida tion of speculations about the nature of the world. In the 16th and 17th centuries, the pioneering work of such men as Nicolas Copernicus (1473-1543) and Galileo Galilei (1564-1642) contributed significantly to the formu lation of a very new and "dangerous" way of studying the world. They originated a new method of investigating the physical world that began by wondering about and doubt
ing accepted perceptions and assumptions about its na ture. While both of them suffered unpleasant punishments for their "heresies", curious people who followed them, such as Isaac Newton (1642-1727), came to believe that the method would remove subjective investigator bias from the procedures and conclusions of such investigations, so that purely objective knowledge could be obtained. The method and the discoveries that have resulted have come to be known as science (Latin: scientia = knowledge, skill; sciens = having full knowledge). The method of science evolved as a means of exam ining the nature of the physical world in more objective ways than speculative opinion and religious doctrine could allow. In summary, the method involves: 1. identifying a phenomenon to examine and narrow ing the examination of it to achievable proportions; 2. gathering as much existing information about the phenomenon as is available; 3. formulating an hypothesis about how the aspect of the phenomenon that is to be examined is constructed,
and/or how it behaves under various conditions; 4. devising a procedure for reliably examining the phenomenon and converting those observations into valid
symbolic form such as descriptive language and/or math
mind, such as remembering, willing, and so forth, were trans
ematical representations; 5. analyzing the gathered data to detect relational pat terns that confirm or disconfirm the original hypothesis, and presenting conclusions, based on the gathered data, that increase knowledge about the phenomenon beyond what was already known.
lated as faculty of remembering, faculty of willing, and so on (Woodworth & Sheehan, 1964). Early Roman Church phi
Investigation of the natural world with the scientific method eventually resulted in the scientific disciplines that we now know as physics (the study of the nature of mat ter and energy and their interactions); chemistry (the study of the composition, structure, properties, and reactions of matter, especially its atomic and molecular aspects); biol ogy, biophysics, and biochemistry (the study of the na ture and life processes of living organisms). Each of these broad domains of science have subcategories and cross categories, of course, such as astrophysics, acoustic phys ics, biophysics, organic chemistry, plant biology, molecu lar biology, human anatomy and physiology, and so forth.
losophers interpreted the unintended term faculty from a categorical noun to a functional noun, so that people were able to remember because of the mind's faculty of remem bering. Thus, the concept of faculties of mind was evolved. The pivotal philosopher who cemented the mind-body duality in Western culture was Rene Descartes (1596-1650). His proof of his own existence was summarized in his well known phrase, Cogito, ergo sum (I think, therefore I am.) The domain of one's own physical body and the external world, res extensa, could only be perceived by the bodily senses, and the senses could be deceiving. The domain of pure conception or reason, res cogitans, was not physical, so mind could exist without matter and was more important than matter. Descartes' work influenced the current common practice of addressing three entities that constitute the hu
man being—body, mind, and spirit.
Thomas Hobbes (1588-1679) and his successor John Locke (1632-1704) were British philosophers who opposed
Knowledge About the Nature of Human Beings, Human Knowing, Human Feelings, and Human Behavior Epistemology, aesthetics, and ethics are the categories of reasoned philosophical debate about the nature of hu man beings and their interactions with people, places, things, and events. The dialogues of Plato—with his teacher Socrates as the central character—and Aristotle's Metaphysics indel ibly implanted the dual identity of body as distinct from soul/spirit into Western philosophy. The duality of body
Descartes. While Descartes was ensconced in the Roman
Catholic church's view of the world, Hobbes and Locke
were not. Hobbes believed that there were only two men
tal operations that accounted for all thought, sensation and association, and association governed recall. Locke reasoned that the senses were a primary source of knowledge and expressed the possibility of a rational demonstration of moral principles. Their work is regarded as the beginning of an important thread in Western philosophy—British empiri cism. David Hume (1711-1776), and others, extended the
and spirit was subsumed into many future Western reli gions including Christianity. Based on the state of knowl
tradition of empiricism, and Voltaire (1694-1778) expressed
edge about human beings at the time, this assumption was consistent with the direct experiences of people—it "made
bring about the demise of the faculties of mind concept.
sense"—and it has been a central assumption of Western religious thought from those ancient times until the present. The terms mental and mind have roots in Latin (men,
mens, mentis), Old High German (gimunt), and Old English (gemynd). Mind, too, was assumed to be a disembodied entity within each person that produced thinking and rea son, and directed the body to move according to the mind's
thoughts. When the works of Aristotle were translated into Latin, his descriptive categorical terms for functions of the
Locke's empiricism in France. Eventually, empiricism helped Immanuel Kant (1724-1804) attempted to reconcile Descartes and Locke with his German idealist orientation.
For many centuries, the passions—sensed feelings and the named emotions—were associated with phenomena that
ranged from infestation by evil spirits to the absence of reason. In Western philosophical and religious thought, a goal of educated people was to use the mind's reasoning capacity to control the passions; thus, there was another duality—a separation of reason from emotion. The Swiss
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author and socio-political activist Jean Jacques Rousseau
(1712-1778) expressed a naturalist orientation. He defied many of the conventional mores of his time, proclaiming that human beings were, by nature, prone to emotion and natural feelings, particularly those of sympathy and empa thy. This orientation was known by the French expression
la sensibilite. His book Emile (1762) described the education of a young gentleman according to "natural" principles. The Social Contract (1762) advocated democracy and denied the divine right of kings. He had to leave France, but his book became the bible of the French revolution and a prime philosophical source for the American revolution. By the 19th century, the sciences of anatomy, physiol ogy, and medicine began to have an impact on epistemo logical philosophy. Pragmatism was advanced by the U.S. philosopher C.S. Peirce (1839-1914). It was not a philo
sophical system but a philosophical procedure which asked the pragmatic question, "What difference will a given course of thought or action make?" This turn in philosophical orientation was influenced by the growing pervasiveness of science in the culture of Peirce's time, and bears a resem blance to the scientific method. John Dewey (1859-1952) became the most famous pragmatist. He was heavily in volved in learning theory and education. He wrote many books such as Democracy and Education, and Art as Experience,
and was the guiding light of the progressive education movement in the 1930s.
The Meeting of Science and Philosophy in the Study of the Human Psyche
ports of subjects in response to verbally delivered or writ ten questions were analyzed to determine the content and structure of mental life. Psychiatrists of the 19th century were physicians who studied and treated mentally ill people who were unable to function in society. Sigmund Freud, M.D., (1856-1939) de veloped introspective psychoanalysis and posited vari ous elements of mind such as the ego, the id, and the su perego, and various mental processes such as repression and defense mechanisms. His work was among the first to introduce an integration of reason and emotion in mental processes, with emotion playing a very significant role. He is credited with "discovering" the existence of the unconscious, that is, aspects of the human psyche that affect the mind,
yet are outside conscious awareness. A student of Freud's, Carl Jung (1875-1961), came to disagree with his teacher in some respects and set out on his own analytical psychol ogy path. He wrote several books such as The Psychology of the Unconscious and The Collective Unconscious. In the latter book he recognized the learning that occurs when groups of people interact over time—culture. The first influential United States psychologist was Wil liam James (1842-1910). He and others were of the func tionalist orientation to psychology. The general purpose of functionalism was to study the structure and function of human consciousness. The functionalist questions were, "What do people do?" "How do they do it?" and "Why do they do it?" Showing a pragmatic orientation, they fo cused on mental functions or dispositions that are experi enced under actual life conditions like perceiving or think ing or recalling. The philosopher John Dewey and the psychologist
The method of science was applied to the study of the
James Rowland Angell (1869-1949) sought to place psy
psyche in the 19th century. The science came to be called
chology in the general field of biological science. At the
psychology, the study of the mental-emotional-behavioral
University of Chicago they developed an animal labora tory on the assumption that when an animal accommo dated to a new environment or solved a problem, they
aspects of individual human beings. The work of Hermann von Helmholtz (1821-1894), Gustav Fechner (1801-1887),
Franz Brentano (1838-1917) and others laid the ground work for the new science. Wilhelm Wundt (1832-1920)
were demonstrating evidence of consciousness. The prin
established the first psychological laboratory in 1879, and he is regarded as the founder of the new science. He de vised and elaborated the method of introspection as a means of studying the structure of mental life, and so es tablished a structuralist orientation to psychology. Re
functionalists were incorporated into a laboratory school for children that Dewey founded and through which he
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ciples of psychology that were elucidated by the Chicago
helped develop the progressive education movement.
Jean Piaget (1896-1980) is regarded as a functionalist (his work asked the three questions), but has also been
claimed by the cognitivists (described later). Piaget was a biologist who became interested in how children reason.
He referred to himself as a genetic epistemologist (Gardner, 1985). In 1925, he was appointed Director of Studies at Jean Jacques Rousseau Institute in Geneva. From 1925 to 1933, he very closely studied his own three children as they grew from infancy to adolescence. He devised many clever problems for them to solve and took careful notes on their responses as they aged. His observations became the foundation of an extensive theory about the changing "structures" of perception and reason in children. Affect, feeling, and emotion were not directly included in his work.
ated from that situation, so that when the situation recurs the act is less likely than before to recur (Thorndike, 1905, p. 203). Around the turn of the century, Ivan Pavlov (18491936), a Russian physiologist, studied the responses of re
search animals (dogs) to selected stimuli. He described the
responses as purely physiological, associative, stimulus response connections (Pavlov, 1927). When an experimental dog was chewing meat, a bell was rung. After that event was repeated a number of times, the ringing of the bell in the absence of meat would produce salivation in the dog's
mouth. Pavlov disliked psychological explanations of be havior and sought to remove any suggestion of expectant,
He proposed that processes of assimilation and accom modation interact as children pass through four develop
subjective, or emotional mental states from his scientific
mental stages from infancy through adolescence, that is,
conditioned stimuli (US)—the meat; conditioned stimuli
the sensorimotor, preoperational, concrete operational, and
(CS)—the sound of the bell; and conditioned responses (CR)-salivation. His work was integrated into the behaviorist
formal operational stages of perceptual and reasoning ca pabilities. His work had a profound effect on educational
practice in the second half of the 20th century.
The psychological orientation that is referred to as associationism evolved from the British empiricist orien
tation in philosophy (initiated by Hobbes and Locke). Hobbes' concern with sequences of thought became the
concept of successive association, and Locke's orientation to experiential integration became simultaneous association. The principle of experiential association is still accepted as a basic aspect of psychological processing and learning. Hermann Ebbinghaus (1850-1909), and others, proposed adopting the research model that is used by the physical sciences—the scientific method—and applying it to the study of human psychology. He favored an experimental psy chology, with dependent and independent variables. He demonstrated the method by using it in studies of memory
and physical skills and summarized them in a book, Memory: A Contribution to Experimental Psychology. His work, and that of contemporary associationists, studied the strength of al ready-formed associations by the extent of subsequent re call. For example, Edward Thorndike (1874-1949) intro duced his "law of effect" which he stated as follows: Any act which in a given situation produces satisfaction be comes associated with that situation, so that when the situation re curs the act is more likely than before to recur also. Conversely any act which in a given situation produces discomfort becomes disassoci
study. He is credited with elaborating the nature of un
school of psychology. In 1912, a new orientation in psychology was born in Germany—Gestalt psychology—and moved to the United States in the first half of the 20th century. Gestalt psychol ogy was a reaction to the structuralist psychology of Wundt, or "brick and mortar psychology", as they referred to it. Max Wertheimer (1880-1943), Kurt Koffka (1886-1941), and Wolfgang Kohler (1887-1967) felt that the scientific approach to psychology had taken an "elements" of mind approach and was studying mind "from below upward" and never a
"wholes" approach that would study mind "from above
downward". They did not believe that higher mental pro cesses were required in order to combine and construct the unorganized elements of a sensory experience into a whole. They believed that the sensory field as a whole unit was self organizing. They opposed notions of connecting links be tween discrete perceptual entities in order to explain per ception and learning. Their research began with how free association tests could uncover hidden knowledge (Wertheimer), imagery and thought (Koffka), and auditory perception (Kohler). Kurt Lewin (1890-1947) was a highly influential Gestaltist who steered his own course. He blended the associationist and Gestaltist orientations in his study of motivation in human behavior. He believed that associa tive and instinctive (Gestalt) processes must be activated
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by needs and temporary interests or intentions. Lewin's field theory therefore, was "...in the realm of action, emo tion, personality" (Lewin, 1940, p. 33), and thus was "...life space, containing the person and his psychological envi ronment" (Lewin, 1938, p. 2), as the person perceived and understood it in relation to personal needs and interests. If objects appear to meet the person's needs, then they have a positive "valence". If objects appear not to meet the person's needs, then they have a negative "valence". Ob jects of a positive valence attract the person; objects of a negative valence repel the person. Another very different rebellion in the science of psy chology traces its roots to the 1914 publication of a book
in the United States. The rebellion was against Wundt's structural psychology and its method of introspection, James' functionalism, the functionalism of the Dewey-Angell Chicago group, and against the then current definition of
psychology as the scientific study of conscious experience. It was initiated by John Watson (1878-1958), a professor at Johns Hopkins University, and the title of his book was Behavior. From the beginning, he called the new school of psychology behaviorism. Watson was frustrated by the intangibles of psychol ogy and was determined to redefine it as "...a purely objec tive experimental branch of natural science. Its theoretical goal is the prediction and control of behavior. It is pos sible to write a psychology, to define it...as the 'science of behavior', and...never to use the terms consciousness, men tal states, mind, content, will....perception, affection, emo tion, volition...imagery, and the like....It can be done in terms of stimulus and response, in terms of habit formation, habit integration, and the like...." (Watson, 1914, pp. 1-13)
Behaviorism became the predominant school in psy chology until the 1970s. Classical or methodological behavior
ism proposed that in the interaction of all organisms with their environment, including humans, the environment se
lected, therefore determined, the organism's behavior. Com plex stimulus-response patterns conditioned the behavior of all animate creatures. Their behavioral repertoire was all that could be observed and analyzed with the scientific method. Physiological processes inside the body were not directly observable with accuracy and should not be part of a science of psychology.
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By about 1930, various behaviorists had veered from pure behaviorist orthodoxy to create their own imprints. An early influence on Clark Hull (1884-1952) was the 1927 English publication of Pavlov's book Conditioned Reflexes. Hull introduced several modifications of early behaviorism as did Edward Tolman (1886-1961) and Burrhus F. Skinner (1904-1990). Skinner became the most prominent advo cate of a form of behaviorism called radical behaviorism. He accepted internal processes as a significant influence on behavior. He asserted that a person's genetic code and environmental history "shape" the physical processes that produce behavior, and that someday physiologists will learn what those internal processes are (Skinner, 1974). Until then, he believed, an individual's interaction with environment
results in consequences that evolve what he called "contin gencies of behavioral reinforcement'' Throughout a person's lifetime, repertoires of behavior are "selected" in a manner that is similar to the selection of physical traits in the theory of evolution. In these processes, affect, feelings, and emo tions were regarded as inconsequential "by-products" of contingencies of reinforcement. Cognitive Science and Cognitive Philosophy of Mind In the middle 20th century, cognitive psychology and
cognitive science emerged. In September, 1948, a sympo sium titled Cerebral Mechanisms of Behavior was held on the
campus of the California Institute of Technology, spon sored by the Hixon Fund. Prominent scientists from a variety of disciplines were invited to discuss how the ner vous system controls behavior. The presentations and dis cussions became a statement of opposition to behaviorism and the Hixon symposium is cited by Gardner (1985, pp. 10-16) as the beginning of cognitivism. Gardner (p. 6) de fined cognitive science as "...a contemporary, empirically
based effort to answer long-standing epistemological ques
tions—particularly those concerned with the nature of knowledge, its components, its sources, its development, and its deployment." Gardner listed five trends in scientific theory and prac
tice that influenced the cognitive revolution against behav iorism: (1) mathematics and computational machines, (2) the neuronal and neuron network model of computational
cognition, (3) the cybernetic synthesis as initiated primarily by mathematician Norbert Wiener in his book Cybernetics, (4) information theory that made the claim that transmis sion or communication between any two or more entities constitutes information, and information is not matter or energy, and, neither mode of transmission nor content is relevant, and (5) findings from neuropsychological studies of brain-injured human patients who display dysfunctions in normal cognition. Gardner also listed five key features of cognitive sci
ence, the first two are key assumptions and the latter three are methodological features (pp. 38-45). • Mental representations of knowledge occur between perceptual input and behavioral output. These representa tions are necessary in the explanation of human thought and behavior, and are described in terms of "...symbols,
schemas, [rules], images, ideas, and other forms of mental representation". • Artificial intelligence (computers) is a key feature that has evolved into a computational model of both cognition and brain operations. • Affect, context, culture, and history are de-emphasized and commonly eliminated in cognitive studies in or der to determine the essential nature of cognition. • Interdisciplinary cooperation is necessary to ascer
tain the many facets of cognition, therefore such disciplines as the neurosciences, linguistics, psychology, artificial intel ligence, and anthropology are included as cognitive sci ences. • Classical philosophical problems are the primary subject matter for study in cognitive science. Critics of cognitive science have noted that its "pure" form divorces it from human reality. For instance, to study
human cognition as though it was disconnected from hu man nervous and endocrine systems guarantees the emer gence of scientific invalidities. To study the parts of ner
vous systems that only produce thought and reason is an
attempt to do the impossible because normal human ner vous systems are completely and vastly interfaced with the
rest of the body. The limbic system, brainstem, and auto nomic nervous system are never disconnected from the cerebral cortex or from the bodywide endocrine system,
for instance. Cultural influences are always influential in human cognition. Gardner (1985, p. 45), with a strong back
ground in the neurosciences, wrote, "...unless the cognitive aspects of language or perception or problem solving can
be joined to the neuroscientific and anthropological as pects, we will be left with a disembodied and incomplete discipline." Andreason (1997) has attempted to update and clarify current developments in the cognitive sciences. She sug gests that "...'mind'...is the expression of the activity of the brain and that these two are separable for purposes of analysis and discussion but inseparable in actuality....mental phenomena arise from the brain, but mental experience also affects the brain, as is demonstrated by the many ex amples of environmental influences on brain plasticity....Mind and brain can be studied as if they are separate entities...and this is reflected in the multiple and separate disciplines that examine them." Philosophers John Searle (1992, 1998), George Lakoff and Mark Johnson (1999) would agree. According to Andreason (1997), the term cognitive has been defined very narrowly by some and very broadly by
others. She proposes a broad definition that encompasses "...all activities of mind, including emotion, perception, and regulation of behavior" The study of mind or mental phe
nomena has been the province of cognitive psychology which has "...divided mind into component domains of in vestigation (such as memory, language, attention), created theoretical systems to explain the workings of those do mains (constructs such as memory encoding versus re trieval), and designed experimental paradigms to test the hypotheses in human beings and animals." Other disciplines have studied the brain in relation to human cognition and behavior. "Neuropsychology has used the lesion method to determine localization [of func tional brain areas] by observing absence of function after
injury in humans." Neurobiology, neuroanatomy, and neurophysiology "...have mapped neural development and connectivity and studied functionality in animal models." Psychiatry "...studies mental illness as diseases that mani fest as mind and arise from brain" (Andreason, 1997)
Because the boundaries of all of these sciences have become blurred over the past few decades, Andreason pro
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poses a blanket designation for them all, cognitive neu roscience. Additional terms have evolved as modular per spectives of mind and brain give way to the interconnected nature of whole human beings, for example, neurophysi ology, psychobiology, psychoneuroendocrinology, psychoneuroimmunology, and neuropsychobiology. In recent decades, nervous system research has focused on the brain and its integration with the endocrine and immune systems. Some brain processes can now be de scribed very precisely and other processes can be described only in more general terms. In most cases the research has not, however, reached a level at which specific neurochemi
"ft does not come easily to believe that I am the de tailed behavior of a set of nerve cells, however many there
cal pathways have been identified as the conduits for spe
istry, and molecular biology. It is largely responsible for the spectacular developments of modern science. It is the only sensible way to proceed until and unless we are con fronted with strong experimental evidence that demands we modify our attitude. General philosophical arguments against reductionism will not do."
cific thoughts.
Cognitive neuroscientists believe that adaptive (learn ing) capabilities are determined by the genetic and epigenetic morphological events that occur as the physio chemical properties of the body emerge after conception. These ini tial properties constitute a primary repertoire of neuron net works that enable base-line survival. Abilities are selected over a lifetime, however, as a result of interaction with the
people, places, things, and events of the experienced world. These experiences result in changes in the nervous, endo crine, and immune systems that are either threatening or beneficial to survival and well being. Over a lifetime, these nervous system changes embody an ever-evolving second ary repertoire of neuropsychobiological networks that coa lesce to form a conscious human self. How can a biological, electromagnetic, physiochemi cal entity give rise to conscious awareness or psychologi cal phenomena? Recently, three authors (Crick, 1994; Edelman, 1989, 1992; Damasio, 1994, 1999) have made ma jor contributions to answering that question. Crick, (1994, pp. 3, 7-9) a Nobel Laureate physicist and biochemist, and the codiscoverer of the structure of de oxyribonucleic acid (DNA), summarized the point of view by writing, "The astonishing hypothesis is that 'You', your
joys and your sorrows, your memories and your ambi tions, your sense of personal identity and free will, are in fact no more than the behavior of a vast assembly of nerve cells and their associated molecules....This hypothesis is so alien to the ideas of most people alive today that it can truly be called astonishing.
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may be and however intricate their interconnections. ...(M)any people are reluctant to accept what is often called the 'reductionist approach'--that a complex system can be
explained by the behavior of its parts and their interac tions with each other....(R)eductionism is not the rigid pro cess of explaining one fixed set of ideas in terms of another fixed set of ideas at a lower level, but a dynamic interactive
process that modifies the concepts at both levels as knowl edge develops....'(R)eductionism' is the main theoretical method that has driven the development of physics, chem
Application of the Cognitive Neurosciences to Teaching and Learning Processes Based on wide assimilation of research and theory in
such fields as the cognitive neurosciences, psychology, so ciology, anthropology, and computer science, Leslie Hart (1975) authored a book called How the Brain Works. It fo cused on the brain's learning capacities, and he proposed a Program-Structure Theory of how brains learn (abbrevi ated as "prostr theory"). Andreason's broad definition of cognitive processing is clearly included (1997), that is, "...emo tion, perceiving, and regulation of behavior Hart's next book, Human Brain and Human Learning (1983, updated with
Olsen, 1998), presented some principles of "brain-compat
His books may be the first to apply neuroscientific research to educational processes. Hart proposed that human beings have three genetically prescribed brain drives that make learning inevitable through out life as a function of survival of the species. Drive #1: Make sense of or "interpret" encounters with the people, places, things and unfolding events of the perceived "world" and of sensed events inside the body; ible" learning.
Drive #2: Protection of the person from perceived threats to safety and well being; Drive #3: Gain and increase mastery of personal interactions with the people, places, things and events of the perceived world, in cluding one's own bodymind (Adapted from Hart, 1983). Hart distilled much highly complex information into four brain processes that enable a person to carry out these drives: Process #1: Active seeking of sensory input; Process #2: Detecting familiar and unfamiliar patterns within the sensory input, interpreting them, and encoding them in memory; Process #3: Formation, elaboration, and selection of bodymind
"programs "for carrying out the three drives; Process #4: "Downshifting" from the current ongoing stream of bodymind programs to protective ones when safety and well being are threatened (Adapted from Hart, 1983). Every person's bodymind receives sensory input, in ternally processes it, and enacts behavioral expressions that form the "scaffolding" of learning that takes place over a lifetime (see Figure I-1-1). Clearly, cultural symbol systems
The vast adaptive or learning capacities of bodyminds and their relationship to perceived environment is the ba
sis of the human enterprise called "schooling," "education," or any form of what we call "teaching and learning." Edu cators have devised many methods, teaching approaches,
disciplinary techniques, assessment tools, and models of school organization that constitute the environment of
learners. How much do we really know about the inter nal physio chemical processing that heavily influences what human beings actually learn during formal education? Appreciating the nature and functioning of the brain— the "primary organ of learning"—and its bodywide inter actions with all the body's systems and organs, can help educators and learners interact more congruently with how
human beings are genetically "pre-wired" to enjoy curiosity and learning (human-compatible learning). On the other hand, human antagonistic teaching-learning experiences can stifle this genetic birthright.
References and Selected Bibliography
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Figure I-1-1: Lifelong experience cycle.
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Crick, F. (1994).
The Astonishing Hypothesis. New York: Charles Scribner's
Fodor, J.A. (1983). The Modularity of Mind. Cambridge, MA: MIT Press.
Sons.
Freud, S. (1953). The interpretation of dreams. In J. Strachey (Ed. and Trans.), The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 5, pp. 1-630). London: Hogarth Press. (Original work, 1900)
Crick, F., & Koch, C. (1990).
Towards a neurobiological theory of con
sciousness. The Neurosciences, 2, 265-275.
Damasio, A.R. (1994). Descartes' Error: Emotion, Reason, and the Human Brain.
Freud, S. (1961). The ego and the id. In J. Strachey (Ed. and Trans.), The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 19, pp. 1-68). London: Hogarth Press. (Original work, 1923)
New York: Avon Books.
Damasio, A.R. (1999). The Feeling of What Happens; Body and Emotions in the Making of Consciousness. New York: Harcourt Brace.
Freud, S. (1950). Project for a scientific psychology. In J. Strachey (Ed. and Trans.), The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 2, pp. 281-347). London: Hogarth Press. (Original work, 1895)
Edelman, G.M. (1988).
Topobiology: An Introduction to Molecular Embryology.
New York: Basic Books.
Freud, S. (1957). The unconscious. In J. Strachey (Ed. and Trans.), The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 14, pp. 159-216). London: Hogarth Press. (Original work, 1915)
Edelman, G.M. (1987). Neural Darwinism: The Theory of Neuronal Group Selec
Gardner, H. (1985). The Mind's New Science: A History of the Cognitive Revolution.
ness. New York: Basic Books.
tion. New York: Basic Books.
Edelman, G.M. (1989). The Remembered Present: A Biological Theory of Conscious
New York: Basic Books. Edelman, G.M. (1992). Bright Air, Brilliant Fire: On the Matter of the Mind. New Inhelder, B., & Piaget, J. (1958). The Growth of Logical Thinking from Childhood to Adolescence (trans., A. Parsons & S. Milgram). New York: Basic Books.
York: Basic Books.
Inhelder, B., & Piaget, J. (1964). The Early Growth of Logic in the Child: Classifica
York: Knopf.
Gardner, H. (1975). The Shattered Mind: The Person After Brain Damage. New
tion and Seriation. London: Routledge & Kegan Paul. Gazzaniga, M. (1992). Nature's Mind: The Biological Roots of Thinking, Emotions,
James, W. (1890). Principles of Psychology. New York: Holt.
Kohler, W. (1929). Gestalt Psychology. New York: Liveright.
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Sexuality, Language and Intelligince. New York: Basic Books.
Gazzaniga, M. (1985).
The Social Brain: Discovering the Netwoks of the Mind.
New York: Basic Books. Hebb, D.O. (1949). Organization of Behavior. New York: Wiley. Luria, A.R. (1973). The Working Brain: An Introduction to neuropsychology. New
York: Basic Books. The Psychobiology of Mind-Body Healing (2nd Ed.).
Rossi, E.R. (1993).
New
York: W.W Norton. Shepherd, G.M. (1994). Neurobiology (3rd Ed.). New York: Oxford Univer
sity Press. Sperry, R.W. (1974). Lateral specialization in the surgically separated hemi spheres. In F. Schmitt & EG. Worden (Eds.), The Neurosciences: Third Study
Program. Cambridge, MA: MIT Press.
Some Theories of Learning Related to Educational Practice Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. New
York: Basic Books. Hart, L. (1975). How the Brain Works. New York: Basic Books, Inc. Hart, L. (1983).
Human Brain and Human Learning.
Kent, WA: Books for
Educators.
Hart, L., & Olsen, S. (1998). Human Brain and Human Learning (updated edition). Kent, WA: Books for Educators. Piaget, J. (1969). The Mechanisms of Perception. London: Routledge and Keger Paul.
Piaget, J. (1952).
The Origins of Intelligence in Children.
New York: Interna
tional Universities Press.
Piaget, J., & Inhelder, B. (1971). The Psychology of the Child. New York: Basic Books. Skinner, B.F. (1968). The Technology of Teaching. Englewood Cliffs, NJ: Prentice-
Hall.
a
brief context
17
chapter 2
the astounding capacities of human bodyminds Leon Thurman
folded and laid flat, it would be about the size of an un usually large table napkin and about as thick [about 2.5 mated to consist of about one trillion neu square feet with varied thickness from about 4.5 to 1.5 ral cells (1012 1,000,000,000,000; Churchland & millimeters (Webster, 1995, p. 240)1. Sejnowski, 1992, p. 51). The activator cells of the nervous system are the neurons (Greek: neuron = nerve), some times referred to as nerve cells. The most commonly ac cepted estimate of the number of neurons in normal adult human brains is about 100 billion (1011, or 100,000,000,000) (Kandel, Schwartz, & Jessell, 1991, p. 18). In order to de Table I-2-1. velop 100 billion neurons from the time they begin to be Units of Dimensional Measurement and created in the neural tube through the time of a nine-month Their Abbreviations pregnancy, an average of about 250,000 neurons must be meter (m) = about 10% longer than a yard; formed every minute (Ackerman, 1992, p. 86). The most about 5.5 feet or 39.6 inches numerous neural cells in the brain are the glial cells (Greek: decimeter (dm) = one tenth of a meter; about .33 of a foot or 3.96 inches (rarely used) glia = glue). They provide protective and facilitative sup centimeter (cm) = one hundredth of a meter; almost port for neuron functions. At minimum, there are about four tenths of an inch millimeter (mm, 10-3m) = one thousandth of a meter; 900 billion glial cells in the nervous system, probably many about l/25th of an inch more. micrometer (pm, 10-6m) = one millionth of a meter; about 1/25,000th of an inch (formerly named a The cerebrum (Latin: brain) is the most commonly micron) recognized and talked about part of the brain. The brain's nanometer (nm, 10-9m) = one billionth of a meter; about 1/25,000,000th of an inch cerebral cortex (Latin: tree bark) is the very thin surface picometer (pm, 10-10m) = one trillionth of a meter; about layer of the cerebrum. It was so named because of the bark Angstrom (A) 1/25,000,000,000 of an inch like appearance of the multi-folded ridges and valleys of Only structures that are .5 mm or larger can be seen with unaided eyes. its surface (see Figure I-2-1). The cerebral cortex is esti mated to contain about 30 billion neurons (Nolte, 1993, p. 360). According to Nobel Laureate neuroscientist Gerald Edelman (1992, p. 17), if just the cerebral cortex was un he human
adult nervous system is esti
T
18 bodymind & voice
Nearly all neurons are so small that they cannot be
seen with the unaided eye. Their parts and interconnec tions are so small that even a common laboratory micro
extend for 100,000 kilometers (62,000 miles or about two and a half times around the Earth's equator).
numbers of microscopic-sized synapses (Chapter 3 has
To compare your brain's operating capacity to a supercomputer is insulting to your brain. Brains have vastly greater operating capacity and are 7 to 8 times more power efficient than the best collection of silicon microchips. The most efficient computers in 1994 operated at about 10-6 Joules per operation per second, but human brains oper ate at about 10-16 Joules per operation per second (Haykin,
details). The number of synaptic connections in normal brains is estimated to be about one million billion (1015). That is the same as 1,000 trillion or 1,000,000,000,000,000 (Edelman, 1992, p. 17; Damasio, 1994, p. 108). The cerebral
1994, p. 1). Nearly all neurons spontaneously initiate elec trochemical firing patterns (action potentials) to maintain life processes and their own viability. They also may fire in response to stimulation from other neurons or in re
cortex alone may have as many as 100 trillion of those (1014, Huttenlocher, 1994). Some single neurons of the ce rebral cortex receive more than 100,000 direct synaptic contacts. A single motor neuron of the spinal cord may receive up to 15,000 synapses. Edelman (1992, p. 17) suggests two ways to help us understand the enormity of such numbers, and Nolte (1993, p. 360) suggests a third way. 1. If you were to count the one million billion synap tic connections in the brain at the rate of one per second, it would take about 32 million years. 2. One large matchhead's worth of cerebral cortex would contain about one billion synapses (see also Stevens, 1989). 3. If all of the axons and dendrites of one human cerebral cortex were laid end to end, they are estimated to
sponse to interaction with the outside world.
scope does not have enough magnification to observe them. Electron microscopes that can magnify up to 50,000 times or more must be used. Table I-2-1 relates these tiny units
of measure to dimensions with which U.S. citizens are fa miliar.
Your brain's neurons are interconnected by massive
Table I-2-2. Units of Time Measurement That are
Less than One Second, and Their Abbreviations decisecond (ds) centisecond (cs) millisecond (ms, 10-3) microsecond (ps, 10-6) nanosecond (ns, 10-9) picosecond (ps, 10-10)
= = = = = =
one one one one one one
tenth of a second, never used hundredth of a second, never used thousandth of a second millionth of a second billionth of a second trillionth of a second
A single neuronal firing commonly lasts about one thousandth of a second (.001 second or one millisecond, abbreviated as 1-ms). Some neurons may fire spontane ously only a few times per second, and some fire over
Figure I-2-1: Three views of the human brain. [Left is from DeArmond, Fusco, & Dewey, Structure of the Human Brain, 3rd Ed., Copyright © 1989 by Oxford University Press. Used with permission. Center and right are from From LEFT BRAIN, RIGHT BRAIN, 3rd Ed., by Springer and Deutsch, Copyright © by Sally P. Springer and Georg Deutsch. Used by permission of W.H. Freeman and Company.]
astounding
capacities
of bodyminds
19
1000 times per second when under intense stimulation. Transmission velocity can range from about 10 to 100
periences literally change the anatomic and physiologic structure of bodyminds (Greenough & Black, 1992; Wolpaw,
meters per second (about 33-ft to 330-ft per second) to less than one meter per second (Churchland & Sejnowski, 1992,
et al, 1991).
p. 9). Perceptual recognition is commonly accomplished in
Several cooperating areas in the brain process con scious awareness and intentionality including working memory, attention focus, conscious perception, and non-
about 100-ms to 200-ms (Churchland, 1986). Edelman sug gests an analogy for real brains that is at least closer than
linguistic thought. Those processes are closely intercon
the commonly used computer analogy—a jungle. In jungles, the number of entities existing therein, the complexity of
together can be referred to as the conscious-verbal com
nected with areas that produce language, and all of them
their interrelationships, the "...sound and light patterns and the movement and growth patterns..." are beyond vast (Edelman, 1992, p. 29).
plex. [See Chapter 3 for more details, as well as Chapters 6
During gestation, when the genetic and epigenetic for mation of bodymind anatomical structures is underway, there is variability (plasticity) in what the final formation
networks in the brain, and trillions of physio chemical in
will be. For instance, collections of neurons are guided to
their final groupings by special molecules, and intercon nections are made by action of other molecules (Edelman, 1988). If that chemistry is disrupted, malformations can occur, as seen in fetal alcohol syndrome and lead "poison ing" (Schroeder, 1987). During prenatal gestation, many more neurons are pro
duced for the brain's many structures than will be needed for neurobehavioral function, and then they are pared down as many unneeded neurons die (Cowan, 1973; Cowan, et al., 1984). In some brain areas, as many as 7O°/o of neurons may be pared away. The number of remaining neurons in an interconnected group depends to some extent on whether or not they have been activated by sensory or motor ex periences (Greenough & Black, 1992; Chapter 3 and Book IV, Chapter 1 have some details). Bodyminds have even more plasticity, however, in pro ducing smaller-scale, microstructural changes that enact
bodymind functions. Synaptic connections that form func tional neural networks—and the global interconnections between the many networks—vary in response to sensory experiences that are initiated (1) from within the body and (2) from experiences with the people, places, things, and events of the outside world. In other words, with more experiences, more synaptic connections are grown and strengthened; with fewer experiences, synaptic connections are weakened and may disconnect (Huttenlocher, 1994). Ex
20
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and 7] There are thousands of other neural sheets, nuclei, and
teractions that never communicate their activities into con scious awareness. Their functions, too, are modulated by intercommunications with the many systems and organs of the entire body, including the endocrine and immune systems. Many of those sheets, nuclei, and networks can cooperate with others to perceive aspects of the outside world, categorize perceptions and feelings, and direct be havior, but they substantially do so outside of conscious awareness (Edelman, 1992, pp. 207-209; Damasio, 1994, pp. 184-189). There is some evidence in the field of nonverbal com munications (Mehrabian, 1972, pp. 186, 187), and unsub
stantiated estimates in psychology (Oliver, 1993, p. 7), that about 10% of bodymind processes occur in conscious awareness. If that is so, then about 9O°/o of human behav iors would result from other-than-conscious processes.
Most of our perceptions, categorizations, interpretations, and behaviors are the result of habitual, automatic pat terns of behavior, thinking, feeling, and interacting. We began accumulating these patterns when we first received sensations and transported transmitter molecules, that is, their formation began before birth. (Chapters 6 and 7 have
more details; see also Book IV, Chapter 1.) If you tried to estimate the number of physio-electrochemical operations that make us who we are—the pos sible number of molecular, cellular, tissue, organ, and sys tem operations that occur and intertwine to keep bodyminds
alive, learning,
and behaving successfully in a physical
and social environment—how high would you guess? Keep in mind that in 1992, the fastest digital computers could
perform around one billion operations per second, and
and elaborating patterns of behaving-thinking-feeling, then
that the brain of a common housefly—at rest—is estimated to perform about 100 billion operations per second
we gain more and more constructive mastery over our selves and our world. When we do that, areas within the brain that trigger pleasure sensations are activated and reci pes of pleasure-sensation-distributing transmitter molecules
(Churchland & Sejnowski, 1992, p.9). Edelman (1992, p. 17) describes those vast estimated numbers for human beings as "...hyperastronomical-on the or der of ten followed by millions of zeros. (There are about ten followed by 80 zeros' worth of positively charged particles in the whole known universe!)." (italics added) That may mean that roughly 9O°/o of your bodymind's processing
are activated within bodyminds. Together, they change our
capacity—10 followed by millions of zeros—is likely to be
neuropsychobiological state. We human beings then can use a variety of symbol systems to categorize, label, ana lyze, and/or express our experiences. When our experiences are interpreted as threatening to our safety or well being, however, other internal bodymind
engaged in your other-than-conscious processes.
processes are triggered that result in different neuropsychobiological states. These states result in three
Life-Learning and Health
categories of behavior, that is, withdrawal-avoidance, freezeimmobilize, and counter-control or counterattack.
Hart (1985) described three genetically driven bodymind
In carrying out these drives and processes, our
"drives" (introduced at the end of Chapter 1): (1) make sense
bodyminds continually evaluate the people, places, things
of the perceived world; (2) protect self and assure safety
and events within our surroundings 24-hours a day throughout our entire lifespans (Edelman, 1989, p. 152;
and well being; and (3) gain mastery of the perceived world and "fit" one's self into it. There are innate bodymind pro
cesses by which Hart says the drives are carried out. In paraphrase, bodyminds: 1. initiate an active seeking of sensory experiences (ex
ploration of people, places, things and events in the sur roundings); 2. extract patterns from familiar and unfamiliar sen sory input ("making sense" or categorizing people, places and things encountered; interpreting events and discover ing "how I and the world work");
3.
form, elaborate, and select the most appropriate
available bodymind "program(s)" for interacting with the people, places, things, and events that are encountered; and 4. protect the person in relative safety and well being.
Bodyminds do not need instruction in how to carry out these drives and processes. Human beings have in nately formed capabilities and abilities that optimize sur vival in human societies. Memory and learning are two such capabilities. They are especially necessary for sur vival in the current social circumstances in which we live our lives. So, human beings do not "learn how to learn". We are born to learn. In fact, we cannot not learn. When bodyminds make sense of the world by seeking nonthreatening sensory input, detecting patterns therein,
Damasio, 1994, pp. 110-121; LeDoux, 1996, pp. 141-169; Thompson, 1992, pp. 351-357). Most of the evaluations
occur outside of conscious awareness and in milliseconds of time. Our bodyminds must quickly decide whether the people, places, things, and unfolding events around us are: 1. literally threatening to successful realization of our innate drives;
2. potentially threatening to them; 3. safe; 4. potentially beneficial to carrying out our innate drives; 5. literally beneficial to their realization.
Response to a Perception of Threat to Safety and Well Being When an interpretation of threat is made, well documented, bodywide physio chemical reactions take place (Andrews & Lawes, 1992; LeDoux, 1994, 1996; Selye, 1974; Vander, et al., 1994, pp. 222-228, 751-754; Thompson, 1993, pp. 189204). Stated simply, the reactions include activation of a collection of nuclei in the brain referred to as the amygdala (Latin: almond) which activates (1) arousal systems within the brain, (2) the sympathetic division of the autonomic ner vous system, and (3) the release of an epinephrine-norepinephrine-cortisol prominent recipe of transmitter molecules into
astounding
capacities
of bodyminds
21
the circulatory system. The circulatory system distributes
cated on cells of many organs and systems throughout the
Dr. Hans Selye (1950, 1974, 1976, 1978) popularized the term stress, and defined it as "any demand placed on the body" Digesting food and having a conversation are both
body (Chapters 3 and 4 have some details). Those stimu
stresses. We must have stresses in order literally to remain
lated cells activate organ and system functions that have
alive. The only truly stressless people are dead. Selye la
the following physical effects:
beled our physio chemical response to increased demand, stress reaction, and he proposed two categories: distress and eustress (defined later). He defined distress as any demand that was unwanted, produced some degree of unpleasant feeling or emotion, or produced discomfort or psychologi
the transmitter molecule recipe to their receptor sites lo
1. increased heartbeat rate; 2. increased blood pressure; 3. increased respiration rate; 4. inhibited digestive function (partly by tensing intes tinal, stomach, and esophageal muscles to inhibit motility) and inhibited mucus flow in the digestive tract; 5. reduced blood flow to skin surface, thus lowering skin temperature so that in more intense reactions, perspi ration will be "cold and clammy;" 6. reduced blood flow to cognitive processing areas within the brain (reducing functional precision), with in creased blood flow to limbic and brainstem areas where genetically "hard-wired survival instinct" programs are stored; 7. increased blood flow to muscles, carrying the bio chemical means by which muscles are prepared to "fight or counterattack" the source of threat, or to "flee" (escape from) the source of threat, or "freeze" in the presence of the threat—the fight, flight, or freeze response.
cal pain in some way.
A number of threat-activated brain areas and trans mitter molecule recipes that result in unpleasant feelings also are involved in memory formation and recall. The
more intense the perceived threat is, the more intense will be the brain activation and release of transmitter molecules, the more intense will be the unpleasant torso-centered feel
ing sensations, the more indelible will be the visual, audi tory, and kinesthetic memory formation. Any person, place, thing, or event that was perceived in that contextual mo ment will be "imaged" in memory and it will be "tagged" with a decidedly unpleasant feeling. After the experience, we then may attempt to label the experience with words. An important consequence of the unpleasant feeling reaction to threat is that people tend to avoid, counterat
The extent to which these physio chemical reactions take
tack, or freeze in the presence of the sources of perceived threat. Our "interpretation" of threat produces our
place is based on the degree of perceived threat. With greater
physio chemical reaction, and our interpretation is based
perceived threat, the sympathetic nerve response is more intense, more transmitter molecules in the recipe are re leased into the bloodstream, and all of the above behav ioral reactions are more intense. These physio chemical changes are detected by the sen sory network of the central nervous system, mostly within
on our unique experience of people, places, things, and unfolding events in our perceived world. When interact
the torso.
The generic words we use to describe those changes are unpleasant feelings or emotions. The greater the perceived threat, the greater the physio chemical reac tion, the more intense the unpleasant feelings/emotions be come. Descriptive words for these reactions may range among alarm, anguish, anxiety, apprehension, concern, con sternation, defensive, distraught, distress, dread, edginess,
fear, fright, nervousness, panic, scared, terror, threatened, uneasiness, wariness, and worry.
22
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ing with other people, their interpretation of threat produces their physio chemical reaction, based on their unique expe rience of the world. So far, then, there are two ways to create indelible, life long memories and reactive behavior patterns [learning] (LeDoux, 1989, 1996): 1. have experiences that are intensely threatening to the perceived well being of people; or 2. have experiences that are minimally or moderately threatening and repeat them.
Response to a Perception of Benefit to Sense-Making, Well Being, and Mastery of World and Self When an interpretation of safety and benefit to well being is made, a less researched but known physio chemi cal reaction takes place (Damasio, 1994, 173-183; Thomp son, 1993, pp. 157-166, 196-198). It is nearly the opposite of
the reaction to perceived threat, and can reverse those
physio chemical processes. Stated simply, the reaction in volves activation of pleasure-producing neural networks in the brain and the parasympathetic division of the auto nomic nervous system, and the release into the circulatory system of a recipe of transmitter molecules in which the endomorphine group is prominent (such as beta-endor phin, enkephalin, dynorphin). The circulatory system dis tributes the recipes of transmitter molecules to their recep
tor sites located on cells of many organs and systems throughout the body (more details in Chapter 4). Those stimulated cells activate organ and system functions that commonly enhance the following physical effects: 1. normalization of heartbeat rate; 2. normalization of blood pressure; 3. normalization of respiration rate;
4. facilitation of digestive function, partly by releasing
intestinal, stomach and esophageal muscles and normaliz ing mucus flow; 5. reintroduction of blood flow to skin surface, thus restoring normal skin temperature;
6. reintroduction of normal blood flow variations within the brain, (restoring functional precision); 7. normalization of blood flow to neuromuscular anatomy, carrying the biochemical means by which muscles
may be restored to a normal state of readiness for use.
The extent to which these physio chemical reactions take place is based on the degree of perceived safety and benefit to well being. With greater perceived benefit, (1) brain ar
eas are activated that facilitate normalized selectivity of at tention and perceptual, pleasant-feeling, and conceptual
categorizations, (2) parasympathetic nerve response is en gaged, and neuroendocrine networks that use dopaminenorepinephrine-serotonin-endorphin-enkephalin promi
nent transmitter molecule recipes are activated to produce bodywide effects. For instance, when we human beings
are safe, then we can make sense of our world and gain
mastery over it and ourselves (learning); the pleasure-pro ducing neural networks of our brains (the dorsolateral, ven tromedial, and orbital prefrontal cortices, the septal area, and the limbic system's amygdala, hypothalamus, and pi tuitary, and the brainstem's nucleus accumbens) can pro duce the neural interactions and release the dopamine-norepinephrine-serotonin-endorphin-enkephalin prominent transmitter molecule recipes that produce in us a pleasant
physio chemical state (Becker, et al., 1992; Damasio, 1994, pp. 70, 177-201; Thompson, 1993, pp. 157-166, 196-198, 218-221; Vander, et al., 1994, pp. 377-379).
These physio chemical changes are the state of the bodymind at the time of the experience, and the various states are detected to some extent by the sensory network of the central nervous system. These reactions are a de mand on the physio chemical resources of our bodyminds, and Selye defined eustress as any demand on the body that was wanted, produced some degree of personal mas tery that produced comfort or pleasure in some way. Ge neric words we can use to describe these states are pleasant feelings or emotions. The greater the perceived benefit, the greater the physio chemical reaction, the more intense the pleasant feelings become. High-intensity pleasant feel
ing states are often given such labels as thrill, euphoria, natu ral high, fulfillment, satisfaction, ecstasy, and "words cannot begin to describe how I feel." A number of the pleasure-producing brain areas, and transmitter molecule recipes that result in pleasant feeling states, also are involved in memory encoding and recall. The visual, auditory and kinesthetic senses perceive what
ever people, places, things and events will or may bring benefit. The more intense the perceived benefit is, the more intense will be the brain activation and release of transmit
ter molecules, the more intense will be the pleasant torso
centered feeling sensations, the more indelible will be the visual, auditory, and kinesthetic memory formation. Any person, place, thing, or event that was perceived in that
moment will be "imaged" in memory and it will be "tagged" with a pleasant feeling. After the experience, we then may
attempt to label the experience with words, if the occasion
warrants (more details in Chapter 7). An important consequence of the pleasant feeling re action to perceived benefit is that people tend to repeat their astounding
capacities
of bodyminds
23
involvement with the sources of perceived benefit. Our interpreta tion of benefit produces our physio chemical reaction, and
are more likely to survive in human societies when sen sory input, pattern detection, and bodymind program
our interpretation is based on our unique experience of
elaboration can freely take place. Thus the label well being.
people, places, things, and unfolding events in our world. When interacting with other people, their interpretation of
In response to life's threatening experiences, people will elaborate a range of protective reactions and behavior patterns. These reactions have generally been labeled as self-defense, self-consciousness, self-denial, self-defeat, self-destruction. These orientations may be observed in a range of behav iors that can be described as: 1. flight—passive, reticent, dependent, inhibited, with drawn, helpless; 2. freeze—tense, immobilized, frozen; 3. fight—disrespectful, imposing, controlling, cynical, smart-mouthed, resentful, belligerent, rebellious, angry, counterattacking, and violent (offense is the best defense,
benefit produces their physio chemical reaction, based on their unique experience of the world. Bonding is a word that indicates a special, pleasantfeeling "connection" in a relationship with another human being. Love, affection, and friend are common synonyms. Parent-child attachment or bonding are other terms. There is a physio chemical reality behind the development of these human relationships. Disbonding, dislike, and enmity occur, of course, when threat or potential threat to well being is interpreted when in another person's presence. There are two more ways to create indelible, lifelong memories and behavior patterns (learning): 1. have experiences that are intensely beneficial to the sense-making, well being, and/or personal mastery of
people; or 2. have experiences in safe, nonthreatening situations that are minimally or moderately beneficial and repeat them.
Accumulated Threat and Benefit Responses Over the Human Life-Span There are actually, then, two categories of feeling states:
the pleasant and unpleasant ranges. What we refer to as emo tions are manifestations of these two feeling states that are (1) coupled with perceived environmental circumstances and (2) given culturally used word labels such as love, hate, jealousy, envy, disgust, fear, joy, anger, concern, and so forth. Which of the emotion labels correlate with the pleas ant or the unpleasant categories? Genetic predispositions and the lifelong accumulation of experience-feeling "files" in both the unpleasant and pleasant ranges produce a vast
range of unique personal tendencies that have been la beled self (see Chapter 8). Some of the words that are associated with self are personhood, selfhood, self-identity, self perception, self-concept, self-image, personality traits, and socializa tion. There is a genetically prescribed survival function that is being fulfilled when Hart's "drives" are operating: people
24
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get them before they get you). The distress reaction to predominantly threatening life
circumstances makes physiochemical demands on bodyminds. The physio chemical reactions to threat have been linked to the modulatory effects of the bodywide trans
mitter molecule system. In general, distress results in dis ruption and suppression of immune system function (Glaser, et al., 1987, 1991; Guillemin, et al., 1985; Kiecolt-Glaser & Glaser, 1991; Rossi, 1993). People who have a history that has been more threatening than beneficial will likely be more susceptible to disease states. As social circumstances have become increasingly threat-laden, more of what Dr. Michel Odent (1986) calls "diseases of civilization" have
occurred, such as chronic fatigue syndrome, widespread heart disease, AIDS, and the various cancers. In response to perceived safety and benefit experiences (making sense, well being, gaining mastery), people will elaborate a range of constructive reactions and behavior
Figure I-2-1: Illustration of theoretical protective and constructive experience-feeling
files that may be accumulated in various proportions.
patterns. People who display these reactions usually are described as having high self-esteem, self-confidence, self-reliance, self-assertion, and self-realization. These orientations may be observed in a range of behaviors that can be described as independent, purposeful, on-task, engaged, connected, committed, com municative, articulate, humorous, empathetic, optimistic, altruistic, creative, innovative, initiator, resourceful, self-starter, convergent thinker and divergent thinker. Eustress reaction tends to enhance immune function (Rossi, 1993). Productive or creative involvement engages brain areas that facilitate normalized selectivity of atten tion and perceptual-feeling-conceptual categorizations, parasympathetic nerve response, and bloodstream-distrib uted transmitter molecules in the dopamine-norepinephrine-serotonin-endorphin-enkephalin prominent recipe.
These processes have been linked to increased immune system effectiveness and stress-hardiness. Warning: The constructive, eustressful activities that bring pleasant feel ings can be converted to protective, distressful reactions if there are too many activities with time deadlines, pressures, or if we encounter enough people whose communications convey to us that we are inadequate in what we do. All human beings have experiences that are interpreted as threatening and we have experiences that we interpret as beneficial, and we evolve reactive behavior patterns in response to them. A theoretical ratio of protective to con structive behavior patterns evolve in everyone (see Figure I-2-1). People who have lived in predominantly threaten ing circumstances cannot behave in the same way as people who have lived in predominantly safe and beneficial cir
cumstances. The only way to change a protective-prominent ratio
toward a constructive-prominent ratio is to create consis tently safe surroundings and provide constructive involve ment in mastering one's real world and self. Chapter 9 presents some possibilities. Cultural variance is extensive, and is a potential source of perceived threat in some people. [How these internal processes relate to the symbolic self expressions called "the arts," and how the arts are of bio logical benefit to human beings, are presented in Chapters 7 and 8.]
References and Selected Bibliography Ackerman, S. (1992). The development and shaping of the brain. In Dis covering the Brain (pp. 86-103). Washington, DC: National Academy Press. Andrews, P.L.R., & Lawes, I.N.C. (1992). A protective role for vagal afferents: An Hypothesis. In S. Ritter, R.C. Ritter, & C.D. Barnes (Eds.), Neuroanatomy and Physiology of Abdominal Vagal Afferents (pp. 279-302). Boca Raton, FL: CRC Press.
Becker, J.B., Breedlove, S.M., & Crews, D. (1992). Behavioral Endocrinology.
Cambridge, MA: MIT Press. Churchland, PS., & Sejnowski, T.J. (1992). The Computational Brain. Cam
bridge, MA: MIT Press. Cowan, W.M. (1973). Neuronal death as a regulative mechanism in the control of cell number in the nervous system. In M. Rockstein (Ed.), Devel opment and Aging in the Nervous System (pp. 19-41) New York: Academic. Cowan, W.M., Fawcett, J.W., O'Leary, D.D.M., & Stanfield, B.B. (1984). Re gressive events in neurogenesis. Science, 225, 1258.
Damasio, A.R. (1994). Descartes' Error: Emotion, Reason, and the Human Brain. New York: Avon Books.
Topobiology: An Introduction to Molecular Embryology.
Edelman, G.M. (1988).
New York: Basic Books. Edelman, G.M. (1987). Neural Darwinism: The Theory of Neuronal Group Selec tion. New York: Basic Books.
Edelman, G.M. (1989). The Remembered Present: A Biological Theory of Conscious
ness. New York: Basic Books. Edelman, G.M. (1992). Bright Air, Brilliant Fire: On the Matter of the Mind. New
York: Basic Books. Glaser, R., Rice, J., Sheridan, J., Fertel, R., Stout, J., & Speicher, C. (1987).
Stress-related immune suppression: Health implications. Brain Behavior & Immunity, 1, 7-20.
Greenough, W.T., & Black, J.E. (1992). The induction of brain sructure by experience: Substrates for cognitive development. In M.R. Gunnar & C.A. Nelson (Eds.), Minnesota Symposia on Child Psychology: Vol. 24 Developmental Behavioral Neuroscience (pp. 155-200). Hillsdale, NJ: Erlbaum.
Guillemin, R., Cohn, M., & Melnechuk, T. (Eds.), (1985). Neural Modulation
of Immunity. New York: Raven Press. Haykin, S. (1994). Neural Networks: A Comprehensive Foundation. New York:
Macmillan. Huttenlocher, PR. (1994). Synaptogenesis in human cerebral cortex. In G. Dawson & K.W Fischer (Eds.), Human Behavior and the Developing Brain (pp. 137-152). New York: Guilford.
Kandel, E.R., Schwartz, J.H., & Jessell, T.M. (Eds.). (1991). Principles of Neural Science (3rd Ed.). Stamford, CT: Appleton and Lange. Kiecolt-Glaser, J., & Glaser, R. (1991). Stress and immune function in hu mans. In R. Ader, D. Felten, & N Cohen (Eds.), Psychoneuroimmunology (2nd Ed.) (pp. 849-868). San Diego, CA: Academic Press.
LeDoux, J. (1989). Indelibility of subcortical emotional memories. Journal
of Cognitive Neuroscience, 1, 238-243.
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LeDoux, J. (1994). Cognitive-emotional interactions in the brain. In P. Ekman & R.J. Davidson (Eds.), The Nature of Emotion: Fundamental Questions.
New York: Oxford University Press. LeDoux, J. (1996). The Emotional Brain. New York: Simon & Schuster. LeDoux, J.E., Iwata, J., Cicchetti, P, & Reis, D.J. (1988). Different projections of the central amygdaloid nucleus mediate autonomic and behavioral cor relates of conditioned fear. Journal of Neuroscience, 8, 2517-2529.
Nonverbal Communication.
Mehrabian, A. (1972).
Englewood Cliffs, NJ:
Prentice Hall. Nolte, J. (1993). The Human Brain: An Introduction to Its Functional Anatomy (3rd Ed.). St. Louis: Moseby.
Odent, M. (1986). Primal Health. London: Century Hutchinson. Oliver, E. (1993). The Human Factor at Work: A Guide to Self-Reliance and Con
sumer Protection for the Mind. Canton, MI: MetaSystems. Rossi, E.L. (1993).
The Psychobiology of Mind-Body Healing (2nd Ed.).
New
York: Norton. Sapolsky, R.M. (1996). Why stress is bad for your brain. Science, 273, 749750.
Schroeder, S. (Ed.) (1987).
Toxic Substances and Mental Retardation:
Neurobehavioral Toxicology and Teratology. Washington, DC: American Asso ciation on Mental Retardation.
Searle, J.R. (1992). The Rediscovery of the Mind. Cambridge, MA: MIT Press. Selye, H. (1950). The Physiology and Pathology of Exposure to Stress. Montreal:
Acta. Selye, H. (1974). Stress Without Distress. New York: Signet Books. Selye, H. (1976). Stress in Health and Disease. Boston: Butterworth's. Selye, H. (1978). The Stress of Fife (Rev. Ed.). New York: McGraw-Hill.
Shepherd, G.M., & Koch, C. (1990). Introduction to synaptic circuits. In GM. Shepherd (Ed.), The Synaptic Organization of the Brain (3rd Ed., pp. 331)). New York: Oxford University Press.
Stevens, C.F. (1989). How cortical interconnectedness varies with network size. Neural Computation, 1,473-479. Sundberg, J., Nord, L., & Carlson, R. (1991).
Music, Language, Speech, and
Brain. London: Macmillan. Thompson, R.F. (1993). The Brain: A Neuroscience Primer (2nd Ed.). New York:
W.H. Freeman. Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Human Physiology: The Mechanisms of Body Functions (6th Ed.). New York: McGraw-Hill.
Webster, D.B. (1995).
Neuroscience of Communication.
San Diego: Singular
Publishing Group. Wolpaw, J.R., Schmidt, J.T., & Vaughan, T.M. (1991). Activity-driven CNS
changes in learning and development. Annals of the New York Academy of
Sciences, 627.
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chapter 3 the human nervous system Leon Thurman
arenting, school education, and one-to-one tutor
P
ing result in anatomic, biochemical, and physiologi
was thought to be shaped like one. Names and functions have changed considerably over the past few centuries, and some of the older terms make an odd fit with current knowl
cal changes in human beings that affect the direc tion and quality of their lives (see Fore-words and Big edge. Pic So, names and functional descriptions can differ, de pending on an anatomic theorist's perception of the multi ture). If we teachers, like physicians, need to know what effects our actions have, then we start where physicians startfaceted and overlapping functional relationships within the a grounding in human biology. nervous system. The terms and brief descriptions in this The nervous system is where most of those changes chapter are intended to be a helpful beginning, and they occur. It performs three overlapping, large-scale roles: begin with the two main anatomical divisions of the ner vous system. 1. sensory reception (sensory receptors initiate early electro-biochemical processing); 1. The central nervous system (CNS) consists of the 2. internal processing (such functions can be referred to brain and spinal cord. as perceptual, value-emotive, and conceptual categorizing; 2. The peripheral nervous system (PNS) consists of memory, learning, homeostatic health, and so forth); two major divisions; 3. behavioral expression (effector changes in a. the somatic division (Greek: soma = body) consists physio chemical state of the body and execution of volun of the cranial and the spinal nerves that extend out from tary and involuntary movement). the CNS to innervate the entire body; and b. the autonomic division (Greek: auto = self; noLearning the vocabulary of the nervous system can mos = law-governed) consists of the sympathetic, parasympa be confusing. Many of its definable parts have been given thetic, and enteric subdivisions). different names by different anatomical and physiological Large-Scale Functions theorists, and their functions have been described differ of the Nervous System ently. The original names were assigned centuries ago, and some were based on the resemblance of an anatomic part Sensory Processing to an item that was familiar to most people, but had noth Peripheral sensory organs such as the eyes and ears, ing to do with nervous system anatomy. For example, and sensory receptors that are located in the skin, internal amygdala is Latin for almond because that part of the brain
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organs, and muscles, are stimulated by events in the outside
Proprioceptive sensation involves specialized sen
world and by bodily activity and functions. They then transmit nerve impulses to the CNS. Some of the sensory impulses are processed into conscious awareness, but vast amounts are received and processed outside conscious awareness. Sensory processing carries out three broad cat egories of nervous system function. Exteroceptive sensation involves specialized sensory neurons that receive and process stimulation from the out side world such as vision, hearing, smell, taste, and pressure on the skin (touching or the pressure of blowing wind, for
sory neurons that receive and process stimulation from muscles, ligaments, and tendons. Proprioception is related to degrees of muscular contraction, release from contrac tion, and stretch; and to the body's orientation in space
example).
relative to the earth's gravitational field and terrain.
Internal Processing About 99°/o of the nervous system's one trillion neu rons are interneurons. By far, most interneurons are in the brain and are dedicated to the intermediate processing that goes on between peripheral sensory reception and behav
Interoceptive sensation involves specialized sensory
ioral activation. As is the case with all mammals, large
neurons that receive and process stimulation from any site within the body except for normal functions of muscles, liga ments, and tendons. A subcategory of interoceptive sensa tion is referred to as nociceptive sensation. These sensa tions are processed by specialized neuron groups that de tect dyshomeostasis, discomfort, irritation, malaise, and pain.
assemblies of interneurons interact in a classification cou pling manner to carry out massively complex perceptual,
Most interoception is processed outside of conscious aware ness and participates in the regulation of bodily processes such as digestion, waste elimination, body temperature,
blood pressure, heartbeat, and most of the internal sensa tions that we call pleasant and unpleasant feelings.
value-emotive, and conceptual categorization processes
(Edelman, 1989; Lakoff, 1987; Lakoff & Johnson, 1999). The global result of the categorizations is the formation of memo
ries, decisions, expectations, and action planning, including the planning of verbal and nonverbal communications. Knowing some of the processing details can help us under
stand more fully how parents and teachers affect vast changes in nervous system anatomy, biochemistry, and physiology.
Figure I-3-1: Six functional neuron types. [From Kandel, Schwartz, & JesselI (Eds.), (©1991), Principles of Neural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission ofThe McGraw-Hill Companies.]
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Behavioral Expression All bodily movements happen because numerous
specialized motor neurons in the CNS plan and execute
The motor functions of human bodies are richly in
terfaced with the sensory functions and the intermediate processing. Integration and cooperation of proprioceptive
complex coordinations of specific muscle groups. When
and motor functions are often referred to as sensorimotor
we act in response to our external and internal experiences, motor processing results in activation of numerous intri
abilities.
cate sequences and intensities of muscle contractions that produce coordinated movements of the skeletal system. Those movements enable us to: 1. orient our bodies in gravitational space; 2. interact with people, places, things, and events in the surrounding world; and 3. change the spatial location of our bodies from one place to other places.
Building Blocks of the Nervous System: Neurons and Synapses The nerve cell, called a neuron (Greek: nerve), is the smallest functional unit in the nervous system (see Figure I3-1). Most neurons can only be seen with the aid of high magnification such as electron microscopes. Neurons have many component parts. Some of them are:
Cell body. It contains the neuron's nucleus with its
interior materials such as various organic molecules and organelles, including a copy of our genome (genetic code). The diameters of neuron cell bodies range up from about 50 micrometers (one pm = 1/25,000th of an inch, see Table I-2-1 in Chapter 2).
Axon. Neurons usually have one axon—a thin, smooth-surfaced filament that grows from the cell body. Axons range from 0.2 to 20 pm in diameter. They usually branch at their ends into two or many collaterals, and they may branch further into telodendria. At the end of each axon, or collateral, or telodendrion, there is a swelling called
a terminal bouton that becomes connected to the cell sur face of another neuron. Dendrites. Some neurons have numerous dendrites (from Greek: dendron = tree). They are collections of neu ronal filaments that resemble the branches of a tree. They extend from a cell body and/or an axon and are covered with dendritic spines, tiny nodes that extend from the sur face of each dendrite. Each neuron in the cerebral cortex is part of at least one multifaceted neuronal network, and may receive as many as 10,000 connections from as many as 2,000 to 100,000 other neurons. The membrane that encases neurons has a gray col oration. A white, largely fatty insulation called myelin also is grown over the axons of many neurons, but never the cell body. The myelin enables much faster transmission of elec
trochemical nerve impulses. So brain areas that are called Figure I-3-2: Drawings of one synaptic transmission as a series of "snapshots". [From Kandel, Schwartz, & Jessell (Eds.), (©1991) Principles ofNeural Science (3rd Ed.), published
by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
gray matter, such as the cerebral cortex, are made up of
collections of neuron cell bodies and unmyelinated axons. human
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Brain areas that are called white matter, such as the corpus
callosum, are collections of myelinated axons that extend from collections of gray neuron cell bodies that have been grouped together. Most neurons are specialized for certain kinds of functions (see Figure 1-3-2), and there may be as many as 10,000 neuron types. When a visual sensory neu ron is stimulated into action by events in the outside world, then repeated electrochemical impulses are activated which travel through the neuron and can influence whether or not
believed to be inhibitory (switch off, stop the flow of elec trochemical impulses) and others were believed to be exci tatory (switch on, impulse flow continues). This interpreta tion has turned out to be somewhat oversimplified. Some neurotransmitters and neuromodulators do have
attached neurons will fire.
Those electrochemical impulses are called action po tentials. When they are fired, they travel from the cell body through the axon to the axon terminal(s). At that point, the electrical charge activates the release of biochemical trans mitter molecules that are generically called neurotransmit
ters or neuromodulators (see Figure I-3-2 and Katz, 1999). Some of the classic transmitter molecules that are widely
used as neurotransmitters are acetylcholine, epinephrine, norepi nephrine, dopamine, and serotonin. Neurotransmitters and neuromodulators are bio chemical protein molecules that are synthesized within neu rons. They are gathered into tiny bubble-like balls called vesicles. When an action potential travels to the terminal(s) of an axon, the vesicles release their neurotransmitters and neuromodulators into a gap between the terminal bouton(s) of the sending neuron and the surface of the receiving neu ron. The sending neuron is lightly tethered to the receiving neuron but a gap remains between them that is about 10 nanometers wide (1-nm = one millionth of a millimeter). The connection between the two neurons is referred to as a
synapse (see Figure I-3-2 and 3) and the area between them
is called a synaptic gap. A sending neuron is referred to as
a presynaptic neuron; a receiving neuron is called a postsynaptic neuron; and the entire transaction is referred to as synaptic transmission. Over 70 neurotransmitters and neuromodulators have been isolated, so far. When neurotransmitter molecules are released into the synaptic gap, they "connect" with receptor molecules that are embedded in the cell wall surface of the postsynaptic neuron. Receptor molecules are chemically structured so that they have a chemical affinity only for molecules that have a particular chemical structure. Until just after the mid-20th century, neurons were thought of as electrochemi cal switches. Under some circumstances, some neurons were
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Figure I-3-3: A neuron showing a few synaptic connections to and from other neurons. From Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science(3rd Ed.), published by Appleton &
Lange. Reproduced with permission of The McGraw-Hill Companies.)
an excitatory influence on postsynaptic neurons, but some have an inhibitory influence. The primary excitatory neu rotransmitters are the amino acids glutamate and aspartate. The primary inhibitory neurotransmitter is gamma-
aminobutyric acid (GABA). A summation of all of the excita tory influences on the postsynaptic neuron is referred to as excitatory postsynaptic potential (EPSP), and a summa tion of all of the inhibitory influences on the postsynaptic
neuron is referred to as inhibitory postsynaptic potential (IPSP). If the EPSP exceeds the action potential threshold and is greater than the IPSP, an action potential will be generated and will travel through the neuron's axon. If the IPSP is greater than the EPSP, an action potential will not be generated. Synaptic transmission uses up the transmitter mol ecules that were stored in the presynaptic vesicles, but reuptake of unused transmitters occurs (those that remain in close enough proximity to the presynaptic neuron). A replacement synthesis of transmitters also occurs, but it can take from a few hours to a day to complete. Typically, multiple interconnected neurons of the brain form networks of interacting neuron groups that carry out
inside the body; having an action like morphine), abbrevi
ated as endorphins (also termed opioids). Not all of the endorphins have been isolated as yet, but so far the group consists of fl-endorphin, the enkephalins, and the dynorphins. These neuropeptides appear to be involved in pain modulation, and there is evidence that they are in volved in producing feelings of well being, pleasure-reward, and euphoria, fl-endorphin is released by the anterior pi tuitary and thus also functions as a hormone.
Central Nervous System (CNS) The three largest-scale functions of the CNS are: 1. filtering and processing of all sensory input;
2. reflexive execution of involuntary motor coordi nations and the planning and execution of voluntary or learned motor coordinations; and
3. all of the integrated intermediate processing that activates such functions as perceptual, value-emotive, and conceptual categorizations; memory formations, conscious awareness, intentionality (expectations, decisions, and so forth).
sensory, internal, and behavioral processing.
The more extensively, or more intensely, neuron groups have been used, the "stronger" their synaptic connections tend to be come, and the more likely they are to activate under similar conditions. Synaptic "strengthening" is called long-term potentiation (LTP) and can involve (1) a lowering of the threshold of excitation, (2) increased production of trans mitter molecules, and growth of new telodendria, dendrites, and/or dendritic spines. When a network is newly devel oping and neuron firing patterns have not been intense, this early stage of synapse strengthening is called short term potentiation (STP). These factors are related to shortand long-term memory formation and motor skill learning. With reduced use, neuron network synaptic connections tend to "weaken" and are less likely to activate under similar
conditions. This process is referred to as short-term de pression (STD) or long-term depression (LTD). Neuropeptides are a class of transmitter molecules that are produced and distributed by, and create interac tions between, the nervous, endocrine, and immune sys tems (Strand, 2000). Among the better known neuropep tides are three groups of endomorphines (Greek: endon =
To appreciate how the vast CNS accomplishes these
functions, the following neuroanatomic parts and their con tributions to neurophysiologic functions will begin with the smallest parts and proceed to the larger parts.
Neuron Networks: The Basic Working Units of the CNS When a functionally related cluster of neuron cell bod ies are grouped together in the cerebral cortex, they are called a cerebral region or area-Broca's area, for instance. In subcortical areas of the CNS, they usually are called a nucleus-the central nucleus of the amygdala, for instance, or the cochlear nuclei in the brainstem. Collected groups of CNS nuclei usually are given sepa rate anatomical names-the amygdala, for instance. The amygdala is a major processing area for pleasant and un
pleasant feeling reactions, and its central nucleus is one of several nuclei within it (Chapters 7 and 8 have more de tails). A collected group of axons in the CNS that extend from one cell-body nucleus to another is called a tract-the optic tract, for instance. In the cerebral cortex of the brain,
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a fasciculus (Latin: little bundle) is a tract of axons that connect one cortical area to another. For instance, the supe rior occipitofrontal fasciculus connects superior areas of the oc cipital and frontal lobes together (see Figure I-3-12A). When a cortical area or a nucleus sends axons to form synaptic connections with neurons in another brain area, the axons are said to project from one area to the other. In the PNS, a cluster of neuron cell bodies usually is called a ganglion-the inferior vagal ganglion, for instance. The generic name for several interrelated subcortical nuclei in the brain violates this naming principle-the basal ganglia. Also in the PNS, a collected group of longer axons that are wrapped together in a membrane is called a nerve-the va gus nerve, for instance. When one area of the nervous system receives neural signals into itself from another area of the nervous system, the transmitting neuron groups are said to be afferent in function (Latin: ad = toward; ferre = carry). The most com mon example is peripheral sensory nerves sending afferent
signals into the spinal cord, then to various nuclei within the brainstem, to nuclei within the diencephalon, and fi nally to areas of the cerebral cortex. Those pathways are
neural function. Networks are commonly interconnected with other networks to form network systems-the audi tory system, for instance. Neuronal groups or networks are the basic functional units of the nervous system. Some brainwide networks use one exclusive neu rotransmitter. For instance, the network that uses serotonin is woven into most areas of the brain, including the limbic system. Limbic circuits appear to play a significant role in value-emotive categorization. Deficient or insufficient se rotonin processing in people may play a role in eating dis orders, depression, obsessive-compulsive disorder, and ag
gressive or antisocial behavior. Neuronal axons from a local circuit or a network typi cally project to cell bodies of other local circuits or net works to form synaptic connections with them. Those other local circuits or networks typically project a complement of axons back to the original collection of neurons to form processing loops. Throughout the CNS, axonal transmis sion flow between circuits and networks is almost always bidirectional and is referred to as reentry. Reentry enables an intricate functional feedback and feedforward between the circuits and networks of the brain.
said to be afferent.
On the other hand, when one area of the nervous system sends neuronal signals out of itself and into one or
more other areas of the nervous system to effect changes in that area's function, the transmitting neuron groups are said
to be efferent in function (Latin: ex = away; ferre = carry). The obvious example is neuron groups within the primary motor cortex sending signals for patterned muscle move ments through the brainstem and spinal cord and out to skeletal muscles that contract in patterned ways to produce bodily movement. There are many ways in which CNS neurons can in
terconnect to carry out perceptual, value-emotive, and con ceptual categorizations and behavior. Multi-synaptic inter connections between adjacent neurons are sometimes referred to as microcircuits. Micro circuits that are interconnected with other microcircuits over a wider area are sometimes called local circuits (Shepherd, 1990). Neuronal network, neuron group, neuron cell assembly, or brain module are essentially synonymous terms for a family of intercon nected neurons that participate in processing a particular
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Table I-3-1. Levels of Organization in Human Nervous Systems Behavior A A
Global Mapping of Systems A A
Systems with Connecting Reentrant Pathways A A
Local Circuit Neuron Networks with Local reentry A A
Synapses in Neuronal Microcircuits A A
Neurons A A
Membranes, Molecules, Ions
In the nervous system, the metaphor of mapping re fers to the fact that the processing within and between some
neuronal networks is patterned in highly structured, pre dictable ways. For example, the vibratory pattern of a simple tone causes a frequency-specific area of the cochlear peri lymph fluid to vibrate. That vibration causes frequency specific areas of the basilar membrane to vibrate, and that, in turn, causes frequency-specific stereocilia (hair cells) within the tectorial membrane to trigger a few frequency-specific cochlear nerve terminals to transmit action potentials to the cochlear nuclei in the brainstem. Only the cell bodies of frequency-specific neurons within the cochlear nuclei re spond and transmit this highly organized tonotopic pro cessing from earlier parts of the auditory system to the later parts of the auditory system, all the way to the com plex right and left auditory cortices (Chapter 6 has more
details). When frequency-specific axons synapse onto fre
quency-specific cell bodies, the earlier neuron network is said to be mapped onto the next neuronal network in the processing sequence. Such structured specificity occurs in all of the sensory and motor systems, and other systems as well. A local map refers to smaller scale mapping between two or several local circuits. The number of neurons within some local maps in the brain can range into the millions, with synaptic connections that can range into the billions. Local circuits can be mapped to other local maps-or not, as the case may be. Networks may or may not be mapped to each other in reentrant systems. For example,
the visual system, like the auditory system, uses an array of local maps. Each local map processes one feature of a vi sual scene—one each for color, spatial orientation, shape, and movement, to name only four. The local maps within a system are commonly connected by pathways—collec tions of axons that connect the local maps reentrantly to form the system. Finally, systems can be reentrantly mapped together to form global maps. Global mapping, for example, en ables our visual, auditory, and kinesthetic senses to cooper ate simultaneously, and to coordinate with motor move ment at the same time. It underlies the formation of rela tional concepts and what can be called big-picture insights. It also underlies the nearly simultaneous cognitive and emo tive processing that occurs when we make decisions, have
expectations, and behave (see Table I-3-1). The more ex
tensive the global mapping, the more we are able to gain broader perspectives, solve problems creatively, express our selves more completely, and realize our human capabilities into abilities.
Major Anatomic and Functional Components of the Brain Brains are made up of collections of neurons, neuron support cells (glial cells), arterial and veinal blood vessels, and various fluids including cerebrospinal fluid. During prenatal gestation, neuron collections are formed into sheets (laminae), and more or less rounded blobs (nuclei). Longer neuronal axons are commonly collected together to form tracts. In addition to its blood circulation, the central ner
vous system has its own circulatory system of cerebrospi
nal fluid (CSF). Outlining the exterior of the entire CNS is a fluid-filled buffer, the subarachnoid space. It is filled with CSF. Within the brain, there are four somewhat oddly shaped spaces (ventricles) that also are filled with CSF. They are
continuously connected to each other and to the surround
ing buffer space. Cerebrospinal fluid is formed in the ven
tricles, fills them, and flows through and out of them into
the buffer space. The space and fluid provide a protective cushion for the CNS, and the fluid is a medium for transfer of transmitter molecules within the CNS. The triune brain (MacLean, 1967) is the simplest and most general way of describing the large-scale architecture
of the brain. In this concept, there are three large anatomi cal sections-the hindbrain, the midbrain, and the forebrain
(see Figure I-3-5). The hindbrain includes the brainstem and the cerebellum. Its processing has been compared to
the degree of complexity evidenced by a reptilian brain. The midbrain would add the limbic system with a small limbic cortex. Its processing has been compared to the degree of complexity evidenced by more developed mam malian brains such as mice and rabbits. The forebrain adds an extensive neo cortex and larger subcortical regions to the limbic cortex. It is sometimes called the new mammalian brain and its processing has been compared to the degree of complexity evidenced by chimpanzees and human be ings.
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When most brain anatomists list the most general topto-bottom brain areas, they are (see Figure I-3-6):
1. the cerebrum, consisting of the two cerebral hemi spheres, the five lobes of cerebral cortex, and many sub
cortical formations; 2. the diencephalon, including the thalamus, epithala mus, subthalamus, hypothalamus, and pituitary body; 3. the brainstem, consisting of clusters of neuron nuclei called the midbrain, the pons, and the medulla oblongata; 4. the cerebellum.
superior and dorsal. Below that neuraxis the direction can be both inferior and ventral. That matching of directional terms does not apply to the vertical neuraxis, however, because of the bidirectional orientations of the CNS. In order to re member the dorsal and ventral directions, think of sea crea tures. The prominent, above-water fin on the back of a
In order to spatially locate segments of the CNS, ana tomical directions have been devised. During early gesta tion, the neural tube of an embryo gradually bends into a
horizontal plane (becoming mostly the cerebrum and the diencephalon) and an angled vertical plane (becoming mostly
the brainstem and spinal cord). The two central axes of the CNS are called the neuraxis and they locate the horizontal and vertical planes of the CNS (see Figure I-3-7). Notice that the direction above the horizontal neuraxis can be called
Figure I-3-5: Cerebrospinal circulatory system around the brain (subarachnoid space) and Figure I-3-4: The triune brain. [From MacLean PD: The brain in relation to empathy and medical education. Journal ofNervous and Mental Disease 19 67; 144:5:374-382. Used by
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Schwartz, & Jessell (Eds.), © 1991, Principles ofNeural Science(3rd Ed), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
permission.]
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within the brain (the four ventricles).. The arrows indicate the direction of flow [From Kandel,
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shark is called its dorsal fin. The gill structures that most sea
lary selection in a verbal response (language) while local
creatures use to vent water tend to be in and near their ven tral or underside. The cerebrum (Latin: brain). The cerebrum is by far the largest segment of the brain (not the same as the cer ebellum). It is the forebrain or "new mammalian brain" of
circuits within its equivalent area in the right hemisphere pitch, volume, and tone quality that convey the emotive
McLean's triune brain. The cerebrum is divided into two halves, the right and left cerebral hemispheres. The neu rons within each hemisphere are grouped into identifiable regions, areas, or neural structures that carry out a particu lar range of functions. Each hemisphere has the same types of regions or areas as the other—though they typically have different dimensions and numbers of neurons—and the paired regions usually contribute unique elements to the same general function. For example, local circuits within Wernicke's area in the left hemisphere contribute vocabu
1. logical, analytical, linear, sequential organization of planned, conscious behavior; 2. spoken language, and language coding modes such as reading and writing, for about 90-95% of people (about
contribute expressive prosody, that is, variations of vocal
qualities of the words, that is, their "feeling meaning" (paralanguage). There is research evidence that areas within the left hemisphere are predominantly involved in sequential pro cessing (Springer & Deutsch, 1989) such as:
95% of right-handers and about 70% of left-handers); 3. timing/rhythmic behavior in speech and music based on the rhythms of the native language; 4. appropriate personal and social decisions or judgments.
Figure I-3-6: The central nervous system (CNS).[From Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science (3 rd Ed.), published by Appleton & Lange. Reproduced with
permission ofThe McGraw-Hill Companies.]
human
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Left hemisphere areas also have been associated with:
1. planned response; 2. literal and analytical communication; 3. conscious mind processes and behaviors that are associated with intentionality.
as expressive gesturing (The trained musician involves both hemispheres in musical perception and production.); 7. verbal expression of imaginative and metaphoric
communication and intense emotional words as in cursing. Right hemisphere areas also have been associated
There is research evidence that areas within the right
hemisphere are predominantly involved in whole pattern pro cessing (Springer & Deutsch, 1989; Van Lancker, 1997;
Edwards-Lee & Saul, 1998) such as: 1. nonlinear, multi-phase synthesis in literal percep tion, and the organization and operation of behavior, in cluding social and situational contexts;
2. perception of and attention to visual-spatial rela tionships and generation of imagined visual-spatial rela
tionships;
3. face recognition and recall;
4. spontaneous and emotional response, including fa miliarity processing, and direction of attention; 5. perception and production of pitch variation in (a) expressive speech (prosody) and (b) singing;
6. expressive speech and musical perception and the ini tiation of expressive speech and musical production as well
with other-than-conscious mind processes and behaviors that are associated with intentionality. Differences in neural network organization within the
neo cortex of the two hemispheres reflects the different ways that the two hemispheres process their afferent and efferent signaling (Gur, 1980; Woodward, 1988). Figure I-3-8 is an attempt to represent those differences graphically. In the left hemisphere neo cortex, the vertical cell columns are highly coupled, but to columns that are in close proximity; neural circuitry is minimally overlapped with circuitry that is spa tially more distant. This type of circuitry appears to be needed for processing detailed perceptual and motor differ ences, such as fine motor movement with conscious analy sis. In the right hemisphere neo cortex, however, horizontal and more distant axon connections predominate and there is considerably overlapped neural circuitry. This type of circuitry appears to be needed for processing more diffuse,
Figure I-3-7: Illustrations of anatomical directions in relation to the neuraxis of the brain. [(A, left), from Neuroscience of Communication, (1st Ed.), by D.B. Webster ©1995. Reprinted with
permission of Delmar, a division of Thomson Learning, FAX 800-730-2215]. [(B, at right), from Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
36 bodymind & voice
The very thin cortex has a bottom-to-top six-layered struc ture of unmyelinated neurons and is referred to as the neo
cortex. The six layers also are organized into small, closely packed vertical columns made up of numerous neurons. The layers and columns are interconnected by the trillions of synapses in the neocortex. Cortical structures are exten sively involved with the vast adaptive or learning capaci ties of human beings. Each hemisphere of the cerebrum is divided into five lobes. Four of the lobes are named after the skull bones that are nearest to them. Each hemisphere's lobes include a surface cortex and subcortical structures. The lobes are: 1. frontal (frontal bone); 2. parietal (parietal bone); 3. occipital (occipital bone); Figure I-3-8: Schematic (non-literal) representation of how the neuron network connections in the left hemisphere neocortex are different from the neuron network connections in the left hemisphere neocortex. [Adapted from Woodward, 1988. Drawing from: LEFT BRAIN, RIGHT BRAIN, 3rd Ed., by Springer and Deutsch. Copyright ©1989 by Sally P. Springer and Georg Deutsch. Used by permission of W.H. Freeman and Company.]
collective, whole-mosaic perceptual and motor differences,
such as visual-spatial patterns and speech prosody. Overstatements abound regarding "left- and rightbrain" processes in people with intact brains. Such state ments as "left- brained" or "right-brained person" should be considered metaphors, mostly for behavioral tendencies. At this time, there is no scientific verification that those terms describe exclusive hemispheric dominance of characteristic behavioral tendencies. Intact brains work as whole organs with trillions of multichannel interactions between left-right, front-back, and vertical areas, and there is multichannel in teraction with all organs and physio chemical systems of the body The surface of both cerebral hemispheres is referred to as the cerebral cortex (Latin: tree bark). So that large amounts of cortex can be fitted into the skull, the cortical surface is convoluted into folded grooves called sulci (sin gular: sulcus), thus producing protruding ridges called gyri (singular: gyrus). The gyri and sulci give it its tree-bark appearance (see Figure I-3-9). Deep grooves in the cortex are called fissures, such as the longitudinal fissure that sepa rates the two hemispheres. The right and left Sylvian fis sures (sometimes referred to as the lateral sulci) separate most of the two temporal lobes from the rest of the brain.
Figure I-3-9: The hemispheres and the cerebral lobes. (A, top) A view from above. [From DeArmond, Fusco, & Dewey, Structure oftheHuman Brain, 3rd. Ed. Copyright ©1989 by Oxford University Press. Used with permission.] (B, bottom) A view ofthe left hemisphere. [From: LEFT BRAIN, RIGHT BRAIN, 3rd Ed, by Springer and Deutsch. Copyright ©1989 by Sally P. Springerand Georg Deutsch. Used by permission of W.H. Freeman and
Company.]
human
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4. temporal (temporal bone; and
5. limbic. The right and left frontal lobes are located just be hind the forehead and they extend back to their rear border, the right and left central sulci. The right and left parietal lobes begin with their side of the central sulci and continue back to the parieto-occipital sulci, after which the right and left occipital lobes begin. The occipital lobes extend to the back of the head. The right and left temporal lobes form large "thumbs" that lie at both sides of the cerebrum, slightly above the ears. The parts of the frontal and parietal lobes that are to the inside of the temporal lobes, make a large "pleated" fold—hidden by the temporal lobe—that obscures a prominent area of neocortex called the insular cortex (the insula) because it is "insulated" by the "pleat" and the temporal lobe (see Figure I-3-10) (Webster, 1995, pp. 126-131). The functionally defined limbic lobes (Latin: limbus = border) are major parts of McLean's midbrain or "old mamma lian brain". If a brain were separated at the longitudinal fissure and the left half removed, then the interior one-half of the brain could be seen. The cortex of the limbic lobe would resemble a border between the neo cortex on one
Figure I-3-10:
When the left temporal
side, and the corpus callosum and brainstem on the other (see Figure I-3-11). The cortex of the limbic lobes is made up of only one-to-three layers of neurons and is referred to as allocortex (Greek: allo = another). It is organized into vertical cell columns as well. The right and left limbic lobes are made up of the cortices of the cingulate gyri, the septal areas, the hippocampi, and most of the parahippocampal gyri. The limbic lobes are considered to be the "older" cor tex of the limbic system. The limbic system was defined in the early 1950s by MacLean (1949, 1952, 1990). He cited the functional rela tionship of its regional areas and the abundant neural sig naling that takes place between them. It is composed of several subcortical cerebral regions that are located within
the right and left frontal, parietal, and temporal lobes. Its structures are reentrantly connected with areas of the neo cortex, the diencephalon, and the brainstem (described later). The validity of the limbic system concept has been called
into question as recent data have revealed more details about the many parallel functions of its constituent parts (LeDoux, 1991, 1996). Traditionally, the limbic system has included (see Figure I-3-12): 1. cortices of the cingulate gyri, the septal areas, the hippocampi, and most of the parahippocampal gyri;
lobe is pulled away, and some of the frontal and parietal
The Human Brain. Copyright ©1993 by Mosby-Year Book, Inc., St. Louis. Used with permission.]
38
bodymind
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lobes are removed, the
insular cortex can be seen.
[From Nolte,
2. the amygdala, located within the right and left tem
There is a right and a left hippocampal formation
poral lobes of the cerebral hemispheres; 3. the anterior and dorsomedial nuclei of the thala mus; 4. the mammillary bodies of the hypothalamus (con nected to the pituitary body, as presented later).
that include a right and a left hippocampus. The name was derived from an imagined resemblance to the shape of a saltwater mammal, the seahorse (Greek: hippokampos = seahorse). The hippocampal formations, having massive reentrant connections with the cerebral cortex, are prepon derantly involved in processing numerous complex memo ries of events in space and time (episodic memory). There is a right and a left amygdala, named for a resemblance to
the shape of an almond (Latin: almond). They are major processors of unpleasant and pleasant feelings and emotional reactions. The brain's single hypothalamus is the regula tor and modulator of the pituitary body. Both areas are primary production areas for many transmitter molecules, and they exert major regulatory and modulatory influences over the endocrine and immune systems.
The various regions within each hemisphere are reentrantly connected to each other by tracts of collected axons called fasciculi (see Figure I-3-13A). For example, the left hemisphere's arcuate fasciculus connects Wernicke's and Broca's areas, and the right hemisphere's arcuate fascicu lus connects the equivalent structures therein. Just below Figure I-3-11:
A drawing of the limbic
lobe of the
right hemisphere. [From
Neuroscience of Communication, (1st Ed.), by D.B. Webster ©1995. Reprinted
with permission of Delmar, a division of Thomson Learning, FAX 800-730-2215.]
Figure I-3-12:
The
the gray matter of the adult cerebral cortex, there is a large, thick sheet of white-matter myelinated axons that intercon-
limbic system. [From: THE BRAIN, 2nd Ed., by Thompson. Copyright ©1993, W.H. Freeman and Company. Used with permission.]
human
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39
nect most areas of the two cortical hemispheres. It contains about 3 million axons and its name is the corpus callo sum (see Figure I-3-13B). Cell bodies of left hemisphere neural networks project their axons into that sheet and they cross to the right hemisphere to synapse with cell bodies of its cortical networks. Likewise, the corpus callosum also contains axons that project from right hemisphere cortical cell bodies to synapse with left hemisphere cortical cell bodies. Each area of one hemispheric cortex projects axons to its corresponding area in the other hemisphere's cortex, and commonly, to other areas as well. The cerebral cortex is the most complex area of the brain. Its 30 billion neurons are formed into local circuit networks (areas or regions) that perform discrete functions. Not all of the functions of many of the cortical networks have been discovered, as yet. Networks are interfaced with
nearby and more distant cortical networks within the same hemisphere and with cortical networks in the opposite hemi sphere. Ultimately the entire cerebral cortex can have di
Figure I-3-14:
Primary cortical areas of the
left hemisphere that process visual,
auditory, olfactory, and somatic sensation, and motor function. [From: LEFT BRAIN, RIGHT BRAIN, 3rd Ed., by Springer and Deutsch. Copyright ©1989 by Sally P. Springer and Georg Deutsch. Used by permission of W.H. Freeman and Company.]
Figure I-3-13:
(A, top) Some of the
axon tracts that connect cortical regions within each hemisphere
and (B, at right) the major tract (the corpus
callosum)
that
inter
connects regions within the left cerebral hemisphere to regions in the right hemisphere and vice
versa.
[(A) is from
Nolte,
Human Brain (3rd Ed.).
The
Copyright
©1993 by Mosby-Year Book, Inc., St. Louis. (B)
Used with permission.
is from
LEFT-BRAIN,
RIGHT
Figure I-3-15:
Somatosensory and motor pathways between the brain and the
body from the neck down are crossed in the brainstem.
The left somatosensory
BRAIN (3rd Ed.) by Springer and
and motor cortices process signaling for the right side of the body and the right
Copyright © by Sally P
somatosensory and motor cortices process signaling for the left side of the
Deutsch.
Deutsch.
body. [From: LEFT BRAIN, RIGHT BRAIN, 3rd Ed., by Springer and Deutsch.
Used with permission of W.H.
Copyright ©1989 by Sally P Springer and Georg Deutsch. Used by permission
Freeman and Company.]
of W.H. Freeman and Company.]
Springer and
40
Georg
bodymind
&
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rect or indirect influence on all of the networks and nuclei of the entire nervous system, and on all of the various or gans and systems of the body. Macro-regions of the cerebral cortex can be catego rized by their broad functions. There is (1) sensory cortex, (2) motor cortex, (3) association cortex, and (4) higher or Four different regions of the sensory cortex process five of the major sensory modalities, that is, vi sual, auditory, somatic (body sense), olfactory (smell sense), and gustatory (taste sense). After important preliminary der cortex.
sensory processing occurs in the peripheral nervous sys tem, the spinal cord, the brainstem, and subcortical struc tures, the processing then arrives at their primary cortical areas. After processing in the right and left primary cortical areas, the signaling is sent to several adjacent cortical areas that are devoted to processing details within that sensory
The primary visual cortex (abbreviated as V1) is lo
cated in the rearmost cortex of the right and left occipital lobes (see Figure I-3-14). The primary auditory cortex (Al) is located near the upper rearmost cortex of the right and left temporal lobes (see Figure I-3-14). The primary somatosensory cortex (S1) is located at the front ends of the two parietal lobes, just behind the right and left central sulci (see Figure I-3-14). The supplementary somatosen sory area (S2), is located adjacent to and just behind the lowest aspect of right and left primary somatosensory cor tices. The left somatosensory cortex processes sensation from the right side of the body and the right somatosen sory cortex processes sensation from the left side of the
body (see Figure I-3-15; Chapter 6 has details). The right and left olfactory bulbs are located underneath the right and left frontal lobes (see Figure I-3-12 and 14).
modality.
Figure I-3-16:
The nuclei of the basal ganglia—the caudate nucleus, and the lenticular nucleus (includes both the putamen and globus pallidus). [From Nolte, The
Human Brain (3rd Ed.). Copyright ©1993 by Mosby-Year Book, Inc., St. Louis. Used with permission.]
human
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Somatosensory cortical regions are closely interfaced
right side of the body and right hemisphere motor cortices
with the frontal lobe motor cortex regions that are devoted
process motor signals to the left side of the body (see Figure I-3-15; read the later section on the brainstem).
to planning and executing coordinated body movements (see Figure I-3-17). The supplementary motor cortex (M3) and the premotor cortex (M2) exchange reentrant signal ing with each other, with several subcortical motor regions, with value-emotive processing regions, and with regions that process higher order abilities. They then send final "plans" for muscle activation sequences and intensities to the primary motor cortex for execution of the plans. The motor cortex region is located at the rear of the two frontal lobes, just in front of the central sulcus (see Figure I-3-14). Left hemisphere motor cortices process motor signals to the
The basal ganglia are three large cell body nuclei that are nearly adjacent to the thalamus, one set in each cere bral hemisphere (see Figure I-3-16). Two of the nuclei, the caudate nucleus and the putamen, are partially separated by a tract of axons—the internal capsule—that connect the cerebral cortex and the thalamus. The two nuclei func tion, however, as a single nucleus called the lenticular nucleus. Along with the globus pallidus, they are key areas that process voluntary motor planning before the plans are sent to the Ml for muscle activation. They interact so
extensively with the subthalamic nucleus (described later)
and a somewhat large midbrain nucleus named the sub stantia nigra, that all five may be referred to as the basal ganglia (Webster, 1995, p. 285). They also interact exten sively with the cerebellum (described later) in carrying out motor patterning. Abnormal function in the basal ganglia results in the symptoms of Parkinson's disease, a major as pect of which is difficulty in starting and sustaining volun tary movement such as walking (Thompson, 1993, p. 284). Most of the neurons of the primary motor cortex are interneurons that provide reentrant processing within the motor cortex areas. The axons of many motor cortex neu
rons extend downward out of the cortex, and carry motor execution signals that the peripheral nerves finalize. Some of the neurons that extend out of the motor cortices are termed pyramidal neurons, and they are larger and longer than most motor neurons. Some of them are the longest neurons in the body, extending all the way from Ml to
their one synapse with peripheral motor neurons in the spinal cord. These neurons can send signals very quickly to the body's muscles. They perform essential functions in highly skilled movements. Many of the axons that project downward from each hemisphere's cortex and upward into it—especially the mo
tor and somatosensory cortices—take the form of two large
Figure I-3-17:
left
Illustrations that show primary and association cortex in (A) the
cerebral hemisphere with the temporal
lobe to expose the hemisphere with the (3rd Ed.).
left hemisphere removed.
[From Nolte, The Human Brain
Copyright ©1993 by Mosby-Year Book, Inc., St. Louis.
permission.]
42
lobe pried away from the frontal
insular cortex, and (B) the medial (midline) side of the right
bodymind
&
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Used with
radiated "crowns" of myelinated, white matter axons. They are named the corona radiata. These axons interlace through many subcortical structures and many of them are funneled together and packed into what is called the inter nal capsule. Many of the internal capsule axons eventu ally collect into several separate tracts, such as the corti
cospinal tract, that connect through the midbrain and the
brainstem and eventually enter the spinal cord to which spinal nerves of the peripheral nervous system are con nected. Other tracts, such as the corticobulbar tract, ex tend from the brainstem to deliver signals to and from the cranial nerves of the peripheral nervous system. The largest regions of the cerebral cortex are devoted to processing (1) detailed features of the various sensory modalities and then (2) associating them with each other and with motor processes in order to facilitate such func tions as memory, learning, behavior, and health. They are
referred to as association cortex (see Figure I-3-17). Asso ciation cortex is almost entirely located in (1) the prefrontal area of the frontal lobe—the prefrontal association cor tex—and (2) parts of three other lobes—the parietal-occipital-temporal association cortex. Association cortex in the parietal lobe is largely devoted to integrating the visual and somatic sensory systems. For instance, when a person sees an object and then reaches for it, vertical columns of neurons in the parietal association cortex activate when the arm begins to reach for the object. Other columns activate when the object is used in some way, and yet other col umns activate when the eyes are used to inspect the object (Thompson, 1993, p. 293). Visual association cortex extends from the right and left primary visual cortices into the rest of the occipital lobes and into most of the bottom side of the temporal lobes (see Figure I-3-17). It contains more than 20 areas that process specific features of visual perception such as border fea tures, color, and so forth. Shorthand labels for those spe cific areas are V2, V3, V4, and so on. Auditory association cortex extends downward and a little forward from the temporal lobes' primary auditory cortices as well as just to its rear in the temporal lobes. It contains more than 6 areas that process specific features of auditory perception. Shorthand labels for those specific areas are A2, A3, and so on. Somatosensory association cortex extends backward from the primary and secondary somatosensory cortices in the right and left parietal lobes and interfaces with the vi sual association cortices in the right and left occipital lobes. The limbic association cortex is located in the me dial and inferior areas of the neo cortex and in parts of the frontal, parietal, and temporal lobes (Kelly & Dodd, 1991). It reentrantly interfaces various areas of the neo cortex with
the limbic lobe and the limbic system (described later). Func tionally, it is involved in linking perceptual categorizations with value-emotive categorizations to provide major input for conceptual categorizations (Chapter 7 has details). These forms of categorization are often referred to as cognition and emotion (Edelman, 1989, pp. 98-100; 103-105). The human prefrontal association cortex is some times called "the brain's brain". It is located at the front of the left and right frontal lobes, just behind the forehead (see Figure I-3-17). Compared to any other mammal, the hu man prefrontal cortex is considerably larger. Direct and indirect reentrant physio chemical signaling from through out the entire bodymind is available to the prefrontal cor tex for its extremely complex processing, and it has direct
and indirect effector access to all bodymind motor and bio chemical processes. It is involved especially in the process ing of higher order capabilities (presented below), such as general regulation of purposeful behavior, orientation to the past, present, and future, planning, projecting, expecting, goal-setting, and goal-completion. Higher order capabilities are processed in the right and left frontal lobes. Higher order capabilities are depen dent on sensory, motor, and association processing, and include such processes as perceptual, value-emotive, and
conceptual categorizations, memory, behavior, and health. These processes are commonly referred to with such terms as cognition, thinking, reasoning, contemplation, deciding, imagining, empathizing, sympathizing, emotional intelligence, symbolizing with spoken and written denotative language, mathematics, talent, intelligence, and all skilled movement.
The symbolic modes that are known as the expressive arts are frequently left out or only mentioned when higher or
der processing is discussed in the neurosciences. The ex pressive arts include metaphoric and story language; the visual, auditory, and somatosensory arts; and combination arts (Chapter 7 has some details). One of the higher order capabilities is language per ception, processing, and production. After the sounds of
heard language arrive at, and are processed in, the right and left primary auditory cortices, the signals then are sent at very high speeds to auditory processing centers in the up
per rear areas of the temporal lobes. For over 9O°/o of people, the word memory and language interpretation centers are located in areas of the left hemisphere's temporal lobe that human
nervous
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43
are adjacent to the primary auditory cortex (Webster, 1995,
processing with each other and with the right and left lim
pp. 253, 254). The logical sequence, or "sense" of speech that
bic areas for detailed value-emotive processing. By way of
is to be produced, is also formed in this general area. The
the arcuate fasciculus (see Figure I-3-18), they then project to areas in the left and right frontal lobes that plan the motor sequences for language and paralanguage response. In over 9O°/o of people, the speech motor sequencing area
heart of this area is named after Karl Wernicke, a polish
neurologist (b. 1848). He was the first person to describe
the function of this area, so it is called Wernicke's area. The areas where the "feeling meanings" are processed (prosody or paralanguage) are located in the corresponding area of the right hemisphere's temporal lobe (Ross, 1980). Because they are reentrantly connected by way of the corpus callosum, the two interpretation centers share their
for words is in Broca's area of the left hemisphere's frontal
lobe, so named because the French surgeon Paul Broca (b.
1824) first described its function. In over 9O°/o of people, the speech motor sequencing area for feeling-emotional expres sion (pitch inflection, voice volume, voice quality or tim bre) is in the area of the right hemisphere that is the ana tomical equivalent of Broca's area. The motor plans are then projected from Broca's area
and its right hemisphere equivalent to the right and left supplementary (M3), premotor (M2), and primary motor
cortices (Ml) of the two hemispheres. The M3 and M2 areas refine the muscle sequencing in conjunction with the
basal ganglia and the cerebellum. Finally, the plans are sent to Ml for activation of the motor "program" through brainstem, spinal, and cranial nerve structures and out to
the muscles that actually produce the unitary flow of speech.
Figure I-3-19 illustrates the general cortical pathways that
Figure I-3-18: The arcuate fasciculus provides reentrant signaling between Wernicke's and Broca's areas for language production during speaking and singing.
[From: THE BRAIN, 2nd Ed., by Thompson. Copyright ©1993, W.H.
are activated when a person raises the right hand in re sponse to a spoken request, and then the left hand in re sponse to a spoken request. When raising the left hand, note the crossing of signals from the left hemisphere speech
Freeman and Company. Used with permission.]
Figure I-3-19:
Simplified indication of the cortical pathways that activate when a person responds to two different verbal instructions:
(A, top) voluntary movement
when a person is asked to raise the right hand; (B, bottom) voluntary movement when a person is asked to raise the left hand. [From Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
44
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Also passing through it are sensorimotor tracts from and to
the cerebellum and basal ganglia, and tracts from the re ticular formation. The subthalamus also has direct projec tions into the cerebral cortex, but their function is unknown.
Figure I-3-20:
A cross-section through the
cerebrum and the diencephalon.
[From Neuroscience of Communication, (1st Ed.), by D.B. Webster ©1995.
Reprinted with permission of Delmar, a division of Thomson Learning, FAX 800730-2215.]
The thalamus is egg-shaped, highly complex, and comprises about 80% of the diencephalon (see Figure I-326). Except for the olfactory sense (smell), all sensory sig nals are processed through the sensory relay nuclei of the thalamus before being distributed to many processing ar eas of the cerebral cortex. For instance, somatosensory projections from brainstem nuclei are processed through the ventral posterolateral and ventral posteromedial nuclei before distribution to the somatosensory cortex. Auditory signals
areas to the right hemisphere motor areas that control the
from the brainstem are processed through the medial genicu
left side of the body. The Diencephalon (Greek: di = two; enkephalon = brain). The diencephalon is small—about 2°/o of CNS weight—and is located in the center of the brain just below
late nucleus before they are projected to the auditory cortex.
the corpus callosum and lateral ventricles (see Figure I-320). It is continuous with the brainstem which extends downward from it Structures of the diencephalon have extensive influence, however, over the entire bodymind. It is made up of four structures: 1. the epithalamus (above the thalamus), including the pineal gland; 2. the thalamus (from Greek: thalamos = chamber); 3. the subthalamus; and 4. the hypothalamus and its appendage, the pituitary body. The most widely known part of the epithalamus is the single, unpaired pineal gland. It is part of the endo crine system and, during darkness, secretes high levels of the hormone melatonin into its rich internal blood supply. During daylight, secretion is suppressed. The pineal re ceives indirect stimulation for these actions from the visual system, beginning with specific neurons in the retina of both
eyes, through the hypothalamus, to neurons in the cervical
spinal cord, to sympathetic neurons in the neck which send axons to the pineal. Melatonin is a major trigger for the physiological changes called sleep. Disruption of the mela tonin 24-hour secretion-suppression cycle can result in dif ficulty in going to sleep. The subthalamus is made up of several nuclei. Most
About 25°/o of the neurons in the lateral geniculate nucleus re ceive input from optic tract axons before being projected to the primary visual cortex. Its other neurons receive reen trant projections from the visual cortex and the reticular formation, or are interneurons that interconnect with other
thalamic neurons. Several motor relay nuclei process transmissions from the cerebellum and the basal ganglia before being trans mitted to the premotor and motor cortices. Thalamic asso ciation nuclei are connected by reentry to the frontal lobe's prefrontal association cortex and the parietal-occipital-tem poral association cortex.
For example, the dorsomedial
nucleus receives projections from the amygdala and is in terfaced with the prefrontal association area. It is involved in processing feelings and anticipation of future conse quences. There also are reentrant connections with the cin gulate gyrus of the insular cortex, an area that is promi nently involved in emotive processing, and there are indi rect reentrant neural pathways that interact with the hip pocampus in the formation of memory. The hypothalamus [Greek: below the thalamus] and its appendage, the pituitary body [Latin: pituita = flux, flow]
are quite small (see Figure I-3-21). Even though the hypo thalamus and pituitary weigh only about 6 grams, they are directly or indirectly affected by nearly every area of the they can effect a wide array of neuropsychobiological processes throughout the whole bodymind (Thompson, 1993, pp. 190-193 and pp. 199-207). For example, the hypothalamus receives direct and indirect brain,
and
of them are relays for bodily (somatosensory) sensations. human
nervous
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45
3. paired hippocampal formations that are located in the temporal lobes (involved in memory processing in the two cerebral hemispheres); 4. paired amygdalar bulbs that are located in the tem poral lobes (a major processor of emotive reactions within the two hemispheres); 5. orbital cortex of the frontal lobe of both hemispheres (involved in higher-order processing) and the insular cortex of both hemispheres (involved in processing value-emo tive categorization). There are three hypothalamic pathways that are ex clusively efferent: (1) an axon tract that indirectly connects
Figure I-3-21:
Views of the hypothalamus and the pituitary body. [From: THE
BRAIN, 2nd Ed., by Thompson. Copyright ©1993, W.H. Freeman and Company. Used with permission.]
brainstem and spinal cord projections that provide input about the sleep-wake state of the body and its degree of arousal (reticular formation and the ascending reticular ac
tivating system), and the state of the body's visceral organs (includes signals that originated in cranial nerve X, the va gus). Its suprachiasmatic nucleus regulates the body's cir cadian cycles (Chapter 4 has more). Certain neurons within the hypothalamus are sensitive to the state of the blood stream that enable an evaluation of such physical factors as temperature of the body, oxygen and carbon dioxide levels,
the amount of glucose in the blood, and the amount of various transmitter molecules in the blood. A bidirectional axon tract called the medial forebrain bundle is a prominent conduit by which the cerebellum and many areas of the brainstem, limbic system, and cere bral cortex can make direct and indirect connections with
the hypothalamus to the thalamus, (2) an axon tract that indirectly connects the hypothalamus to the midbrain re ticular formation (described later), and (3) the extensive con nections with the pituitary body. The hypothalamus exerts major influence over the autonomic peripheral nervous system (A-PNS) (described later). It projects to an array of nuclei in the brainstem and spinal cord that in turn activate the A-PNS. Mostly, when nuclei in the posterior hypothalamus are stimulated, the sympa thetic division of the A-PNS is activated, and when nuclei in the anterior hypothalamus are stimulated, the parasym pathetic division of the A-PNS is activated. At the same time, the hypothalamus triggers the release of transmitter molecule recipes from the pituitary body into the circula tory system. These transmitter molecule recipes sustain APNS activation until it is no longer needed.
Nuclei within the hypothalamus directly regulate the pituitary body (see Figure I-3-21). Its technical anatomic term is hypophysis [Greek: hypo = under (the hypothalamus); phyein = to grow]. The pituitary is a primary production area for transmitter molecules that are introduced into its
blood supply for bodywide distribution. Through these processes it exerts major regulatory and/or modulatory
influences over bodily growth patterns, the endocrine and
1. septal area of the limbic lobe that is adjacent to the hypothalamus (involved in processing pleasant feeling
immune systems, and bodily processes such as water level management and body temperature, blood pressure, appe tite, sleeping-waking and sustained alertness, pleasant-un pleasant emotive processing, memory formation, stress re
states), and other basal forebrain areas; 2. paired optic nerves, thus the retina of both eyes;
action, and the activation of protective behaviors-to name a few
the hypothalamus. In particular, the hypothalamus is di rectly and/or indirectly connected-reentrantly-with the:
46
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The pituitary is divided into a posterior lobe and an
anterior lobe. They are technically referred to as the neuro hypophysis and the adenohypophysis, respectively. Action po tentials in two nuclei of the hypothalamus cause secretion of two peptide hormones—oxytocin and vasopressin (also re ferred to as antidiuretic hormone or ADH)—by the neurons of the posterior lobe. The hormones empty into a capil lary bed that is located at the lower end of the lobe and are thus distributed to their receptor sites by the circulatory system. Oxytocin has several effects in both men and women, but the most studied effects are the induction of uterine contraction in women during childbirth and the pro
duction of breast milk during nursing. Vasopressin also
has several effects, but its most studied effect is the trigger ing of water reabsorption in the kidneys to decrease its pro duction of urine. The anterior lobe is much more glandular in nature.
When it is activated by neurotransmitters from nuclei within the hypothalamus, it can secrete a wide array of small pep tides called releasing factors, inhibiting factors, growth factors, and hormones. Based on the signals it has received from the rest of the body, axons within the hypothalamus secrete either releasing or inhibiting factors into a bed of capillaries that is located just above the anterior lobe. The blood drains into the anterior lobe's portal vessels that then deliver the fac tors to the lobe's own capillary bed. Specific releasing factors trigger the release of specific anterior lobe hormones into its own capillary bed which is continuous with the bodywide circulatory system. Inhibiting factors either re
also triggers the release of other hormones and the net effect is longer-term bodily reactions such as heightened arousal, increased heartrate and blood pressure, inhibition of diges tive activity, and channeling of blood to muscles. These conditions, in turn, cause a continuation of distress signals to the hypothalamus, among other actions. The Brainstem. The top of the brainstem is continu ous with the diencephalon. It is made up of three gross anatomic areas, the midbrain, the pons, and the medulla oblongata. The lower end of the medulla is continuous with the spinal cord, and part of its rear area integrates with the cerebellum (see Figures I-3-6 and 26). It serves: 1. as a conduit for sensory and motor axons that travel through it; 2. as the point of origin from which motor axons exit the brain as part of the cranial nerves and as the point of entry for sensory axons that also are part of cranial nerves; 3. an integrative control function for automatic mo tor patterns such as breathing, cardiovascular activity, pain and analgesia, and for degrees of arousal in the entire bodymind.
All sensory reception from the peripheral nervous system (PNS) and the spinal cord, including pain, is pro cessed through nuclei within the brainstem before being
distributed to other brain areas. The auditory nerves from the two ears synapse with nuclei in the pons for the first major filtering of auditory reception. All motor signaling that originates from above the brainstem passes through it
duce the secretion of specific hormones or stop their release altogether.
on the way to the PNS. Most motor axons that extend
For example, when the hypothalamus has received
bral hemispheres cross to their opposite sides at the level of the medulla. Axons from the right hemisphere cross to the medulla's left side and eventually connect with spinal nerves that innervate the left side of the body. Axons from the left hemisphere cross to the right side and eventually innervate the right side of the body. Sensory signaling from the left
input that indicates a distressful situation in the surround ing environment, it does two things: (1) it signals the sym
pathetic division of the ANS to engage immediately, and (2)
corticotrophin releasing factor (CRF) is produced in one of the hypothalamic nuclei. CRF accumulates very rapidly in the capillary bed above the anterior lobe, then drains into the lobe and triggers the release of adrenocorticotrophic hormone (ACTH) into the lobe's capillary bed and on to general cir culation. When it attaches to its receptor sites on the cortex of the adrenal glands, the adrenal glands secrete the hor mone cortisol into the bloodstream. Cortisol has receptor
sites on many organs and systems throughout the body. It
downward from their cell bodies in the right and left cere
side of the body enters the left side of the spinal column,
crosses to the right side of the medulla, and eventually is processed by the right hemisphere's sensory cortex. The brainstem is the initial processor of all sensory and motor
signals for the head (read about cranial nerves later). Most of the rest of the body is initially processed through the spinal cord. human
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The reticular formation (Latin: reticulum = net) is part
of the brainstem core (see Figure I-3-22). The ascending
reticular activating system (ARAS) is a prominent neuron network that triggers waking-sleeping, alert arousal, and conscious attention to the surrounding environment-all necessary for survival. A prominent part of this network is
a nucleus called the locus coeruleus. It sends networks of projections to nearly every part of the brain.
ing and singing pass through its network of neurons (Davis, et al., 1996). The Cerebellum (Latin: little brain). The cerebellum plays a massive role in all motor functions and in motor learning. It is especially involved in high-speed, intricately timed, complex motor skills such as singing, talking and playing a musical instrument (Ito, 1984; Raymond, et al., 1996). It is located behind the brainstem at the rear base of the brain (see Figure I-3-6) and is divided into left and right lateral hemispheres. It has direct or indirect connections with nearly every part of the CNS. It is made up of: 1. a gray-matter cortex of neuronal cell bodies; 2. their white-matter myelinated axons; and 3. several deep, gray-matter nuclei. The lateral hemispheres of the cerebellum are major parts of the massive neural loop from several regions within the cerebral cortex to the cerebellum and then back to the motor areas of cerebral cortex. The cerebellum also re ceives projections from every one of the sensory areas. They are used to activate automatic reflexive movement, plan vol untary movement, and to make high-speed motor adjust ments during ongoing movement. The cerebellar cortex
has detailed sensory input maps of the skin and body, in cluding input on head position (body alignment and bal Figure I-3-22:
Illustration of the brain-wide, "net-like" projections
ascending reticular activating system.
Westmoreland BF:
of the
[From Daube JR, Reagan TJ, Sandok BA,
Medical Neurosciences, Rochester, Minnesota, Mayo
Medical School Foundation, 1986.
By permission of the Mayo Foundation.]
The brainstem is a major relay area for the sensorimo
tor coordinations of voice production. Medullary inspira tory neurons are clustered in several areas of the medulla,
ance) and the details of muscle contraction and release. For instance, visual, auditory, and kinesthetic input participates in high-speed reflex motor reactions to threatening sights, sounds, and sensations. The cerebellar cortex has three layers of intercon nected neurons: 1. the outermost layer;
Neurons in the
2. a single layer of about 15 million very large, dis tinctively designed and myelinated cells called Purkinje cells, each one receiving over 200,000 synaptic connections, for a total of about 3 billion synapses in this one layer (Thomp son, 1993, p. 282);
periaqueductal gray (PAG) area of the midbrain can play a powerful role in easing pain sensation throughout the
3. the deep nuclei layer of some 10 billion neurons (Nolte, 1994, pp. 342, 343).
and they are activated by inherent pacemaker neurons to initiate involuntary tidal breathing (see Book II, Chapter 5). Either the same or other neurons are entrained by prefron tal and motor cortex for the voluntary breathing that is necessary for speaking and singing.
body. Motor and sensory neurons of the larynx also syn apse within the PAG (Bandler et al., 1996). Within the me dulla, the nucleus ambiguus is the point of initiation for reflexive or survival vocal sound-making, and the cerebral signaling for consciously initiated or learned habitual speak 48
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Clearly, there is massive dendritic and synaptic inter facing within the cerebellar cortex. Its only external output is through axons of its Purkinje cells that connect to the
deep nuclei of the cerebellum. The deep nuclei are inter
connected by massive reentry with the cerebellar cortex
through the right and left interposed nuclei that adjust the
before its axons extend out of the cerebellum to make im mense reentry connections with the thalamus, amygdala, hippocampus, the basal ganglia, motor areas of the cere bral cortex, the many sensory and motor nuclei within the brainstem (such as the vestibular and cochlear nuclei), and
ebellum is involved extensively in:
ongoing movement. These actions take place outside con scious awareness unless the conscious attention parts of the cerebral cortex engage to control the movements with con scious controls. But then, many more neural processings must become involved, requiring more time, and the ad justments are likely to be too late to help. Blood supply. The more intensely neuron groups activate to carry out sensory processing, internal process
1. muscle tone throughout the body; 2. instantaneous adjustments of the balance and align ment of the body as environmental terrain is experienced within Earth's gravitational field; 3. initial, conscious motor learning of timed, sequen tial voluntary movement (slower firing patterns) and in memory formation for such motor patterns; 4. refining and "smoothing" repeated voluntary mo
ing, and behavioral expression, the more they use the oxy gen and glucose supplies that are available to them. In particular, the rate of oxygen and glucose use during fo cused, intense, detailed, analytic processing is considerable, so adequate and immediate resupply is crucial to optimal brain function. That resupply is delivered by the circula tory system's blood. When processing activates in a par ticular brain region, arteries that supply that region expand
tor coordinations—especially those that require high-speed, intricate, precisely timed, motor coordinations (higher speed firing patterns); 5. "converting" consciously learned movement pat terns to automatic, habitual movement patterns that then can be initiated almost entirely outside conscious aware ness. 6. some non-motor cognitive processes (Raymond et al., 1996).
and blood flow is increased for immediate resupply. Fortunately, the CNS has a rich and highly diffuse arterial and venous blood supply, but especially so in the brain. The brain has hundreds of miles of blood vessels. It is only about 2°/o of body weight, but receives about 15°/o of the body's blood supply, and brain tissues receive ten times more blood than muscle tissue (Vander, et al., 1994, p. 229). In spite of that rich blood supply, many of a body's bio chemicals and other substances cannot enter the brain
the spinal cord. With its extraordinary processing capacity, the cer
The speed of cerebellar motor processing is illustrated
by the fact that one of its paired deep nuclei, the dentate nuclei, interface with the lateral hemispheres to heavily in fluence the planning and programming of high-speed, highskill movement that eventually can occur outside conscious
awareness. The premotor cortex sends the initial motor plans to the cerebellum (and other subcortical motor se quencing areas), the cerebellum then processes its contri butions to the plans and sends them from the dentate nucleus back to the premotor and motor cortices for execution. The neurons of the dentate nucleus, therefore, activate just mi
croseconds before the motor cortex activates the final ex ecution signals down the brainstem to the cranial and spi nal motor nerves. The two cerebellar intermediate zones can compare the signals from the motor cortex with the current location and speed of moving body parts and then activate signals
Figure I-3-23:
A drawing that represents the blood-brain barrier around a
capillary within the brain.
All blood vessels in the brain are surrounded by fatty
tissue that prevents most substances from entering the brain. [From: THE BRAIN,
2nd Ed., by Thompson. Copyright ©1993, W.H. Freeman and Company. Used with permission.]
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because they would interfere with or be toxic to brain cells. The blood-brain barrier prevents most substances from entering the brain. Glial cells called astrocytes form a fatty
shield around all of the blood vessels in the brain (see Fig ure I-3-23). If a substance is fat soluble, it will likely be absorbed into the brain. If a substance is not fat soluble, it will be prevented from entering the brain.
Major Anatomic and Functional Components of the Spinal Cord The central core of the spinal cord is largely butterfly shaped, and is made up of gray matter sensory cell bodies
Figure I-3-24:
that project axons to the brain (see Figures I-3-24 and 25). The core is surrounded by white matter motor axons that extend downward from the brain. The spinal cord is con tinuous with the brainstem and protected by a central core within the vertebrae that make up the spinal column (Latin: spina = backbone). The spinal column has 7 cervical ver tebrae (neck), 12 thoracic vertebrae (upper and middle back), 5 lumbar vertebrae (lower back), and 5 sacral ver tebrae (just above the tailbone). Several small vertebral elements appear to be fused together just below the sacral vertebrae to form the coccyx or tailbone. The lower termi nal end of the spinal cord is in the sacral area of the spinal column.
The spinal column, spinal cord, and spinal nerves. (A) shows the relative sizes of different areas of the spinal cord and the relationship of unmyelinated
cell bodies and interneurons (gray matter) to myelinated axons (white matter). (B) shows a rear view of the brain and spinal cord. The cervical and lumbar
enlargements reflect the greater number of neurons needed to innervate the upper and lower limbs—arms/hands and legs/feet respectively. (C) roughly shows how the spinal peripheral nerves extend from the spinal cord. Note that there are seven cervical vertebrae but eight cervical nerves. [From Kandel, Schwartz, &
Jessell (Eds.), (©1991), Principles ofNeural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.)
50 bodymind & voice
Motor nerve tracts from the brain synapse at each vertebral level with the motor neurons of the spinal nerves which branch out between the vertebrae to form the spinal
2. the autonomic division, consisting of the sympa thetic, parasympathetic, and enteric subdivisions.
nerves ofthe peripheral nervous system (PNS). Motor nerves of the PNS innervate all skeletal muscles below the head. PNS sensory nerves from skin surfaces, and skeletal muscles below the head, enter the spinal cord between the verte brae. Most of the PNS sensory nerves synapse with cell bodies of sensory tracts within the spinal cord, and they eventually transmit signals to many areas ofthe CNS. Rapid response motor reflexes, however, such as withdrawal of arm-hand after touching a very hot surface involves only fast-action loops between the peripheral sensory nerves and the peripheral motor nerves of the PNS. While the relays are located in the right and left sides ofthe spinal cord, the CNS is not involved in the processing at all. Autonomic nervous system tracts also extend through and out of the spinal column (described later).
The Somatic PNS The somatic division of the PNS (S-PNS) provides motor and sensory innervation between the CNS and the
The Peripheral Nervous System (PNS) The PNS is made up of sensory and motor neurons that are extensions of the CNS. They innervate the whole body and process all senses and all motor coordinations. There are two basic divisions ofthe PNS: 1. the somatic division, consisting of spinal and cra nial nerves; and
periphery of the body. The PNS spinal nerves enter and
leave the left and right sides of each vertebrae of the spinal
column (see Figure I-3-24 and 25). The spinal nerves are paired collections of myelinated axons. The motor (effec tor) nerves branch outward from anterior (ventral) roots of the spinal cord and the sensor (affector) nerves enter at pos terior (dorsal) roots of the spinal cord. The eight paired cervical spinal nerves provide sensory and motor innerva tion for the neck and upper limbs; the 12 thoracic spinal nerves provide sensory and motor innervation for the chest cavity; the 5 lumbar spinal nerves provide sensory and motor innervation for some ofthe abdominal viscera, nearly
all of the abdominal muscles, and some upper muscles of the legs; the 5 sacral spinal nerves provide sensory and motor innervation for the lower limbs; the one coccygeal spinal nerve provides sensory and motor innervation for
the gonadal region. As they progress away from the spinal column, motor axons branch out to innervate skeletal muscles that are near their individual paths. The spinal sensory nerves innervate the skin, muscles, ligaments, and some internal organs that are located below the neck. The branched endpoint sensory terminals form into a long dendrite that extends to their neuronal cell bod ies. The cell bodies of the spinal sensory nerves are col lected into a root ganglion that is located just outside the spinal cord. The axons of the spinal sensory nerves then extend from the cell body into the spinal cord (see the sen sory neuron in Figure I-3-1). There are two basic types of spinal motor nerves: (1) those that deliver the final signaling to muscle fibers that make up whole muscles that make up muscle groups that move skeletal parts; and (2) spinal reflex motor nerves. The signaling within the spinal reflex nerves does not come from
Figure I-3-25: Reflex motor reactions that are triggered by stimulation of sensory receptors in the skin or muscle.
[From: THE BRAIN, 2nd Ed., by Thompson.
the brain. A high speed, automatic reflex loop is formed with paired sensory nerves from skin and muscles. Stimu lation of the reflex sensory nerves triggers the motor re sponse completely at the spinal level. The knee-jerk test that a doctor performs in a physical exam is an example of
Copyright ©1993, W.H. Freeman and Company. Used with permission.]
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a stretch reflex, and jerking your finger away from a hot stove is an example of a flexion reflex (Thompson, 1993, pp. 273-275).
tion for various organs and motor innervation for various muscles of the torso. Branches of the vagus provide motor and sensory innervation for the larynx and its vocal folds.
There are 12 pairs of cranial nerves (see Figure I-3-
Other cranial nerves that are prominently involved in speak
26). All of the cranial nerves except one—the olfactory
ing and singing coordinations are the trigeminal, facial,
nerve—extend out of the midbrain, pons, or medulla ob longata areas of the brainstem and project to their target
vestibulochoclear, glossopharyngeal, and hypoglossal nerves. The optic, oculomotor, trochlear, and abducens nerves are involved during reading and singing at sight.
organs (see Table I-3-2). Ten of the cranial nerves provide sensory and motor innervation for the head and neck, one
provides the sense of smell, and the other provides motor
and sensory innervation in parts of the head and neck and
extensive innervation within the torso of the body. Just above the central bony roof of the right and left nasal cavities, the paired right and left olfactory nerves (paired cranial nerve I) extend downward from the brain's olfac tory bulbs. They penetrate through the roof and into the right and left nasal cavities where their receptors are ex posed to inhaled air. The receptors have an affinity for certain chemical components within the air that are gener
ally referred to as pheromones. When pheromones stimu late the receptors, olfactory processing areas in the brain
produce a perception of odor and aroma. The paired tenth cranial nerves—the vagus (Latin: wandering)—extends well into the torso and branches ex tensively to provide widespread interoceptive sensation from various internal organs. It also provides effector innerva
The Autonomic PNS There are three anatomic and functional subdivisions of the autonomic division of the PNS (the A-PNS): 1. sympathetic; 2. parasympathetic; and 3. enteric. The most general function of the A-PNS is to main tain an optimal, homeostatic status in the visceral organs of
the body, such as the heart, lungs, larynx, liver, kidneys, adrenal glands, stomach, intestines, and various eliminative organs (see Figure I-3-27). Its three subdivisions provide distinct counterbalancing influences on those target organs.
Figure I-3-26: Front and side views of the brainstem origins of the cranial nerves. [From Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
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Table I-3-2. Innervation by the Cranial Nerves Nerve Number and Name
What It Innervates
Function
I.
Olfactory
Upper area of the nasal cavity
Smell
II.
Optic
Eye retina to brainstem
Visual sense
III.
Oculomotor
Eye muscles
Eye movement
IV.
Trochlear
One muscle of the eyes
Eye movement
V.
Trigeminal
Sensory: Eyes, face, scalp, teeth, mouth, nasal cavity, & jaw to cerebral cortex, cerebellum, and reticular formation
Kinesthetic sensation
Motor: Jaw movement
Mastication, speech
VI.
Abducens
One muscle of the eyes
Lateral eye movement
VII.
Facial
Sensory: Outer ear, taste buds of palate and anterior two-thirds of tongue
taste
Motor: Face, scalp, stapedius muscle in middle ear
Kinesthetic sensation,
facial expression, moderate effects of sound intensity on inner ear
VIII.
IX.
X.
Vestibulocochlear
Glossopharyngeal
Vagus
Sensory: Both ears and vestibular system to brainstem
Auditory sense, sense of balance
Motor: Vestibular system
balance and alignment
Sensory: Outer ear, taste buds of posterior third of tongue, mucous membranes of nasal and oral pharynx and middle ear
Kinesthetic sensation in outer ear, upper throat, and middle ear
Motor: Stylopharyngeus muscle
Pharynx expansion
Sensory: Outer ear, taste buds of epiglottis, chest and abdominal viscera, mucous membranes of larynx and laryngopharynx
Kinesthetic sensation in outer ear, epiglottis, chest, and abdominal organs, membranes of larynx and laryngeal vestibule
Motor: Chest and abdominal viscera (autonomic), larynx and * pharynx
Autonomic nervous system reaction in chest and abdominal viscera, motor coordinations of larynx and pharynx
XI.
Accessory
Sternocleidomastoid muscle
Neck and head bracing
XII.
Hypoglossal
Tongue muscles
Tongue movement
* Some anatomists describe cranial nerve motor innervation of larynx and pharynx as arising from the root of cranial nerve XI, the spinal accessory nerve, and then joining the vagus nerve enroute to the larynx and pharynx (Nolte, 1994, p. 180; Webster, 1995, pp. 114, 115).
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The sympathetic subdivision, for instance, provides
an arousal influence when a bodymind needs to engage in
more vigorous action. Its activation increases the rate of heartbeat to pump more blood to the rest of the body to deliver energy-producing resources. The parasympathetic subdivision, however, provides influences that are nearly
always opposite to the influences of the sympathetic subdi vision. When a bodymind no longer needs to engage in vigorous action, the parasympathetic subdivision activates to decrease the heart rate. These counterbalancing influ ences are referred to as autonomic tone. The autonomic PNS was so named because, for centu ries, Western physiologists assumed its functions were au tomatic and beyond conscious control. Just after the mid20th century, scientists verified that practitioners of several Eastern monastic religions were able to bring many auto nomic functions under conscious, voluntary control. Be havioral responses that are initiated by the ANS, therefore, can be changed by cortical processes that are referred to as a learned ability. The A-PNS has specific anatomic and physiologic characteristics that set it apart from other functions of the nervous system. It is subject to CNS control through its connection with the diencephalon's hypothalamus and pi tuitary body and particular nuclei within the brainstem's medulla oblongata. Those brainstem nuclei project axons into various cranial nerves, especially the vagus and the glossopharyngeal nerves that relate to vocal expression. Sympathetic subdivision. Effector neurons of this subdivision extend their axons from their CNS nuclei down the spinal cord. They project directly out of the spinal cord along with various thoracic and lumbar spinal nerves. Their first synapse is with the sympathetic ganglia that are lo cated just to the left and right of the spinal column. The cell bodies in these ganglia then send their axons to their vari ous target organs (see Figure I-3-27). When the CNS perceives threat or potential threat to its bodymind, the sympathetic subdivision of the A-PNS participates significantly in a bodywide physio chemical and behavioral reaction. It cooperates with the endocrine sys tem to increase metabolic energy production in muscles so that, when facing threat, a bodymind automatically engages
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the so-called fight, flight, or freeze response (Chapters 4 and 8 have more details): 1. stand and fight; or 2. escape by flight; or 3. freeze or become less mobile. Parasympathetic subdivision. Effector neurons of this subdivision extend their axons from their midbrain and brainstem nuclei, but they project directly out of the
spinal cord at two widely separated locations. Their first synapse is with parasympathetic ganglia that are located near their target organs. Most of the parasympathetic axons travel with four of the cranial nerves to their ganglia (III— oculomotor, VII-facial, IX-glossopharyngeal, and X-vagus). The remainder project from the spinal cord at the sacral projections (see Figure I-3-27). After a perceived threat has subsided, the parasympa thetic component of the A-PNS cooperates with the endo crine system to counter the fight-flight-freeze response by restoring affected organs toward normalization, thus en abling biochemical resupply, cellular repair, and neuropsychobiological "regrouping"—a restoration re sponse. Both sympathetic and parasympathetic functions affect immune system function, therefore general health [Chapters 4 and 5 have more details, as do Book III, Chap
ters 2, 8, and 13, and voice function, Book II, Chapter 7.]
Enteric subdivision. Essentially, the enteric compo nent of the A-PNS is self-contained within the digestive tract and is substantially independent of the CNS and the sympathetic and parasympathetic subdivisions of the PNS. It sometimes is referred to as the enteric nervous system (ENS). It provides internal innervation for the esophagus, stomach, the large and small intestines, the rectum, the pan creas, and the gall bladder. Sensory functions include ki nesthetic sensations of tension in the walls of the gastrointes tinal tract and the nature of the chemical constitution within the tract. When conditions warrant, the ENS can be regu lated and modulated by its connections with the sympa thetic and parasympathetic subdivisions of the PNS, and by their CNS connections. Under literal or potential threat conditions, and during post-threat normalization, sympa
thetic and parasympathetic innervation overrides indepen dent enteric activity.
different organs and systems of the body, such as skin, liver,
nerve, antibodies, and so on. The variety of functions carried out by all the organs and systems create the syner gistic "life-ecology" of whole bodyminds. When male sperm and female egg cells conjoin, one half of each DNA spiral ribbon joins to create a new DNA ribbon within one new cell. The cell divides into two and they become four, eight, 16, 32, and so on, and each cell contains the same genome. Combinations of genes in many cell types produce sheets and "orbs" of cells, and the cells divide, migrate, adhere, differentiate and die in the monu mental process of building a complete human body with multiple trillions of cells. As enough cell sheets and orbs are formed, they must go to the specific locations where the formation of various organs and systems takes place, and, as a consequence, the overall shape of species-specific components begins to emerge (Edelman, 1988). How do they know where to go and how do they get there? Certain specialized molecules— called morphoregulatory molecules, produced by some of the genes within cells—cause cells and cell sheets to ad here to one another. Other morphoregulatory molecules
Figure I-3-27:
The sympathetic and parasympathetic subdivisions of the human
autonomic peripheral nervous system.
The sympathetic system is shown on
the left, and the parasympathetic system on the right.
names of sympathetic ganglia are:
Abbreviations for the
scg = superior cervical ganglion; mcg =
middle cervical ganglion; icg = inferior cervical ganglion; cg = celiac ganglion;
smg = superior mesenteric ganglion; img = inferior mesenteric ganglion.
regulate cell group migration, and others cause additional adherings to other cell groups. Diversity in the physical makeup of human beings is not just because of genetic processes. They also are due to fluctuations in the morphoregulatory chemistry that deter
mines the location and shape of cell groups, organs, and systems. There is a kind of matching affinity among morphoregulatory molecules that ensures the linking of
The
letters T, L, and S refer to the thoracic, lumbar, and sacral spinal segments, respectively. [From: THE BRAIN, 2nd Ed., by Thompson. Copyright ©1993, W.H.
Freeman and Company. Used with permission.]
Growth and Development of the Nervous System The nucleus of every cell in a human body contains a
spiral ribbon of deoxyribonucleic acid (DNA)-the human genome. Segments of DNA constitute the genetic material that generates protein combinations that form the constitu ent parts of the body's cells. Varieties in the genetic coding generate the trillions of cells of different types, shapes, and functions. The various cell types combine to make up the
certain cell groups to other cell groups. Timing is a factor as well. Certain developmental events must take place in particular locations before others can proceed. These "placing events", called topobiology (from Greek: topos = place), are not directly controlled by genetic expression, but by the epigenetic matching and timing events that determine the location of cell sheets and orbs, forma tion of organs, and so forth. Growth factor molecules in fluence additional place-dependent mechanisms as well as
the overall dimensions of cell groups and organs-even gen eral body dimensions (Edelman, 1988). These genetic and epigenetic processes also determine how the brain is formed into its cortical layers and special ized processing networks, and how the initial local maps human
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are formed and connected. For example, during early ges tation, when cortical neurons are formed, they migrate to the cortical plate and form into the layers of the cerebral cortex. The neurons that arrive first, form the lowest layers,
processing all auditory experiences including language and
and later neurons pass through the lower layers to form the
The inner ear is structurally equivalent to that of an adult
upper layers. A very basic array of synaptic circuits and
result from genetic and/or epigenetic disturbances during fetal development.
by the 20th week of womb life, and the auditory nerve is fully functioning by about the 24th to the 26th weeks. The threshold at which a pregnant mother's vocal sound becomes audible to her unborn baby is a duration of about 300 milliseconds and a decibel level of about 40 (a firm whisper is about 35dB). In order to be audible by a fetal baby, outside the womb sounds must achieve a threshold of about 60dB-normal conversational talking (see Table I-6-1). Emotive response and learning occur during fetal life. During the final two months of womb life, brain growth is increasing at a phenomenal rate. Normal late-term and newborn babies are very sophisticated learners, and are extremely sensitive emotionally. Their other-than-conscious processing capacity is much more developed than has been
By the fifth month of womb life, all the brain neurons that a human being will ever have are present. The number
priate prenatal and early childhood interactions and learn
maps also are formed so that initial functioning is enabled. These initial formations and mappings determine the initial
processing capability of brains—a primary repertoire of neuronal groups, according to Edelman (1988, 1989, 1992).
Disturbance or alteration of genetic and epigenetic processing can result in alterations, misplacements, and mal formations in a body's physical makeup, with lifelong con sequences to internal physio chemical processing. Fetal al cohol syndrome, cancers, Down's syndrome, dwarfism, crack babies, so-called birth defects, and legitimate cases of atten tion deficit disorder are but some of the conditions that may
is estimated to be about 200 billion (Personal communica tion, Susan Ludington, Ph.D., former Dean, School of Nurs
ing, University of California-Los Angeles). This number is considerably reduced before and following birth as neuron networks are pared for increased efficiency. Epigenetic physio chemical events and experiential processing selec tively prune the available neurons within the many neu ronal networks. For instance, sensorimotor neurons that have not been activated by sensorimotor experiences are the most likely candidates for cell death and removal from the body. Most perinatal specialists appear to agree that appro priate prenatal and infant stimulation increases the prob ability that those neurons that have been sufficiently acti vated will be retained. For instance, if a fetal baby fre quently hears Western orchestral music (very complex tonal input through the auditory processors of ear and brain)— especially if mother has pleasant feelings during the experi
ence—an array of neurons in the auditory cortex of the brain will be recruited to process the experience along with the ones that process pleasant feelings. Presumably, that increases the likelihood that more neurons in the auditory and "feeling" systems will be retained and be available for 56
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musical sounds.
All of the senses are functioning at least by sometime during the second trimester (Book IV Chapter 1 has details).
assumed in the past. Safe, emotionally secure, and appro ing are the cornerstones of everyone's future (Book IV, Chap ter 1 has details). At birth only about 25°/o of the brain's eventual weight and about one-third of its volume are present (to enable passage of baby's head through the birth canal). Following birth, existing neural material continues its astounding growth and complexity. In infant brains—largely as a result of sensory and motor interaction with people, places, things, and events in the outside world—gradual increases occur in: 1. the thickness and length of neurons (Dobbing & Sand, 1974); 2. the number of dendritic trees and the density of synaptic interconnections (Huttenlocher, 1994); 3. the rate and extent of myelinization (Nolte, 1993, p. 14; Yakovlev & LeCours, 1967); and 4. the gradual display of higher-level cognitive ca
pacities as synaptogenesis and neuron myelinization pro ceed over the life-span—especially in the frontal lobes (Dawson & Fischer, 1994; Neville, 1991).
While our primary repertoire of neuronal networks is formed by genetic and epigenetic events during prenatal gestation, our secondary repertoire of neuronal networks
is formed by the lifelong elaboration and variation of syn
Conclusion
aptic interconnections in response to experience, a process
called plasticity (Edelman, 1989, p. 46; Greenough & Black, 1992; Huttenlocher, 1994). Myelin sheaths are grown around most neurons of the nervous system to form a kind of in sulation that enhances the speed and precision with which
nerve impulses are conducted. Myelinization occurs dur ing approximately the first 20 years following birth. At birth comparatively few neurons are myelinated. The mo tor nerves are myelinated out to the limb extremities by
about age four years (Luria, 1973), and corticospinal motor nerves continue growing in size and myelinization until at
least age 17 years (Paus, et al., 1999). That is one reason for a gradual increase in the speed, accuracy, and "smoothness" of physical coordination in children as they grow older. Axonal myelinization and diameter increases also are re lated to the effectiveness of many other bodymind pro cesses that result in maturing self-mastery: memory, lan guage development, creative problem solving, and decision making (Musiek, et al., 1984; Yakovlev & Lecours, 1967). Thatcher (1994) has assembled evidence that "...the organization of differentiation and integration of intracortical
connections during postnatal development..." occurs in ana tomical cycles with phase transition growth spurts "nested" within them. The anatomic-physiologic changes that occur during the cycles involve (1) increased axonal and dendritic sprouting, (2) increased numbers of synaptic terminals, (3) increased synaptogenesis, (4) pruning of synaptic connec tions, (5) production of neurotransmitters and their recep tor sites, (6) increased connection strengths in existing syn apses, and (7) myelinization. These changes occur in vari ous brain regions that process ongoing experience, but the
The nervous system is interfaced with every system and organ of the body. The brain's peptides, for instance, can be released into the circulatory system—mostly through
the pituitary gland—to travel to and attach with their matched receptors in the cells that make up various organs and systems throughout the body. These transmitter mol ecules pass through cell walls and initiate intracellular reac tions that influence the characteristic function of the organ or system of which the cells are a part. The organ or sys tem, in turn, influences the general life-ecology ofthe whole body. The cells of the organs-systems also manufacture transmitter molecules that can travel to the brain and influ ence the interactions of its neural networks. When we learn, there is a change in the way the brain is physically formed—in its biochemistry, in its physiol ogy, and in its interaction with the organs and systems of the rest of our bodies. The brain is the primary organ of learning.
References and Selected Bibliography Primary General Sources Dawson, G., & Fischer, K.W. (Eds.) (1994). Human Behavior and the Developing Brain. New York: Guilford.
Edelman, G.M. (1989). The Remembered Present: A Biological Theory of Conscious ness. New York: Basic Books.
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Kandel, E.R., Schwartz, J.H., & Jessell, T.M. (Eds.). (1991). Principles of Neural Science (3rd Ed.). Stamford, CT: Appleton and Lange.
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Miller, B.L., & Cummings, J.L. (Eds.) (1998). The Human Frontal Lobes. New
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Fischer and Rose (1996) have extended the work of Thatcher and others, and have assembled a comprehensive cognitive-emotional-behavioral-brain theory of human capability and ability development (See Chapter 8 for de
tails). These developmental cycles are related to measured
Nolte, J. (1993). The Human Brain: An Introduction to Its Functional Anatomy (3rd Ed.). St Louis: Mosby.
Strand, F.L. (1998). Neuropeptides: Regulators of Physiological Processes. Cambridge, MA: MIT Press. Thompson, R.F. (1993). The Brain: A Neuroscience Primer (2nd Ed.). New York:
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Fuster, J.M. (1996). The Prefrontal Cortex: Anatomy, Physiology, and Neuropsychology of the Frontal Lobe (2nd Ed.). New York: Raven Press. Furness, J.B., & Costa, M. (1987). The Enteric Nervous System. Edinburgh, United
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chapter 4
the human endocrine system Leon Thurman
he nervous system is the most pervasive signaling
T
Basic Parts and Processes of the Endocrine System
system in the whole body but the endocrine sys tem is in second place. It is highly and intricately interfaced with the nervous and immune systems, and has Some bodily organs have a glandular structure. They contribute to the growth and metabolic ecology of the whole regulatory and modulatory effects on nearly all bodywide body when their cells manufacture and secrete biochemi processes (Becker, et al., 1992), including physical growth cal substances in fluid form. Exocrine glands (Greek: ex = and psychosocial behavior. It affects the dimensional con outside; krine = secretion) secrete biochemical mixtures onto figuration of the body and its parts, such as the respiratory a surface of the body that is exposed to the outside world, system, the larynx and its vocal folds, and the vocal tract sweat, tears, and mucus, for instance. The biochemical mix (Sataloff, et al., 1997). The endocrine system is actively in tures that are secreted by endocrine glands (Greek: endon volved when anyone is apprehensive or fearful about speak = within, internal; krine = secretion) remain inside the body. ing or singing in front of other people, or when someone Many endocrine gland molecules that are mixed into se experiences the near ecstasy of a peak musical moment. It creted fluid can influence the processing of other cells, or also is involved in the formation of memories when we gans, and systems of the body, often at considerable dis have unpleasant or pleasant experiences. tance from their point of secretion. Looking at the endocrine system's big picture, it is ex tensively involved in such general physio chemical processes as: 1. cell/organ metabolism; 2. bodymind energy production, restoration, and bal
ance (homeostasis), including circadian and ultradian cycles; 3. feeling/emotional state; 4. cognitive capability; 5. bodily growth and regeneration; 6. immune function; and 7. sexual function and reproduction.
Embedded on the surface of the membranes that en close all cells of the body, there are extremely tiny protein
molecules that have particular chemical structures. When molecules that have been secreted by other cells arrive on or near a cell's surface, and some of the arriving molecules have a specifically related chemical structure, then the two molecules are said to have a chemical affinity for each other. When affinity is present between arriving molecules and
membrane-embedded molecules, they attach or bind to each other. The arriving molecules are referred to as transmit ter molecules, and the molecules that are embedded on
endocrine
system
61
receptors.
The number of hormones that are produced for bind
Specificity is the term used to describe the exclusive affin ity between certain transmitter molecules and their recep
ing depend on such events as: 1. nervous system stimulation of an organ or organs
tors. After a binding, chemical elements of the arriving mol ecules pass through the cell membranes and into a cell's interior. Once that happens, a variety of reactions may occur that set in motion that cell's contribution to the ecol ogy of the host organ. If enough such bindings occur in
that produce and secrete the hormones; 2. stimulation of producing and secreting organs by
the same organ, then one of the organ's functions is acti
more receptors to receive the arriving hormone molecules
vated and the organ makes its contribution to the ecology
for which they have specific chemical affinity, then up regulation of the receptors has occurred. Receptor up regulation occurs when a low concentration of the hor
the cell surfaces are called receptor sites or
of the whole body. The endocrine system is made up of endocrine glands
that are not anatomically connected to each other, and are
widely distributed throughout the body (see Figure I-4-1). Yet, they interact functionally with each other and with all of the organs and systems of the body (see Table 1-4-1). The cells of endocrine organs secrete biochemical trans
mitter molecules called hormones (Greek: hormaien = to begin action). They are secreted directly into blood ves sels, usually tiny capillaries, that course next to or through the organs in which they are made. By way of the blood vessels, hormones join the circulating blood of the body and thus may be distributed throughout the whole body. Most of these same endocrine system transmitter molecules function as neurotransmitters when they are in the brain, and some function as immunotransmitters when they are secreted by and bind to cells of the immune system. Hormones, then, can bind with cells of any organ that has their receptors. The organs that contain the receptor sites for particular hormones are referred to as target or gans. When a sufficient number of transmitter molecules
other transmitter molecules that have bound with recep
tors on those organs. When a target organ produces and makes available
mone has bound with the organ's receptors over a span of time. Down-regulation of a hormone's receptor sites means that a target organ produces and makes available fewer re ceptors to receive the arriving hormone molecules with which they have specific chemical affinity. Down-regula tion occurs when a high concentration of the hormones has bound with an organ's receptors over a span of time.
have bound with a sufficient number of receptors, the func tion of the organ is either increased or decreased, depend ing upon which transmitter molecules have been received and how many.
Regulation and modulation of the functions of the many target organs of the endocrine system are carried out by a balance of two processes: 1. the number of hormones that bind with the target organ's receptors; and 2. the number of receptors on the organ's cell mem brane surfaces that are available for binding. Figure I-4-1: Major organs of the endocrine system. [From: THE BRAIN, 2nd Ed., by Thompson. Copyright@1993, W.H. Freeman and Company. Used with permission.]
62 bodymind & voice
Endocrine Hormones There are three chemical classes of endocrine hormones:
1. the amines; 2. the peptides; and 3. the steroids. The amine hormones. These hormones are derived
from tyrosine, one of the amino acids that are the building blocks from which proteins are made. The most promi nent amine hormones are (see Table I-4-1): 1. the thyroid hormones; 2. epinephrine and norepinephrine; and 3. dopamine.
refer to all such hormones as peptides. Many peptides func tion both as hormones of the endocrine system and as neuromodulators in neurons ofthe nervous system (Strand, 1998). Because ofthe blood-brain barrier, however, many of the hormones cannot gain access to the brain—only the
fat-soluble ones can (Chapter 3 has some details). Among the better known peptide hormones is β-endorphin (Davis, 1984). It is synthesized in the hypothala mus and released from the anterior pituitary. It is one of a class of transmitter molecules, referred to as endomorphines or opioids, that modulate pain transmission. Its analgesic or pain-relief effect is well known, and there is evidence that it is involved in producing pleasant feeling and eu phoric states in bodyminds. Known receptor sites for β-
Thyroid hormones are secreted by the thyroid gland
which is located at the base of the larynx's thyroid carti lage. They affect nearly every tissue in the whole body because they are a major regulator of metabolic rate, physi cal growth, and brain development and function (Vander, et al., 1994, p. 274). Insufficient thyroid secretion—hypothy roidism—can produce chronic fatigue and various tissue changes. With longer-standing hypothyroidism, a gel-like protein typically forms in the vocal folds, stiffening them,
and results in diminished vocal capabilities (see Book III, Chapter 4). Excess thyroid secretion—hyperthyroidism results in faster heartbeat rates, higher metabolic rate, higher
blood pressure, and excess "behavioral energy". The medulla area of the adrenal gland secretes epi
nephrine and norepinephrine. Their more popularized names are adrenaline and noradrenaline, the terms were origi nated by early British researchers. Both hormones activate physio chemical responses that are similar to the actions of the sympathetic nerves during stress reaction, that is, arousal of body-energy processes and increased alertness. Dopam ine is not a significant hormone in the endocrine system, but does trigger the release ofthe hormone prolactin in the anterior pituitary (see Table I-4-1). When they are pro cessed inside the brain, these three biochemicals are impor tant as neurotransmitters (see Chapter 3). The peptide hormones. By far, most hormones are peptides, that is, relatively small chains of less than 50 amino acid units. Other hormones in this class are proteins (50 or more amino acid units) with a carbohydrate chain attached, and are named glycoproteins. Endocrinologists commonly
endorphin, outside the brain, include the intestines, stom ach, and esophagus. It likely participates in the gut reac tions that are detected by sensory neurons of the vagus nerve when pleasant or euphoric feelings are experienced. The steroid hormones. These hormones are deriva tions from cholesterol and are involved in stress reactions (described later) and sexual functions. They are produced in the adrenal cortex, the gonads (ovaries in females and the testes in males), and in the placenta during pregnancy. The two most prominent steroid hormones produced in the adrenal cortex are aldosterone (a mineralocorticoid due to effects on metabolism of such minerals as sodium and potassium), and cortisol (a glucocorticoid due to ef fects on glucose metabolism). The androgen steroid hormones are produced by the
ovaries and the testes. The ovaries primarily produce es
tradiol and progesterone. The testes primarily produce tes tosterone. Actually, both of the androgen hormones are produced in both sexes, with males having a clear promi nence of testosterone and a prominence of estradiol is pro duced in females. A Brief Sampling of Endocrine System Functions The most pervasive endocrine influences on human behavior come from the hypothalamus and its extension, the pituitary body. The hypothalamus receives input from virtually all brain areas including all sensory receiving ar
eas of the body and brain. These input signals are inte
grated with various processes of the brainstem,
endocrine
limbic
system
63
Table I-4-1. The Glands of the Endocrine System, the Major Hormones They Secrete, and the Major Function(s) They Regulate and Modulate Gland
Major Hormone(s)
Major Function Regulated and Modulated
Anterior Pituitary
Growth Hmn, GH Thyroid-stimulating Hmn, TSH Adrenocorticotropic Hmn, ACTH Prolactin Follicle-stimulating Hmn, FSH
growth, organ metabolism thyroid gland, general metabolism adrenal cortex breast milk gonads, gamete production, sex hormone synthesis gonads, gamete production, sex hormone synthesis analgesia
Leutinizing Hmn, LH Beta-endorphin
milk secretion, uterine motility
Posterior Pituitary
Oxytocin Antidiuretic Hmn, ADH (vasopressin)
water excretion
Adrenal
Cortisol Androgens Aldosterone
organic metabolism, stress reaction growth; sexual activity in women sodium and potassium excretion
Adrenal Medulla
Epinephrine Norepinephrine Opioids
organ metabolism, cardiovascular function, stress reaction blockage of pain transmission
Thyroid
Thyroxine (T4) Triiodothyronine (T3)
energy metabolism, body growth
Cortex
Calcitonin Parathyroids
Parathyroid Hmn, PTH
plasma calcium and phosphate
Estrogens & Progesterone Testosterone
reproductive system, growth and development reproductive system, growth and development
Insulin Glucagon
organic metabolism, plasma glucose
Gonads: ovaries testes
Pancreas
Somatostatin
Kidneys
Renin Erythropoietin, ESF 1,25-Dihydroxy vitamin D3
adrenal cortex, blood pressure red blood cell production calcium balance
Gastro intestinal
Gastrin Secretin Cholesystokinin Gastric inhibitory peptide
gastrointestinal tract, liver, pancreas, gallbladder
Tract
Somatostatin Thymus
Thymus hormone (thymosin)
lymphocyte development
Pineal
Melatonin
sleep-wake cycle, sexual maturity(?)
system, and cerebral cortex. The hypothalamus is made up of many neuronal nuclei . Collectively, they receive afferent input about:
2. the external environment by way of the exterocep tive senses.
1. the internal state of the body from the interoceptive
When nervous system and/or hormone input is re
senses and the bodymind's transmitter molecule networks;
ceived, the hypothalamus responds by synthesizing bio-
and
chemical stimulators. The biochemical stimulators are de-
64
bodymind
&
voice
Figure I-4-2: Relation of the pituitary gland to the hypothalamus and other areas of the brain. [From Kandel, Schwartz, & Jessell (Eds.), (@1991), Principles of Neural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]
livered to the pituitary. The pituitary is divided into two important lobes, the anterior and posterior. The posterior pituitary lobe is made up of neurons, and the anterior lobe is glandular in construction (see Figures I-4-2 and I-3-21).
The pituitary has been described as the "master regulator"
of the endocrine system. Pituitary function, in turn, is modu
lated by multidirectional exchanges of transmitter molecules between the limbic-hypothalamic system, the other endo crine glands, and many organs and systems of the body. In response to hypothalamic stimulation, both lobes of the pituitary secrete recipes of needed transmitter mol ecules (usually hormones) into the bloodstream. These hormones regulate and modulate the organs of the endo crine system and other cellular and organic processes based on metabolic or other needs (see Table I-4-1). Some hor mones are produced and distributed at timed intervals in response to environmental events. For instance, the timing and amount of hormone secretion are influenced by tim ing of meals, intensity of exercise, sleep-awake times, dis tressful and eustressful demand, variations in year-round
outdoor temperatures, the amount of light versus dark, and gravitational variations to which human bodyminds are exposed. These factors and others play an important role
in normal human functioning, such as (1) the 28-day men strual cycle in women, (2) the approximately 24-hour circadian cycles (Latin: circa = around; dies = day) that are influenced by 24-hour light-dark cycles, and (3) the shorter than 24-hour ultradian cycles (Latin: ultra = above or less than; dies = a day). Ultradian cycles occur in alternating
intervals of 90 to 120 minutes versus about 20 to 30 min utes. They are manifested in (1) fluctuations of cortical function, autonomic tone, and hormonal secretions that (2) produce a longer period of physical and cognitive arousal versus a shorter period of lull and restoration (Lloyd & Rossi, 1992; Werntz, et al., 1982). Disruption of these cycles results in reduction of precision and speed in physi
cal coordinations, in cognitive sharpness, and a suscepti
bility to reduction of cognitive control of emotional be havior—sometimes referred to as social-emotional self-regula tion (Chapter 8 has some details).
endocrine
system
65
The Endocrine System During a Distress Reaction The Austrian physician Hans Selye, who lived most of
his life in Montreal, Canada, almost single-handedly popu larized the psychobiological meaning of the word stress. He defined psychobiological stress as any demand placed on the body. His ground-breaking research resulted in the
concept of the general adaptation syndrome. In this sec tion of this chapter, stress will be considered as a response to any distressful or potentially distressful experience, such as physical trauma, infection, shock, pain, intense exercise, decreased oxygen supply, longer-term exposure to cold or hot environmental temperatures, and any perception of lit eral or potential threat to emotional well being. An auto mobile accident, an argument with a friend, boarding an airplane, relocating to or even traveling to an unfamiliar location, meeting unfamiliar people, and so forth, involve distress. When distressful demand is experienced by a
bodymind's perceptual and value-emotive processing net works, a very high-speed reaction takes place in the ner
vous and endocrine systems. In less than one second, the brainstem's ascending reticular activating system activates
highly focused cognitive attention to the source(s) of the threat, the amygdala determines a degree of threat, the sym pathetic division of the autonomic peripheral nervous sys tem (A-PNS) is toned up, and the limbic-hypothalamicpituitary system and the adrenal glands are engaged to pro vide energy to muscles for the fight, flight or freeze re sponse (detailed in Chapter 2). When the threat is per
2. increased availability of norepinephrine at recep
tors of all sensory systems to heighten their responsive ness to the surrounding world; and 3. direct efferent stimulation of the adrenal gland's medulla to release into the bloodstream a flood of the stimu lant hormone epinephrine and a small amount of norepi nephrine (Rossi, 1993, pp. 72-74; Thompson, 1993, pp. 193204). When the sympathetic A-PNS axons that project to
the adrenal medulla leave the spinal cord, they do not syn apse in their celiac ganglia. They are the only sympathetic axons that project straight through the ganglia to their tar
get organ (see Figure II-3-27). Epinephrine and norepi nephrine enhance the sympathetic A-PNS reactions and
sustain them over several minutes. Specifically, the com bined effects of the sympathetic A-PNS motor neurons and the adrenal medulla's powerful "uppers" are (Thompson,
1993, p. 196; Vander, et al., 1994, p. 753): 1. increased heartbeat rate; 2. raised blood pressure; 3. raised respiration rate; 4. increased availability of glucose and other meta bolic materials; 5. constriction of blood vessels in the viscera and di lation of blood vessels in skeletal muscles to make more blood and metabolic materials available to muscles; 6. decreased fatigue in muscles; 7. close the ducts of mucus-secreting glands in the respiratory tract (dry mouth); 8. stimulate sweating in the palms of hands and un
ceived to be relatively minimal, then the degree of reaction is relatively minimal. When the threat is perceived to be relatively intense, then the degree of reaction is relatively intense. When a life-threatening event occurs, the reaction
derarms;
is massive.
thalamus signals the pituitary to release at least six hor mones, and the amounts of each may be different depend ing on the nature of the stressor (Rossi, 1993, p. 73). The most documented hormone sequence in stress reaction begins when the periventricular nucleus of the hypothala mus [about .5 square millimeter in size with about 10,000 neurons (Thompson, 1993, p. 199)] produces corticotro pin releasing factor (CRF). CRF is sent to the anterior
Sympathetic A-PNS activation is the key to the high
speed response to a distressor. Its initial action is triggered in less than one second and continues at least over the first several seconds (Rossi, 1993, pp. 71-74; Sapolsky, 1992a,b). It is experienced as an immediate reaction to the threat, and includes: 1. direct efferent stimulation of visceral organs and
muscles; 66 bodymind & voice
9. increased coagulability of blood. A few seconds after the above actions occur, the hypo
lobe of the pituitary body by way of its internal portal circulatory system (see Figure I-3-21). It stimulates cells within the anterior pituitary to release adrenocorticotro pic hormone (ACTH) into capillaries of the general circu lation system for bodywide distribution. Release of ACTH also can be triggered by other hormones such as vaso pressin and epinephrine, and several immunotransmitters in the immune system. ACTH also enhances the neural retention of learning and memory (McGaugh, 1989; Vander, et al., 1994, p. 384). When ACTH binds with its receptors on surface cells of the adrenal gland's cortex, it stimulates the release into general circulation of a larger amount of the hormone cortisol and a small amount of the hormone aldosterone. Cortisol is released into circulation a few minutes after the initiation of stress reaction, but produces effects that are capable of sustaining a heightened energy state for 20 minutes or more (Rossi, 1993, pp. 72-78). The major ben eficial effect of cortisol is to increase the availability of bodymind fuels for energy metabolism, such as glucose, amino acids, fatty acids, and glycerol. It also enhances the ability of blood vessels to respond to the constricting ef fects of norepinephrine. Many of the beneficial effects of cortisol during stress are not yet known, but larger amounts of cortisol over longer time spans can have harmful effects. Very intense or chronic amounts of cortisol can result in (Vander, et al., 1994, p. 751): 1. retarded growth in children; 2. inhibition or blockage of the inflammatory response; 3. decreases in the number of lymphocytes, antibody production, and activity of T-cells in the immune system, thus a degree of immunosuppression (Chapter 5). The pituitary-hypothalamus complex also has recep tors for cortisol. When cortisol is released into general circulation, it triggers a reduction in the release of CRF and ACTH, and therefore, a reduction of its own release from the adrenal cortex. Other hormones also participate in triggering a reduction of cortisol production.
is used by sensory nerves that transmit pain signals. This process is referred to as stress analgesia and typically re
sults in no conscious awareness of pain while a person is experiencing the stress (Rossi, 1993, p. 74; Thompson, 1993,
p. 159). Typically, an athlete with a bleeding gash on the forearm will not sense pain during a game or practice, but may experience noticeable pain within an hour of game completion. That is the result of β-endorphin producing
stress analgesia.
References and Selected Bibliography Becker, J.B., Breedlove, S.M., & Crews, D. (1992). Behavioral Endocrinology.
Cambridge, MA: MIT Press. Davis, J. (1984). Endorphins. New York: Dial Press. Feldman, R.S., Meyer, J.S., & Quenzer, L.F. (1997).
Principles of
Neuropsychopharmacology. Sunderland, MA: Sinauer Associates. Leucken, L.J., et al. (1997). Stress in employed women: Impact of marital status and children at home on neurohormonal output and home strain. Psychosomatic Medicine, 59, 352-359.
Lloyd, D., & Rossi, E. (Eds.) (1992). Ultradian Rhythms in Life Processes: A Fun damental Inquiry into Chronobiology and Psychobiology. Verlag.
New York: Springer-
McGaugh, J. (1989). Involvement of hormonal and neuromodulatory sys
tems in the regulation of memory storage. Annual Reviews of Neuroscience, 12,
255-287. Rossi, E.L. (1993).
The Psychobiology of Mind-Body Healing (2nd Ed.).
New
York: W.W Norton. Sapolsky, R. (1992a). Neuroendocrinology of the stress response. In J. Becker, S. Breedlove, & D. Crews (Eds.), Behavioral Endocrinology. Cambridge,
MA: MIT Press. Sapolsky, R. (1992b). Stress, the Aging Brain, and the Mechanisms of Neuronal
Death. Cambridge, MA: MIT Press.
Sataloff, R.T., Emerich, K.A., & Hoover, C.A. (1997). Endocrine dysfunc tion. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 291-297). San Diego: Singular. Strand, F.L. (2000). Neuropeptides: Regulators of Physiological Processes. Cambridge, MA: MIT Press. Thompson, R.F. (1992). The Brain: A Neuroscience Primer (2nd Ed.). New York:
W.H. Freeman
When distress occurs, another peptide hormone that is released from the anterior pituitary is β-endorphin (beta
Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Human Physiology: The Mechanisms of Body Functions (6th Ed.). New York: McGraw-Hill.
endorphin). When β-endorphin travels through the circu
Werntz, D., Bickford, R. Bloom, F., & Shannahof-Khalsa, D. (1982). Alter
latory system and arrives at spinal cord synapses, it blocks the transmission of substance P, the neurotransmitter that
nating cerebral hemispheric activity and lateralization of autonomic ner vous function. Human Neurobiology, 2, 225-229.
endocrine
system
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chapter 5
the human immune system Leon Thurman
uring your post-birth life, numerous living and
D
non-living entities that were not made by your
your immune system's defense is to: 1. prevent any substance that is not you from enter ing your body in the first place, or from imbedding itself
body, have constantly invaded you, or have at tempted to. If non-self or foreign material enters theininte your body's tissues; rior of your body, they are likely to be threatening or po 2. isolate and dispose of any substance that has not tentially threatening to the well functioning of your cellular been made by your body, such as viruses, bacteria, pollens, systems, or to continued life. For example, various microbes fungi, particles in the air you breathe, a swallowed toxin, (bacteria, viruses, fungi, and parasites) can create a disease or inhaled smoke; state in your body that can be quite unpleasant, even life 3. dispose of unneeded bodily material such as dead threatening. cells and cancer cells. Your skin participates in your body's defense by pre venting many non-you entities from entering your body There are four classes of immune system cells that par in the first place. The blood-brain barrier (Chapter 3) pre ticipate in both non-specific and specific immunity. vents most substances from entering your well-protected 1. Leukocytes (Greek: leukos = white; kytos = cell) are brain. You also have a vast network of billions of cells commonly referred to as white blood cells. They are the most inside your body that are dedicated to accomplishing the numerous cells of the immune system and there are many prevention, neutralization, or elimination of invading, nonclasses and subclasses of them (see Table I-5-1). you entities. These cells are not formed into one organ like 2. Plasma cells (Greek: plasma = something formed; the heart, or even a multi-organ network like the endocrine Latin: cella = storeroom) are formed when B cells are acti system. Constant streams of these cells roam your entire body via the circulatory system and take up temporary residence in all of your body's tissues, being available for
"work" should the need arise. After a brief lifetime, they die and are replaced. These protective cells are referred to as your immune system (Latin: immunis = free from). The study of all body-defense processes is referred to as im
munology. There are two broad types of immune system func tion: (1) non-specific or innate immunity, and (2) spe cific or acquired immunity. Collectively, the purpose of 68 bodymind & voice
vated, and then they secrete antibodies that act against in
vaders. 3. Phagocytes (Greek: phagein = eater + kytos = cell) engulf particles such as microbes and dead cells and de stroy them, a process termed phagocytosis. Macrophages are larger than other phagocytes and are found in nearly all organs and tissues of the body (including the voice pro ducing organs). They tend to gather in areas of the body where they will most likely encounter the entities that they engulf-just under the body's epithelium (skin), for instance (including the epithelium of the vocal folds).
Table I-5-1.
4. Mast cells (German: Mast = fattening; Latin: cella = storeroom) derive from certain bone marrow cells. They
Four Types of Cells That Carry Out
are distributed by the circulatory system to various organs
Nonspecific and Specific Immune System Functions
and tissues where they then undergo cell division. They
Type of Cell
Cell Function
contain vesicles that secrete a variety of chemicals that in teract with nearby tissue cells, and are prominent media tors of inflammation.
1. Leukocytes Neutrophils
Engulf particulate matter and usually de stroy it Release chemicals that are in volved in inflammation.
Basophils
Release histamine and other inflamma tion chemicals.
Eosinophils
Destroy parasitic worms. Participate in hypersensitivity reactions.
Monocytes
Enter tissues and become macrophages (type of phagocyte).
Non-Specific or Innate Immunity Non-specific or innate immunity is a generic defense that can engage a wide spectrum of foreign "invaders" Your body's covering of skin, various bodily secretions (such as
stomach acids and mucus flow), and the various enzymes of the digestive tract provide a first line of defense. A sec ond line of innate defense flows in the blood of the circu
latory system where many specialized molecules and sev
Lymphocytes
Reside mainly in glands of the lymphatic sys tem.
B cells
Initiate antibody-mediated immune re sponses. Transform into plasma cells which secrete antibodies. Present antigens to helper T cells.
Killer T cells
Bind to antigens on membrane of target virus-infected cells and cancer cells and directly destroy them.
Helper T cells
Secrete immunotransmitters that activate B cells, killer T cells, NK cells, and mac rophages.
Supressor T cells
Inhibit B cells and killer T cells.
Natural killer cells
Bind directly and non-specifically to vi rus-infected cells and cancer cells to kill them. Function as killer cells in antibody dependent cellular cytotoxicity.
ing);
2. Plasma cells
Secrete antibodies.
detecting sensory nerves.
3. Phagocytes
Killing of antigens within cells (phagocy tosis). Extracellular killing by secreting toxic chemicals. Process and present antigens to helper T cells. Secrete immunotransmitters involved in inflammation, activation of helper T cells, and systemic responses to infection or injury (acute phase response).
4. Mast cells
Release histamine and other chemicals involved in inflammation.
eral types of white blood cells (leukocytes), can mobilize and cooperate to destroy non-self invaders. Inflammation is a basic immune system response to various types of injury or to penetration of tissues by vari ous pathogens. Blood capillaries enlarge (dilate) in the af fected area, and simultaneously, cells that line the capillary walls contract so that "spaces" are created to allow fluid plasma to flow into the surrounding tissue. The general symptoms of inflammation are: 1. capillary engorgement with blood (red colored tis sue) to increase delivery of immune system cells; 2. engorgement of the affected area by plasma (swell3. rise in tissue temperature; and 4. tissue sensitivity or pain due to stimulation of pain
Specific or Acquired Immunity Specific or acquired immunity means that special
ized immune system cells generate killer molecules that have a chemical affinity only with specific invading microbes such as specific viruses and bacteria. Generically, the invaders are referred to as antigens. If a new antigen successfully invades bodily tissues, it encounters a population of white
blood cells called B-lymphocytes (B-cells) and at least three
human
immune
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69
types of T-lymphocytes (T-cells). B-cells produce special
Systemic Responses to Infection
killer molecules called antibodies.
Some antibodies are referred to as immunoglobulins. Specific immune response occurs in three stages: (1) encounter and binding of specific antigens with specific antibodies, (2) lymphocyte activa tion, and (3) the attack. When an antigen enters the body for the first time, the
immune system does not have antibodies that specifically target that antigen. The antigen does, however, encounter a
population of B-cells with an array of antibodies on their surfaces. Each antibody molecule has a differently config ured chemical site that enables it to bind onto the surface of any molecule that has a similar chemical site. Antigen surfaces also have chemical sites that can "mesh" with mol ecules that have a similar chemical configuration. When
antibodies bind even weakly with antigens, they partici pate in attacking the antigen. When that first encounter happens, however, the antigen-antibody binding stimulates the lymphocytes to begin dividing many times, thus creating more and more lym phocytes that have the antibodies that helped kill the anti
gen. In fact, the genes of the "daughter" lymphocyte cells also synthesize, on their surfaces, multiple versions of any antibody that helped kill that first-time antigen invader, and those lymphocytes will continue to divide and make exact copies of themselves. The result? Many more lym
phocytes and antibodies that are specifically "lying in wait" for another appearance of that same antigen. Allergy is a specific hypersensitive response of the immune system to antigens that normally are harmless. When antigens trigger allergic hypersensitivities, they are
called allergens. Usually, antibodies are released from lym phocytes and induce tissue inflammation. The most com
mon type of allergic reaction is referred to as immediate hypersensitivity in which the reaction is rapid and in volves the antibody Immunoglobulin E (IgE). Histamine, a common mediator of inflammation, is released in the
infected area. Over-the-counter medications called anti histamines are commonly used to counter the inflamma tory effects of histamine, although they can have some ad verse side effects (Vander, et al., 1994, pp. 729-730; more information is in Book III, Chapters 2, 9, and 10).
70
bodymind
&
voice
When infection occurs, the site where the immune system's cells produce inflammation is not the only area of the body that is affected. Typically, there is a systemic, whole body response that is not directly part ofthe battle, but is an adaptive response to the battle. The response is referred to as the acute phase response. The most obvi ous systemic response to infection is a noticeable rise in body temperature that is termed fever. Fever enhances many of the immune system's protective actions (Vander, et al., 1994, p. 724). Decrease in appetite, associated with infection, may be a means by which invading viruses and bacteria are denied the nutrients that they need to multiply. Acute phase proteins are secreted by the liver to provide additional support for the inflammatory response, immune cell function, and tissue repair. Release of neutrophils and macrophages by bone marrow also occurs along with a host of other systemic immune responses.
Psychoneuroimmunology A relatively new field of immune system study has
emerged in the past two decades that has been given the awesome name of psychoneuroimmunology. It is based on medical research that strongly supports the existence of communications between the nervous, endocrine, and im mune systems (Blalock, et al., 1985; Pert, et al., 1985; Ader, et al., 1991; Maier, et al., 1994). 1. Cells of the immune system have chemical recep tor sites for certain neuropeptides and hormones. 2. Tissues and organs of the immune system, such as bone marrow, thymus, spleen, tonsils, lymph nodes, are innervated by the nervous system. 3. Cells of the immune system produce immunotransmitters that have receptor sites in the ner vous and endocrine systems. Thymosins, cytokines, en dorphin, adreno-cortico-tropic hormone (ACTH) and thy roid stimulating hormone (TSH) are produced by lympho cytes and function as immunotransmitters to modulate hy pothalamic and endocrinal function. 4. Autonomic and neuroendocrine pathways are ca pable of altering the course of immunity. Dr. Hans Selye's
pioneering description of the General Adaptation Syndrome
Cytokines are soluble polypeptides that recruit and acti
(also called the biological stress syndrome) resulted in re
vate immune system cells. The subclasses of cytokines are interferons, lymphokines, monokines, hematopoietic growth factors, chemokines, and other cytokines (Plotnikoff, et al., 1999, pp. 2, 3). While the lifespan of leukocytes is measured in days, transmitter molecules and their receptors have lifespans that are measured in seconds, minutes, or hours. About 25°/o of the immune system's white blood cells are generically called lymphocytes (Latin: lympha = water; Greek: kytos = cell). An estimated one million lymphocytes are manufactured every second in humans (Perelson, 1988b). They are formed in the bone marrow and the thymus gland, the two primary lymphoid organs, and are distributed throughout the body by way of the blood and lymph cir culatory systems. Some lymphocytes complete their ma turity in the blood and become B-cell lymphocytes ("B" for blood). Eventually, many of them take up residence in the lymph system that filters blood and other bodily flu ids. Other lymphocytes mature fully in the thymus gland where they become T-cell lymphocytes ("T" for thymus), and then are released into the circulatory system. B- and T-cell lymphocytes continually travel the blood-lymph cir culation system and carry out their functions in organs
search that has substantiated significant interactions be
tween the nervous, endocrine and immune systems. The neuropsychobiological state of a person can either
enhance or reduce immune response to infection and can
cer, and these responses have a physio chemical basis (Acterberg, 1985;Ader, et al., 1991; Benson, 1987a,b; Cohen, et al., 1991; Dillon, et al., 1985; Futterman, et al., 1994; Green, et al., 1988; Irwin, et al., 1994; Kiecolt-Glaser & Glaser, 1991;
Maier, et al., 1994; Pert, et al., 1985; Rabin, et al., 1989; Shavit, et al., 1983, Smith, et al., 1985; Sternberg, 1999; Temoshok,
1992). Everyday pleasant experiences, such as laughter, can enhance immune response (Bellert, 1989; Berk, et al., 1988). Responses to involvement with the arts, including theatre and music, can enhance immune response as well (Rider & Acterberg, 1989; Hall, et al., 1994; Tsao, et al., 1991).
For Those Who Want to Know More.... The creation of the immune system's cells begins with
the manufacture, in bone marrow, of prototypical stem
cells. Stem cells are "mother cells" that mature into vari ous leukocytes (white blood cells) of the immune system. Healthy adults have about 7,000 leukocytes per cubic mil limeter of blood (Rossi, 1993, p. 218). For instance, some stem cells become neutrophils and natural killer (NK) cells that (along with phagocytes) encounter many types of or
ganic invaders such as viruses, bacteria, fungi, parasites, cancer cells, left-over debris from cell metabolism, and non-
throughout the body. Helper T-cells enhance B-cell pro duction of antibodies, and Suppressor T-cells reduce B-cell production of antibodies when they are no longer needed. Most lymphocytes are "stationed" in groups of organs that are termed lymphoid organs. The peripheral lym phoid organs are (1) the lymph nodes of the lymphatic circulatory system, (2) the spleen, (3) tonsilar tissue (such as the palatine and lingual tonsils and the adenoids), and
organic materials such as airborne particulate matter and
(4) lymphocyte accumulations in the linings of the intesti nal tract, genital tract, urinary tract, and the respiratory
any type of smoke. Basophils and mast cells produce his
tract (includes the nose, mouth, throat, and larynx) (Vander,
tamine that is involved in allergic inflammation and in shock
et al., 1994, pp. 708-710).
and stress responses.
Cells of the immune system interact with the nervous and endocrine systems via an array of transmitter mol ecules (Blalock, et al., 1985; Blalock, 1989; Weigent & Blalock,
1999).
Immune system transmitter molecules are called
immunotransmitters, a major subclass of which are
cytokines (Greek: kytos = cell; kinesis = movement).
There are two general classes of specific or acquired immunity.
Cellular immunity occurs when T-cell lym
phocytes directly eliminate invaders, and no antibodies are involved. Humoral immunity relates to defensive func tions carried out and distributed in the fluids of the body (Latin: humor = fluids or semi-fluids in the body). B-cell lymphocytes can produce plasma cells that can produce
human
immune
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specific antibodies (immunoglobulin molecules) to encoun
ter specific allergens. For example, humoral immunity oc curs when Immunoglobulin E (IgE) mediates an allergic response. Antigen and antibody binding stimulates lymphocyte cells to divide repeatedly. The population of those lym phocytes and their antibodies, then, is increased manyfold. After the initial invasion, those lymphocytes continue to divide so that, in the future, with every exposure to those same foreign antigen, a more immediate and massive neu tralization process occurs. That usually means that the antigens are disposed of before they can penetrate tissues and produce inflammation. Burnet (1959) was the first person to articulate a clonal selection theory of acquired immunity. It has since been substantially verified (Edelman, 1973; 1992, pp. 74-78). These immune system actions are the basis of preventive inoculation against various diseases.
Black, PH., & Berman, AS. (1999). Stress and inflammation. In N.P Plotnikoff, R.E. Faith, A.J. Murgo, & R.A. Good (Eds.), Cytokines: Stress and Immunity (pp. 115-132). Boca Raton, FL: CRC Press.
Blalock, J.E. (1989). A molecular basis for bidirectional communication between the immune and neuroendocrine system. Physiological Review, 69,
1. Blalock, E., Harbour-McMenamin, D., & Smith, E. (1985).
Peptide hor
mones shaped by the neuroendocrine and immunologic systems. Journal of Immunology, 135(2), 858s-861s.
Borysenko, J. (1987).
The
Minding the Body Mending the Mind. Reading, MA:
Addison-Wesley. Burnet, F.M. (1959). The Clonal Selection Theory of Acquired Immunity. Nash ville, TN: Vanderbilt University Press.
Burton-Leiber, D. (1986). Laughter and humor in critical care. Dimensions
of Critical Care Nursing, 5, 162-170. Calabrese, J.R., Kling, M.A., & Gold, P.W. (1987). Alterations in immuno
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chapter 6 human sensory experiences Leon Thurman
ensory reception is a characteristic of nervous
S
systems. The terminal points of neuronal
and specialized receptors activate sensitivity, discomfort, irritation, malaise, or pain. Only the first three of the following six sensory sys
axons are impacted by energy sources, triggering nerve impulses (action potentials) that travel to synaptic tems will be discussed in this chapter. All six systems pro connections with other neurons, and ultimately to mul cess perceptual categorizations and they are correlated with each other in the association areas of the brain. They are: tiple destinations in the central nervous system (CNS). 1. the visual system (sight); In every normal human body, there are neurons that are structured to be responsive to: 2. the auditory system (sound); and 3. the somatosensory system (bodily sensation); 1. very high frequency light waves (the visual sense); 4. the vestibular system (body orientation in gravity 2. sound pressure waves (the auditory sense);
3. impact pressure (the tactile sense); 4. muscle and ligament tension (the kinetic sense) 5. balance and alignment of the body in Earth's gravi tational field (the vestibular sense); 6. chemical constitution of air and ingested substances (the smell and taste senses); 7. noxious conditions on or in the body (irritationstrain-pain sense).
and spatial terrain);
5. the olfactory system (smell); and 6. the gustatory system (taste). Perceptual categorization occurs when specialized as semblies of sensory nerves respond to features and sub features of the external world and to the internal milieu of our bodies. In exteroception, the energy elements that make
side the perceiver stimulate on neurons that are especially sensitive to those particular sources of energy. Proprio ception occurs when muscles and ligaments are stretched, contracted, or released to carry out coordinated physical movement. Interoception occurs when the internal envi ronment of the body changes (except muscle contraction).
initial contact with sensory nerves are far too numerous for the nervous system to respond to in an element-byelement way. Receptors are specialized to initiate electro chemical impulses in response to ranges of energy stimula tion. Initial stimulation results in a cascade of impulse signal processing by several neuron nuclei. Typically, each nucleus processes one aspect of the initial impulses before sending their own impulses to the next processing area.
Nociception occurs when parts of the body have been sufficiently disturbed away from their homeostatic norm
bined and correlated with other sensory systems in the
Exteroception occurs when energy sources from out
Eventually, all of the processed sensory details are recom
sensory
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association areas of the cerebral cortices before conscious awareness occurs. For example, different intensities of light waves from a perceived visual scene first stimulate recep tors on the retina of each eye. The nerve impulses are processed by a number of nuclei in the thalamus and the visual cortex, so that eventually, object borders, colors, spatial dimension, motion of objects, and so on, can be perceived in conscious awareness. Variations of vibratory frequency and sound pressure intensity are categorized by various auditory system nuclei so that we can perceive pitch, volume, sound quality, and sound localization. The Visual Sense A photon is the smallest quantity of electromagnetic energy. One form of electromagnetic energy is called light.
Light has no mass but travels through space at a rate of about 186,000 miles per second, thus, the well known speed
of light. The essence of what we perceive as color is vibrational wavelengths (and their relative intensities) in a range of frequencies above one billion trillion vibrations per second (1021). The length of single light waves ranges from 400 to 700 nanometers (millionths of a millimeter) (Hubei, 1995, pp. 161, 162). The seven colors ofthe light spectrum (as seen through
a prism) are produced by light waves of different lengths.
Objects that are seen do not actually "have" color, but ap
pear to have color because their surfaces reflect certain wave lengths of light. Green grass is green because it absorbs all light wavelengths except the one for green, which it reflects. Surfaces that absorb all light rays appear black. Surfaces that can reflect all light rays will appear white in daylight,
but will appear blue under blue light and red under red
light. Eyes are commonly compared to a color television camera lens (Hubei, 1995, p.33; Thompson, 1992, p. 226). When open eyes are pointed in the direction of a scene in the outside world, the light wave radiation that is emitted from the scene passes, as it is, through the lens of each eye. Each lens completely reverses the configuration ofthe light rays. The upside of the scene is projected to the downside of the retina and the downside of the scene to the upside. The right side is projected to left and the left side is pro jected to right. That reversed image is registered on a .25-mm thick plate of sensory receptors from the brain—the retina of each eye (Hubei, 1995, pp. 36-39; see Figure I-6-1). The scene's reversed array of light intensities pass by the retina's front two layers of cells to stimulate the over 125 million photoreceptors at the back of each retina. Photoreceptors are commonly referred to as rods and cones (Hubei, 1995, p. 2, 37). Rods and cones are "tuned" to begin producing action potentials only in response to certain fea tures of a visual scene for which they have a chemical af
finity. Rods are more sensitive to light than cones. They can detect smaller amounts of light and process shades of gray, so they are active in "night vision". Cones process the well lighted fine details of visual scenes and their colors. Three types of cones contain pigments that are most sensi tive to particular light ray intensities associated with the colors red, green, and blue (Hubei, 1995, pp. 159-189; Th ompson, 1993, pp. 227, 228). The rods and cones of each retina are distributed in a variety of numbers and combinations. In the center of each retina, there is an area about .5-mm in diameter where
Figure I-6-1: A drawing ofthe eye and its retina. The magnified area shows the three
layers of retinal cells that end with the rods and cones. [From Hubei, D.H., Eye, Brain, and Vision. Copyright ©1995, Scientific American, Inc. All rights reserved.]
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there are only densely packed cone cells. When we "focus our eyes" to take in the details of one part of a visual scene, the signaling in this central retinal area becomes intense. That central area is named the fovea (Hubei, 1995, pp. 36, 37; Thompson, 1993, p. 237).
Figure I-6-2: (A-above) The major neural pathways from the eyes to the left and right
primary visual cortices. [From: THE BRAIN, 2nd Ed., by Thompson. Copyright ©1993, W.H. Freeman and Company. Used with permission.] (B-lef) The left visual field is projected
to the right primary visual cortex and the right visual field is projected to the left primary visual cortex. [From: LEFT BRAIN, RIGHT BRAIN, 3rd Ed, by Springer and Deutsch. Copyright
©1989 bySallyP. Springerand Georg Deutsch. Used by permission ofW.H. Freeman and Company.]
Within environmental scenes, human visual systems are capable of processing about 340,000 items of wave length-intensity (Thompson, 1993, p.255). Light-wave fea tures of environmental scenes are initially transduced by retinal cells into selectively organized nerve impulse "rep resentations" of the scene's features. The impulses from each retina's 125 million photoreceptor cells are then trans
tex located at the back of the brain in the occipital lobe (see
duced forward into its middle and front rows of cells. There are about one million "front-row" retinal ganglion cells,
the visual scene such as border or shape, three-dimen sional space, movement, and color, among many others.
and their axons extend over the front of each retina and
From the early visual areas, the signals are distributed to visual integration areas in the visual association cortex. Visual processing is then integrated with somatosensory
gather into a bundle that extends out of each eye to form
the right and left optic nerves (see Figures I-6-1 and 1-6-
2). These transduced features are then highly processed in successive topographic mappings of those features. Each feature of an environmental scene that is registered on reti nal cells is passed through the visual system via successive synaptic connections to specialized groups of neurons that augment the categorization of those same features. After the retina, the next major augmentation sites are the lateral geniculate nuclei of the thalamus. From the thalamus, the topographically mapped sig nals are projected to the right and left primary visual cor
Figure I-6-2A). V1 is the shorthand designation for the primary visual cortex. Considerable processing occurs in
VI, and from there, the signals are distributed into over 20
specific cortical networks that are located immediately in front of VI. They are designated as V2, V3, V4, and so on.
Each of these networks process one prominent feature of
processing in the posterior parietal cortex before inte grating with the auditory sense, and other senses, in the
parietal-temporal-occipital association cortex, and the limbic association cortex. Again, each eye's lens receives light waves from the en vironmental scene as they actually are, then reverses the im age, and then the image goes to the retina. That means that the left half of each retina is receiving the right side of the environmental scene, and the right half of each retina is receiving the left half of the scene. That also means that the
sensory
experiences
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left eye's left-side neurons process light from the right en
vironmental scene and project to the left hemisphere's tha lamic area and visual cortex. Accordingly the right eye's right-side neurons process light from the left environmen tal scene and project to the right hemisphere's thalamic area and visual cortex and the right eye's left-side neurons process the right environmental scene and project to the left hemisphere's thalamic area and then on to the visual cortex. There also are visual system signals that project from
the optic nerve and the lateral geniculate nucleus that syn apse with non-cortical areas such as nuclei within the lim
bic, brainstem, and cerebellar areas. For example, the vestibulo-ocular reflex system helps us keep our balance
in higher-speed movement; projections from the optic nerve tract innervate the suprachiasmatic nucleus of the hypo thalamus to help regulate sleep-wake cycles that respond to the degree of light and dark; projections to the limbic system's amygdala and to the brainstem's ascending re ticular activating system provides visual signaling for arousal, especially when danger is perceived. Visual sys tem and limbic system interfacing can produce changes in feeling states, particularly in response to amount of light
and to different colors. These changes can influence endo
immune functions (Ainsworth, et al., 1993; Brainard, et al., 1990, 1993; Cooper, et al., 1986; Fischer, 1991; Joki, 1984; Kuyller & Lindsten, 1992; Maas, et al., 1974; Ulrich, 1991). crine and
In summary, the visual system provides a major form of exteroceptive sensation—the visual detection and cat
egorization of features within the external world. Light that arrives from the right half of the environment is re ceived by the two left-side half-retinas and are projected to the left hemisphere. Light that arrives from the left half of the environment is received by the two right-side half-retinas and are pro jected to the right hemisphere. In other words, the right hemisphere receives only the left visual field, and the left hemisphere receives only the right visual field. The rear portion of the corpus callosum contains reentrant axons from both the left and right visual cortices. That sharing enables us to have bi-hemispheric visual function with one eye closed or missing. Direct and indirect projections that
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originate in the retinal areas participate in many integrated brainwide functions.
Table I-6-1. Typical Sound Pressure Levels (SPLs) for Commonly Experienced Sounds The threshold of human hearing is a sound pressure level of about 1 decibel (dB). [Adapted from Daniloff, et al., p. 110]
Experience Sound Pressure Rustle of leaves Silent broadcasting studio Bedroom at night Library Quiet office Conversational speech (at 1 meter distance)
Average radio Light traffic noise Typical factory Subway train Symphony orchestra (fortissimo) Rock band Aircraft takeoff Threshold of auditory system pain
Level in decibels 10 20 30 40 50 60 70 74 80 90 100 110 120 140
The Auditory Sense Features of sound in the external world are categorized by the human auditory system, another major form of exteroceptive sensation. While the visual system processes electromagnetic vibration frequencies in the range of one billion trillion per second, the human auditory system is sensitive to and processes environmental vibration fre quencies in the range of about 20 to 20,000 per second. In other words, vibrating objects must create a minimum of about 20 sound pressure waves per second. Human ears also will not detect sound waves beyond about 20,000 sound pressure waves per second. The most common measure of sound vibration inten sity is in decibels (dB) or tenths of Bels (named after Alexander Graham Bell). They are a measure that relates the subjectively judged loudness of sound and the amount of measured physical energy (pressure) in the sound. The relationship between the two is approximately logarithmic (not evenly geometric). The absolute minimum sound that human ears can detect is established as 1-dB of "volume". The most intense sounds that can be processed by the hu man auditory system are 10,000,000 times more intense than the 1-dB threshold. The auditory system actually com presses a very wide range of sound energy levels into ranges
of loudness that it can handle. Its capacity for compress ing very high sound energies without damage to its parts depends to a large extent on the duration of the high en ergy (see Table I-6-1; Book III, Chapter 5 has some details).
The right and left ears are the first organs of the audi
tory system to receive vibrational frequencies. Sound waves
340,000 (Thompson, 1993, p. 255). Auditory systems also
impact on their two tympanic membranes (eardrums) to set them into vibrational motions that "mirror" the spatial and time properties of the sound waves. The auditory system is so potentially sensitive that movement of the tympanic membrane of less than one-tenth of the diameter of a hydrogen atom can result in auditory transmission
categorize the distance a sound travels and the location of
(outside conscious awareness) (Thompson, 1993, p. 255).
Within auditory environments, auditory systems are capable of categorizing the same number of items of vibrational frequency-intensity as visual systems—about
its source by comparing the timing of sound wave recep
The vibrational motions of the tympanic membrane
tion by the two eardrums. Auditory systems are capable
are transduced through each ear's three middle ear bones
of detecting the time intervals between two received sounds
and into its cochlea. Standing-fluid waves are then cre
on the order of microseconds (millionths of seconds, but
ated in the cochlear fluid which causes the basilar mem brane to "mirror" the vibratory characteristics of the stand ing-fluid waves (see Figure I-6-3A). That selective mem brane movement stimulates movement of corresponding
these perceptions are below the threshold of conscious awareness).
sensory stereocilia (commonly referred to as hair cells). The
movement of the hair cells triggers action potentials in cor responding neurons of each ear's cochlear nerve. The cochlear nerve is a collection of about 28,000 neuronal axons. The stimulated axons transmit impulses to their cell bodies that form the right and left cochlear nuclear com-
Figure I-6-3:
(A-left) Snapshots of the peripheral auditory system.
(B-above)
Simplified drawing of auditory processing in the central nervous system. [Gross ear anatomy From Neuroscience of Communication, (1st Ed.), by D.B. Webster ©1995. Reprinted with permission of Delmar, a division of Thomson
Learning, FAX 800-730-2215.] [Other drawings from The Brain, (2nd Ed.) by
Thomson. Copyright ©1993, W.H.
Freeman and Company.
Used with
permission.]
sensory
experiences
79
ditory cortex, the final area of processing occurs in the
right and left medial geniculate nuclei of the thalamus. So, just as is true of the visual system, considerable ad vanced refinement of auditory processing occurs before auditory signals reach the primary auditory cortex. Auditory projections from the thalamus travel through the internal and external capsules to synapse with the pri
mary auditory cortex (Al). The right and left primary auditory cortices are located in the upper rear areas of the two temporal lobes. They cannot be seen on the outside surface of the brain because they are located inside the Sylvian fissure on the gyrus of Heschl (see Figure I-6-4). To the rear of the primary auditory cortex is the planum Figure I-6-4:
Left hemisphere view of the auditory cortex located on the gyrus
of Heschl, and the planum temporal extending rearward.
(From Assessment
and Management of Central Auditory Processing Disorders in the Educational Setting (1st Ed.), by T.J. Bellis, ©1996. Reprinted with permission of Delmar, a division of Thomson Learning, FAX 800-730-2215.]
plex, located at the junction where the brainstem's medulla
oblongata and pons are joined with the cerebellum (see Figure I-6-3B). Most of the neurons that project from the
two cochlear nerves cross to opposite sides of the brainstem where they synapse with the opposite-side superior olive. Many cochlear nerve neurons, however, do project to the
superior olive on the same side. Hair cells in each cochlea start firing only when they are stimulated by frequency-specific movements in the basi
lar membrane. Each cochlear nerve neuron, therefore, fires in response to tones of a specific frequency At every nuclear synaptic processing level of the entire auditory system this precisely organized tonotopic mapping of auditory sig nals occurs, including the primary auditory cortex. From the left and right cochlear nuclei, neuron tracts
travel to the nuclei of the left and right superior olivary complex located in the pons of the brainstem (see Figure I6-3B). The superior olivary complexes substantially con tribute to the processing of time differences in the recep tion of sound—a crucial factor in identifying the location of a received environmental sound source (sound localiza
tion; Konishi, 1993). These neuron groups are capable of discriminating time differences that are measured in mi croseconds (millionths of a second). Six neuron tracts leave the superior olivary complex and travel upward to nuclei that are named the inferior colliculi, located at the top of the midbrain. Before finally projecting to the primary au
temporal which is larger in the left hemisphere than the right, but is particularly large in people who have devel oped the ability to label pitches with absolute accuracycalled absolute or perfect pitch (Ward, 1999; Schlaug, et al., 1995). Considerable processing occurs in Al, and from there, the signals are sent to over six higher-order auditory asso ciation cortices (A2, A3, A4, and so on), which then inte grate with other senses in the parietal-temporal-occipital asso ciation cortices (visual and somatosensory) and with valueemotive processing in the limbic association cortices and the prefrontal association cortices. Most of the extended auditory areas of the left hemisphere are intimately involved in processing language sounds. Wernicke's area is the area that interprets the more literal language sounds and for mulates a relevant verbal response before transmission to Broca's area for motor planning. The right hemisphere's equivalent of Wernicke's area processes such global fea tures of sound as qualities (timbre) and frequency con tours such as the prosodic aspects of heard language and melodic designs in music (Book III, Chapter 6 has more information). When language is being processed, the auditory sig nals that project from the ears to the same-side auditory
cortex are suppressed. In other words, the right hemisphere language processing areas only receive the auditory sig nals that have been projected from the left ear, and the left hemisphere language processing areas only receive the au ditory signals that have been projected from the right ear (Musiek, et al., 1994, p. 179). The two hemispheric lan guage perception and processing areas reentrantly share what they have processed through the corpus callosum.
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Figure I-6-5 (immediate right): Specific spinal sensory nerves provide innervation
to relatively specific skin areas called dermatomes. The spinal nerves are designated by the vertebrae from which they extend. C = cervical, T = thoracic,
L = lumbar, and S = sacral. [From Kandel, Schwartz, & Jessell (Eds.), (©1991),
Principles of Neural Science (3rd Ed.), published by Appleton & Lange.
Reproduced with permission of The McGraw-Hill Companies.]
Figure I-6-6: The somatosensory homunculus. The figure is laid upon a cross section of
the primary somatosensory cortex, and the proportional anatomical drawings and
separated lines indicate approximately the extent of cerebral cortex devoted to the various organs represented. [From The Cerebral Cortex OfMan by Wilder Penfield and
Theodore Rasmussen, copyright ©1950, Macmillan Publishing Company. Reprinted by
permission of The Gale Group.]
Convergence zones within the prefrontal association and the parietal-temporal-occipital association cortices can integrate simultaneous and near simultaneous processes
Figure I-6-7: Major pathway that transmits proprioceptive and tactile sensation from
the body's periphery to the primary sensory cortex. [From: THE BRAIN, 2nd Ed., by
Thompson. Copyright ©1993, W.H. Freeman and Company. Used with permission.]
sensory
experiences
81
within widely dispersed areas of the cortex to produce in tegrated visual, auditory, somatosensory, and motor func
tioning for speech (Damasio, 1989a; Damasio & Damasio, 1994; Webster, 1995, pp. 262-264). There actually are excitatory and inhibitory efferent pro
jections from the auditory cortex to the cochlea that paral lel the circuitry of the afferent system. It has not been fully studied as yet, but there is evidence that it participates in detecting particular sound characteristics from within an
array of sound characteristics (Noback, 1985). One hy pothesis is that the efferent neurons help focus the audi tory system on detailed aspects of the auditory environ ment, much like the fovea does in the visual system (Musiek, 1986). Efferent neurons suppress signaling from neurons that relay frequencies that are less significant than the ones on which attention is focused.
Between the relay stations of the CNS auditory system, there are numerous parallel reentrant pathways to and from many brain areas including the brainstem (ascending re ticular activating system, for example), the limbic system (amygdala, hypothalamus-pituitary complex, hippocam pus), the autonomic nervous system, the visual and so matic sensory systems, and the motor systems of the body ( cerebellum, basal ganglia, motor cortex). These reentrant interfacings connect the auditory system with the brain areas that instantiate emotional reactions and the encoding and consolidation of auditory memory and learning (Edeline
primarily through the vagus cranial nerve. Pressure sensi tive receptors in the skin initiate tactile exteroceptive sen sation. Tactile sensation from relatively specific body sur face areas—dermatomes—is processed through very specific spinal nerves (see Figure I-6-5). The sensory interneurons that then arise within the spinal cord and connect through the brainstem and thalamus, are all
somatotopically primary sensory
mappedally mapped, including the cortexsensory cortex (see Figure I-6-6). Sensation for touch, deep pressure, two-point touch
discrimination, vibration, and consciously sensed body sensations from the right side of the body, enter the right side of the spinal column. They synapse there with neu ron groups that send long transmitting axons up the right side of the spinal column to synapse with the right gracile nucleus of the brainstem. The neurons that they synapse with then project axons to the left side of the brainstem and they then travel up to the ventrobasal nucleus of the
left thalamus where they synapse with neuron groups that
send axons to the left primary sensory cortex (SI). So matosensory signals from the left side of the body follow a course that is the reverse of the one followed by right-side signaling (in Chapter 3, see Figure I-3-15). The two S1s are located immediately behind the central sulcus of each hemi sphere, at the front of the parietal lobe (Chapter 3, Fig. I-3-14). The somatosensory system also includes the fast and slow pain transmission systems, with specialized neurons
& Weinberger, 1993; McGaugh, 2000).
to carry those processes out, and analgesic processes to modulate pain transmission and perception (Thompson,
The Somatic (Bodily) Sense Sensations from the skin, muscles, ligaments, tendons, and the visceral organs of the body are processed through the somatosensory system of the CNS. Spinal nerves of the peripheral nervous system deliver signals from nearly all of the body—specifically, from the back of the head and upper neck all the way down to the toes. These signals are delivered to the spinal cord for transmission to the brain. Cranial nerves of the peripheral nervous system deliver signals from the face and scalp, and from the visceral or gans within the body's torso, directly to the brainstem. Proprioceptive sensation is triggered by stimulation of various receptors in muscles, ligaments, and tendons. In teroceptive sensation is initiated by sensory receptors that are imbedded in the visceral organs and project to the CNS
pp. 159-163; Jessell & Kelly, 1991). There are numerous
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parallel reentrant pathways to and from the somatosen sory system. There is direct and indirect signaling with the
brainstem's reticular formation, the limbic system, and, of course, there is extensive interfacing with all motor areas. Synesthesia There are a very few people whose parietal-occipital-
temporal association areas are so extensively and unusu ally interfaced that stimulation of one sensory system trig gers activation of another. For example, some people "see
colors in their mind's eye" when they hear tones, and the colors change as the tones change. The several manifesta tions of this phenomenon are referred to as synesthesia (Cytowic, 1989; 1993).
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luminance in extrastriate area V4. Journal of Neuroscience, 14, 2178. Ott, J. (1985). Color and light: Their effects on plants, animals, and people (Part 1). Journal of Biosocial Research, 7.
Desimone, R., & Duncan, J. (1995). Neural mechanisms of selective visual attention. Annual Reviews of Neuroscience, 18, 193.
Shepherd, G.M. (1994). Vision. In G.M. Shepherd, Neurobiology (3rd Ed.).
New York: Oxford University Press. Engel, S. Zhang, X., & Wandell, B. (1997). Colour tuning in human visual
cortex measured with functional magnetic resonance imaging. Nature,
Schauss, A. (1985). The physiological effect of color on the suppression of
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Fischer, J. (1991). The many possibilities of art for health. Journal of Healthcare
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Treue, S., & Maunsell, J.H. (1996). Attentional modulation of visual mo tion processing in cortical areas MT and MST. Nature, 382, 539.
Fleming, J., Holmes, S., & Barton, L. (1988). Differences in color preferences
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Ulrich, R. (1991). Effects of interior design on wellness: Theory and recent
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The Timing of Biological Clocks.
sensory
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chapter 7
internal processing of life experiences and behavioral expression Leon Thurman
the evidence is in yet, because the neuropsychobiology of human beings is so vastly complex. But there are more sciously aware of ourselves and our sur than enough valid and reliable scientific findings to build roundings? What happens inside of us that pro duces what we refer to as perceiving, thinking, feeling,cogent curi theories about how biological processes produce consciousness (Crick, 1990, 1994; Damasio, 1994, 1995, 1999; osity, learning, remembering, interpreting, understanding, rea Edelman, 1987, 1988, 1989, 1992; Edelman & Tononi, 2000; soning, deciding, intending, expecting, and purposeful be ow do we human beings become con
H
havior? The longest-held explanation is that a nonphysical
"something" is in us that produces consciousness. We com monly use such terms as mind or mental processes, and cogni tion or thinking or sentience as labels for that "something" (see Chapter 1). Since the emergence of a science of psychology, we have used the terms psyche or psychological phenomena as substitutes for mind and mental processes. In recent decades, an astonishingly different explana
tion for consciousness has been assembled: Just like photo
synthesis is an adaptive biological feature of plant life, so conscious ness and intentionality are adaptive biological features of human life. The two processes differ vastly in their complexity, of course, and that is part of the reason why photosynthesis will never
produce consciousness and intentionality. How can physical, biological "stuff" possibly produce consciousness, intentionality, and sentience? That is a big question that necessitates a big answer, and this chapter is not going to answer it in very much detail. Life scientists, however, have amassed considerable evidence that this explanation is so. Of course, not all of
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Fuster, 1996; Gazzaniga, 1985, 1988, 1992; Searle, 1992, 1998). These theories are now being tested and adjusted by ongo ing worldwide research.
We human beings cannot consciously sense the de tailed electro-physio-chemical functioning of our own ner
vous system's vast neuron networks (briefly summarized
in Chapter 3). And we cannot sense the interactions of our own endocrine system's vast hormonal processes, nor the details of our immune system's vast protective functions (briefly summarized in Chapters 4 and 5). So, not being able to observe the details of neural, endocrine, and im mune processing, human beings made sense of (interpreted) their integrated neuropsychobiological experiences and con cluded that a nonphysical mind inhabits the body and di rects its behavior. Under those circumstances, it was a logi cal assumption. That version of mind has turned out to be an inaccurate sunset assumption (explained in the Fore Words). Psyche, and the scientific study of it, psychology, was substituted for mind in the 19th century. The behavior of
the body became totally "mindless" in the early 20th cen tury behaviorist school of psychology.
Thus, a categorical shift is occurring in what the terms
Studying human cognition as though it was discon
mind and psyche refer to. According to neuropsychobiological scientists, what we refer to as minds, mental processes, psyche, and psychological phenomena are the streaming unitary "final products", the summated results of uncountable patterned (and some random) electro-physio-chemical events that oc cur inside human bodies, particularly in the brain (intro
nected from human nervous, endocrine, and immune sys
duced in Chapter 2; more details in Chapters 3 through 6; Tononi & Edelman, 1998; Edelman & Tononi, 2000). Nu
merous anatomical areas, and hyperastronomical numbers of electro-physio-chemical processes, are both parceled and integrated in a jungle-like mix of vastly complex hierarchi cal, branched, and parallel interconnections.
These
processings produce what we refer to generally as mind or
consciousness, that is, perceptions, feeling states, conceptions,
images, reasoning, linguistic labels and interpretative de scriptions, and coordinated purposeful movements. These massive internal resources provide innate ca
pabilities or potentials for adaptation to the surrounding world
that include (1) fluctuations within the internal processing, and (2) the external expression ofthe adaptations (purposeful behavior). Abilities are the complex, actualized adapta tions. Two adaptive human abilities are languages and math ematics. They are primary symbolic means by which the interactions with, and accumulated adaptations to, people, places, things, and events may be categorized, labeled, and described. As a result, neuropsychobiological phenomena may be examined and categorized introspectively and la beled linguistically. For example, accumulated internal states and learned adaptive behaviors are labeled memory. Other adaptive capabilities-abilities and their linguistic labels are consciousness, conscious awareness, perception, arousal, attention, cog nition, intentionality, feelings, emotions, pain, empathy, learning, nonverbal communication, behavior, and immunity. When the study of mind was reintroduced in the mid20th century, however, many of its cognitive science inter preters created theoretical "cognitive structures and devices", and ignored the biological "stuff" that produces so-called
mental phenomena in the first place (Chapter 1 has a brief
review).
Inferring "cognitive structures or devices" from
sensed or reported mental phenomena and observable be havior would be like being ignorant of television produc
tion and electronic processes, yet analyzing the images that appear on the screen and inferring how they got there.
tems risks making inaccurate sunset assumptions and part-el ephant perceptions that can lead to scientific invalidities (those terms are defined in the Fore-Words). If significant courses of action are decided, say, in education, and the actions are based on inaccurate assumptions and partial perceptions about cognition, might some unfortunate consequences be likely for human beings? The controversy over the best method for learning reading skills, phonics or whole language, is an example (see Shaywitz, 1996). So, if consciously perceived introspective evidence of bodymind internal processing provides only partial evi dence of "who we are", then what means have
neuropsychobiological scientists devised to gather more complete and accurate evidence about such processings, and how is the evidence gathered? There are numerous methods and technologies for gathering the data. All ofthe methods cannot be presented in this chapter-just a few. 1. Measures of regional or local cerebral blood flow (rCBF and 1CBF) can be accomplished in several ways. Positron emission tomography (PET) (Chugani, 1994; Courchesne, 1991; Kandel, 1991, p. 313). takes advantage of the fact that when any brain area is functioning, the capil laries that supply that area dilate and blood flow is in
creased to provide metabolic support. The more intensely the brain area is engaged, the more the blood flow is in creased. Before a PET scanning, subjects have been schooled into consciously focusing on a particular internal process ing task, such as listening to spoken words, speaking words aloud, observing pictures of human faces, or remembering a particular event. To accomplish PET scanning, human subjects are in jected with glucose that contains safe, trace amounts of positron-creating isotopes that remain active in the body
only for a few hours. When the positrons collide with
electrons, gamma rays are emitted. The greater the blood supply to a brain area, the greater the number of delivered isotopes, the more dense the gamma ray emissions become. The heads of subjects are surrounded by a computer-con nected, gamma ray-sensitive camera and it "reads" the loca tion and relative density of gamma ray emissions into a computer while the subjects are accomplishing the task. The computer's software translates the location and relative in internal
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tensity of gamma ray release onto an image of the subjects'
vertical or horizontal plane images of any part of the brain
brains. Relative density of the emissions is color coded by the computer, videotapes are made for review study and prints can be made of a specific image at any point in time. The images reveal which areas of the brain are active and which are not active during a given task, and which areas
(Purves, et al., 1997, p. 33).
Quantified electroencephalography (qEEG) is also referred to as brain electrical activity mapping (BEAM) (Duffy, 1994). This procedure takes advantage of the fact that, when a particular cortical region is activated, the num
are more intensely involved compared to others.
ber and intensity of electrical impulses in its neurons in
2. Functional magnetic resonance imaging (fMRI) is a form of MRI (Kandel, 1991, p. 317). MRI imaging takes
crease (action potentials; see Chapter 3). The average intensity of electrical activity is greater, therefore, in cortical areas that are engaged in cognitive processing. Specially constructed head caps, containing many specifically located electrodes, are placed on subjects' scalps. Lead wires connect each electrode to equipment that amplifies the received electrical activity and converts it into a visual display. Computer software automatically and proportionately performs a sta tistical analysis of the comparative intensity of electronic signals over the cerebral cortex so that a global electrophysi ological mapping can be derived. When one type of cognitive task is performed by a subject, the cortical areas that are activated increase their electrical activity and the qEEG equipment records it. When the cognitive task is changed from one to another, a differ ent profile of cortical activation is recorded by the equip ment. qEEG is less precise than PET or fMRI, but by re
advantage of the fact that human tissue contains many water molecules that include hydrogen atoms. The nuclei of hy drogen atoms respond to a particular type of magnetic field by behaving like spinning magnets that align themselves along the direction of the applied magnetic field. When a brief pulse of radio waves are projected onto the spinning nuclei, they absorb it and are tipped away from their mag netic field alignment. After the pulse, they return to their alignment with the imposed magnetic field, and when they do, they release the radio wave energy. The process is called nuclear magnetic resonance. To accomplish MRI, magnetic fields of different strengths are simultaneously applied and the emitted radio wave pulses return at different frequen cies. A device receives the emitted radio wave frequencies, and computer software translates the relative frequency dif ferences into an image of the subjects' brains. The location and relative density of the radio waves are color coded for photographic reproduction. Images of whole body areas can be generated, as well as images of "slices", through any vertical or horizontal plane of the body, including the brain. fMRI produces the same images as MRI, but in addi tion, it measures local and regional blood flow volumes like PET does. The functional part of fMRI takes advantage of the fact that (1) the blood that flows to functioning brain areas is oxygen-rich, and (2) oxygen-carrying blood hemo globin produces a different magnetic resonance than oxy-
gen-depleted blood hemoglobin. The device that receives the emitted radio waves is calibrated to receive these reso nance signals and the computer software also is adjusted to these circumstances. fMRI uses the body's own physio chemical processes and involves, therefore, no inva sive injection of isotopes. Observations may be repeated with the same subject in the same session with no medi cally necessary time constraints. fMRI also can produce
3.
cording and comparing qEEG readings in the same people over significant portions of their life spans, developmental trends in global neurophysiological functioning have been charted (Thatcher, 1994). A more detailed extension of qEEG measures is the
recording of evoked potentials (EPs) (Duffy, 1994; Tho mas & Crow, 1994) and event-related potentials (ERPs) (Courchesne, 1991; Nelson, 1994). When particular cortical
areas are processing a discrete cognitive task, such as recog nizing a familiar face, electrical activity in those cortical parts is more intense than it was before the task began. Recorded EPs and ERPs measure those differences (Vaughan & Kurtzberg, 1992). These methods have been particularly
helpful in the study of infants, young children, and adoles cents. For instance, ERP studies have gathered useful data in the study of speech discrimination and recognition, early word meaning, attention, and recognition memory in in fants (Nelson, 1994). 4. The standards for human subject research are such that certain types of anatomic and physiologic studies can
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not be performed. Most of those types of studies can be performed on animals, usually with humane safeguards relative to pain and discomfort The bodymind systems of nonhuman mammals share many similarities with human bodymind systems, especially in certain primates such as various types of monkeys. So, in many cases, animal studies provide as-close-as-possible information about the anatomy and physiology of human bodyminds. One revealing type of neurophysiological study of animals involves the recording of electrical activity within single neurons that are located within a defined area of an animal's cerebral cortex. The recordings are made within areas of the brain that are suspected to be involved in a cognitive task that the animal has been pretrained to carry out during the recording. Brain tissue cannot be sensed in any way by any animal (or any human), so, under local
anesthesia, a small surgical opening is made in an experi mental animal's skull. The opening is then capped and the tissues around the cap are allowed to heal. For the experi ment, the skull opening is uncapped, and extremely thin micro electro des are progressively passed through the brain tissue, one micrometer at a time, until each of their tips has entered a single neuron that is located within the brain area to be studied. The electrodes are connected to a series of amplifiers and electrical signal recording equipment so that the electrical activity of the neuron can be recorded. Its firing patterns can then be correlated with a particular sen sory, motor, or internal cognition task (Brothers, 1997, p. 33). ERPs in single neurons is one form of data that these studies can gather.
5. Detailed comparative studies of people with nor mal and unavoidably abnormal brains have been car
ried out. Unavoidably abnormal human brains include (1)
people with congenital malformations of the nervous sys
tem, (2) people who have had accidental changes in their brain anatomy and physiology (Damasio, 1994, pp. 3-33), and (3) people who have undergone necessary surgical al terations of brain anatomy and physiology in order to con tinue life or to assume a relatively normal life (Damasio, 1994, pp. 34-51; Gazzaniga, 1985). For example, some people who have severe epileptic seizures undergo neurosurgery to sever the corpus callosum so that the two cerebral hemi spheres are almost completely unable to communicate with each other. Research with so-called "split-brain" patients
has revealed fascinating findings about how the two hemi spheres process perceptual, value-emotive, and conceptual categorizations and behavior (explained later). As a result of accidents or necessary neurosurgery, some people have had parts of their brains removed. When primary memory processing areas of their brains have been removed, their ability to form recent and long-term memories is destroyed
(Squire, 1992; Zola-Morgan & Squire, 1993). People who have had parts of their frontal lobes removed no longer have the ability to integrate perceptual, value-emotive, and conceptual categorizations, and, therefore, they make deci sions that are not in their own best interests and they make inappropriate social judgments (Adolphs, et al., 1995). 6. A vast wealth of research in the psychological and psychiatric sciences has been correlated with the re sults of accumulated brain research in order to link global brain functions with psychological phenomena and behav ioral functions. Many ingenious approaches have been de vised to study perceived psychological states and psycho physiological processes that occur during what we refer to as explicit and implicit memory, normal and abnormal af fective states (feelings and emotions), cognition, and behav ioral change processes, and so on. Schizophrenia is a well known "mental disease" that has many behavioral manifes tations. Non-schizophrenic people might describe some schizophrenic behaviors as odd, but would describe other such behaviors as exceedingly bizarre. But schizophrenia occurs because of imbalances between various neurotrans mitters and the number of available receptor sites in one or more areas within the brain (the prefrontal cortex is a ma jor area). People with depression, autism, and those with true attention deficit disorder (ADD) or attention deficit hyperactive disor der (ADHD) also have brain abnormalities that produce behavioral manifestations. Medications have been devised to modify or normalize these imbalances. The concept of bodymind is an attempt to ensymbol
the unity of the physical processes that produce the concur rent psychological phenomena that all human beings expe rience. Describing the current known details of how physi cal biological processes are likely to produce consciousness and intentionality requires volumes. For instance, Edelman (1987, 1988, 1989) required three volumes to outline his bio logical theory of consciousness; the book Principles of Neural internal
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Science, edited and partly written by Kandel, Jessell, and
Schwartz (1991), has 1,060 pages, and The Cognitive Neurosciences, edited by Gazzaniga (1995), uses 1,400 pages. So, this chapter is just one very brief and highly simplified sam pling of such details.
Internal Processing and Behavioral expression
tions and conceptions, and they certainly cannot express past experiences in a symbolic way. They are tied to a succession of events in real time. The brain systems that produce higher order con sciousness (Edelman, 1989, pp. 91-105) are integrated with the systems that produce primary consciousness. Together, they can produce vast numbers of sensory perception cat egories, value-emotive or significance categories, and com plex interrelational categories, including distinctions and
According to Gazzaniga (1998a, p. 21), about 98°/o of our internal processing occurs outside of conscious aware ness, including the details of our physical coordinations. In spite of that fact, the macro-organization of the central ner
vous system (CNS) can be interpreted in such a way that
two highly interactive forms of consciousness are produced. These interpretations are supported, in part, by psychologi cal research with normal and abnormal people, and by re search with brain injured people. According to Nobel Lau reate neuroscientist Gerald Edelman (1989, pp. 91-105), the internal bodymind processing that produces primary con sciousness usually results in appetitive, consummatory, arousal, attentive, reproductive, and protective behavior patterns. These internal processings and resulting behavior patterns tend to be activated in fairly predictable ways. When considered by themselves, with no cerebral in fluences, the macro-anatomical brain areas that produce those behavior patterns include the spinal cord, the essen tial sensory modalities, brainstem, cerebellum, and various areas of the limbic system (see Chapter 3 for more details).
Their circuits are arranged in loops and respond in time frames from seconds to months (as nervous systems go, a several-second time frame is slow). These central neural systems do not contain detailed, mapped structures, and in fact, they are interfaced almost exclusively with interior sys tems of the brain and body. Essentially, all of the process ing is automatic and outside conscious awareness. The primary consciousness systems are not capable of processing vast amounts of unanticipated sensory signals from the outside world, and when they are overloaded with sensory input, protective behavior patterns are triggered. They can construct conscious visual, auditory, and somatic "representations" of immediately perceived surroundings; they can form recognition memories and simpler concepts; but they cannot regenerate internal images of past percep
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relationships between socially-based self and nonself, a modeling of the world in terms of a past and future, and all forms of cognition and affect. They can trigger large num bers of highly refined motor output signals and are exten sively interlinked with the body's sensory modalities. These neural systems also form these processings into short- and long-term memories. The capacities of human higher order
consciousness are so vast that long developmental critical periods are necessary (some lasting into late adolescence and early adulthood) in order to select extensive neuronal and synaptic repertoires that optimize complex survival and social abilities. Higher order processes also have symboling capa bilities that enable categorizations of, interactions with, and accumulated adaptations to, "the world". Symboling capa bility is highly interconnected with sensory perception, re lational conception, memory, and action-reaction capabili ties. People who share the same symbolic heritages, such as
spoken, signed, and/or written language, mathematics, mu sic, dance, space-shaping, story, reenactment, ritual, and so on, have "embrained" knowledge-ability clusters that en able expression of unique and shared "as-if" human feeling states (explained in Chapter 8). The brain systems that produce higher order capaci
ties are organized into detailed, extensively mapped struc tures. They include the phenomenally complex neocortex and a large number of subcortical systems such as the thala mus and the basal ganglia. Those systems include highly detailed sensorimotor maps, they share massive reentrant interconnections, operate at very high speeds from about one millisecond up to a few seconds, and are richly inter connected with the spinal cord-brainstem-cerebellum-limbic system areas that produce primary consciousness. The vast, highly integrated processing of the paired primary and
higher order systems:
1. produces the summated, integrated, unitary, final
product "representations" of external, nonself surroundings, and of the internal self-milieu, that form what we refer to as conscious awareness, and includes recalled past experi ences, denotative symbolic references, plans for the future, and initiating motor skills for purposeful behavior; and 2. produces the summated, integrated, unitary, final
product "representations" of significance evaluations that are potentially available to conscious awareness but most commonly are outside conscious awareness, and includes what we refer to consciously as impressions, "feelings of know ing", familiarity, intuition, hunches, "feels right" or does not, social judgment, empathy, compassion, affect-based symbolic expression, and so on.
to act-react intentionally and purposefully. These classifi cation coupling patterns are what bodyminds are born to do. Global neuron network action patterns are in a con tinuous flux of elaboration in response to ongoing experi ences. They do not function independently of other neural networks but in conjunction with them. Categorizing them in language-bound or mathematics-bound conceptual cat egories can be valuable in making sense of their anatomy and function. But there are risks in doing so. The language labels can lead to misperceptions that certain networks are
In human beings, these vast processing capacities are estimated to generate electro-physio-chemical operations in the range of 10 followed by millions of zeros (Edelman, 1992, p. 17; Chapter 2 has a snapshot review of the process
ing capacities of human bodyminds). The specific "design" of each human bodymind is based on (1) unique genetic ex pression, (2) unique epigenetic formation during prenatal gestation and postnatal growth, and (3) unique interactions with the people, places, things, and events that each
bodymind encounters and responds to.
"The forms of embodiment that lead to consciousness are unique in each individual, unique to his or her body and individual his tory..." and in essence are "...beyond scientific reach" (Edelman, 1992, p. 136)
Introduction to Perceptual, Value-Emotive, and Conceptual Categorizations As indicated in Chapters 3 and 6, collected networks of specialized neurons in the brain respond to sensory re ception in a classification coupling manner (see Figure I-7-
1). Highly complex categorical processing patterns are thus initiated within and between neuron groups. Sensory cat egory processing maps (neuron networks) are reentrantly integrated with other category processing neuron networks
such as those that process threat-benefit categories (valueemotive categories) and interrelated discrimination catego ries (conceptual categories). Those networks are integrated with collected neural networks that can produce tendencies
Figure I-7-1: A highly schematic diagram of some of the properties of neuronal groups and their classification connectivities. Five groups are represented with a few of their cells indicated (neurons). Group 1 illustrates that each cell contacts cells in its own group and in other groups. Group 2 illustrates the dense connectivity between cells within each group. Group 3 illustrates that each group also receives inputs from a set of overlapped extrinsic inputs that can be selectively stimulated. Group 4 shows that each cell thus receives inputs from cells in its own group, from cells in other groups, and from extrinsic sources. These representations are highly schematic—groups differ in size (ranging perhaps from 50 to 10,000 or more neurons) and in actual connectivity, as determined by the local neuroanatomy of the areas in which they are found. The connectivity routings are activated differentially to produce neuron and neuron group couplings that reflect features of the external world or the body's internal milieu. [From THE REMEMBERED PRESENT by G.F. EDELMAN. Copyright ©1989 by Basic Books, Inc. Reprinted by permission of Basic Books, a member of Perseus Books, L.L.C.]
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functionally isolated, and that can lead to sunset assumptions
cialized receptors within the nasal cavity, and smell catego
and part-elephant perceptions that are detrimental to human
rizations are created such as pungent and fragrant. The gus
beings. Example: For many centuries, the medical com munity assumed that newborn babies did not perceive pain,
tatory system detects and correlates features of object-borne chemicals that attach to specialized receptors that are lo cated on the tongue's surface. Taste categorizations such as
and therefore, anesthesia was not necessary when circum cision was performed on male babies. Three language-labeled conceptual categories of in ternal bodymind processing are: (1) perceptual categorization, (2) value-emotive categorization, and (3) conceptual categorization (Craig, 1986; Edelman, 1989; Lakoff, 1987; Lakoff & Johnson, 1999; Taylor, 1989). The following paragraphs present a brief introduction to each of the categorization processes. Perceptual categorizations. When we human beings encounter the people, places, things, and events of our lives, our bodyminds change their internal electro-physio-chemi cal processing. For instance, the visual, auditory, olfactory, gustatory, and somatosensory neural networks are differ
entially activated by variations in the forms of energy to which they are responsive (Chapter 6 has some details). Perceptual categorizations are based on which neurons have been activated and how intensely. Such nervous system processing can involve billions of neurons that are orga nized into millions of neuron groups (networks) and each group may be made up of hundreds of thousands of local circuits and micro circuits. Neurons of the visual system are organized in a topo graphic fashion so that particular neurons are responsive only to specific features of visual scenes such as a particular range of electromagnetic frequencies (colors). Neurons of the auditory system are organized in a tonotopic fashion so that particular neurons are responsive only to specific fre quencies within an acoustic environment. Neurons of the somatosensory system are organized in a somatotopic fash ion so that only particular neurons report certain types of
sweet, salty, and hitter are thus created. The vestibular system detects and correlates features of body position in relation to gravity and environmental topography. Balance categorizations are created such as stability and instability. The somatosensory system detects
and correlates many features of the external environment when they impact on the external or internal skin, such as the touch of other human beings. The somatic system also detects and correlates global features of the body's internal milieu such as changes in muscle contraction and stretch, heartbeat, blood pressure, intestinal "pressure", and air pres sure in the lungs, larynx, and vocal tract. Some sensed internal body-state changes are brought about by neuroen docrine and immune system functions, such as the sensa tions that higher order language areas have labeled as hun ger, thirst, satiety, temperature change, feelings, emotions, malaise, anxiety and pain. Correlative processing creates differential classification couplings within the circuits, resulting in categories of per ception within each sense (borders, movement; frequency, intensity; weight, force, surface texture). We may see some
thing that also produces sounds and sensations, of course, so all three sensory modalities are globally integrated in the brain's association areas. Simpler forms of generalization can be performed by these processes so that salient features of people, places, things, and events are compared and placed
sensations that occur in certain parts of the body, such as movement of the skin (tactile sense) and contraction of muscles (kinetic sense), for example. The visual system detects and correlates many fea tures of the external environment such as borders, dimen sions, shapes, colors, movement, and contextual location. The auditory system detects and correlates many features of the sound environment such as frequency, intensity, tim
in broad classes, with or without conscious awareness. These categorizations occur before higher order linguistic labels are assigned or activated. The wide variety of people, places, things, and events, for instance, are categorized and gener alized by observers according to their various feature pat terns. People may be perceptually categorized and general ized according to physical features of their bodies, such as general body borders, color, posture, and movement char acteristics; facial design and movement; detected scents; quality of physical contact; pitch, volume, quality, and
bre, and spatial location. The olfactory system detects and
durational characteristics of voice and speech, and so forth.
correlates features of airborne chemicals that attach to spe
Places may be categorized and generalized according to
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immediate geographic location, area landscape, building design characteristics, visual, auditory, and olfactory char
reentrant neural connections with all other brain areas, and with the rest of the body through physical innervation and
acteristics of space(s) within a building, and so forth. Things may be categorized and generalized according to character istic shapes, colors, nature of movement, felt texture, scents, tastes, and sounds (when applicable), such as chairs, lamps, automobiles, newspapers, books, computers, tables, flow ers, eating utensils, foods, clothing, child toys, and so forth. Episodic events may be categorized and generalized ac cording to the sights, sounds, and sensations that are corre lated with the passage of time. Events include such experi ences as mutual gaze with smiling mother, crawling, walk ing, riding a tricycle, driving a car, having an argument with a friend, studying for an exam, job interview, teaching a class, observing a concert, getting married, conceiving and
through the patterned, highly elaborate, ever-changing dis tribution of modulatory transmitter molecules and their
receptors. These bodywide interfacings include various ar
eas of the right and left frontal lobes (purposeful behavior),
the amygdalae (feeling states), the hippocampal areas (for mation and recall of conscious memories), the autonomic nervous system (major part of the emotional motor sys tem), the endocrine system (metabolism, feeling states), and the immune system (health). The point: All organs and systems of whole bodyminds can
be stimulated or inhibited, to some extent, by the processing of value-
birthing a child, and so forth. Edelman (1989, pp. 49, 50) refers to these processes as perceptual categorizations. Various forms of environmental energy are transduced into sensory nervous system pro cessing (see Chapter 6). These categorizations precede valueemotive and conceptual categorization by milliseconds of time. Neuron groups and networks that process each sepa rate sensory modality are connected by reentry with the other sensory modality networks. Those sensory modali
emotive categorizations (Swanson & Mogenson, 1981; Blalock, et al., 1985; Pert, et al., 1985; Price, 1987; Edelman, 1989, pp. 91-100, 151-153, 166-168; Rogers & Hermann, 1992; Rolls, 1995). These internal processing areas produce continuously evolving homeostatic internal states in whole bodyminds that are perceived by interoceptive, and sometimes prop rioceptive, sensory networks. Sensory nerves within the right and left cranial nerve X (vagus) are the primary sources of interoceptive sensation in the internal torso (Porges, 1991; Rogers & Hermann, 1992). Branched sensory innervation
ties can be activated separately or together and may result
of the torso is not as elaborately extensive as the rich sen
in neuropsychobiological arousal and attentional focus. In other words, unified but filtered sensory "represen
sory innervation of the hands, for instance. Homeostatic internal states have been referred to by some psychologists
tations" of people, places, things, and events can be "con
as mood (Farrell, et al., 1987; Thayer, 1989), and by some
structed", "reconstructed", and "displayed" in conscious aware ness. The actual nervous system operations that eventually produce conscious sensory awareness occur outside con scious awareness and without "supervision" from higher
cognitive neuroscientists as background feeling states
(Damasio, 1994, pp. 150-155). Background states are re ferred to when people say, "I feel great, today"; "I'm riding a high"; "I'm feeling fair to middling"; "I'm not feeling very
order consciousness. Perceptions that enter conscious aware
energetic"; or "I'm really feeling lousy". In general, back
ness, however, are the summated "final products" of mas
ground states can be described as pleasant or unpleasant.
sive neural network processings, although, again, we are not aware of any of the neuronal processing itself (Bornstein
as the background against which more intense internal
& Pittman, 1992; Gazzaniga, 1998a, p. 21).
bodymind states may be sensed and categorized. When
Value-emotive categorizations. The neural networks that process the visual, auditory, somatosensory, olfactory,
internal body states occur that are more intense than the
gustatory, and vestibular senses share integrated reentrant
connections with the areas of the brain where value-emo tive categorizations primarily occur. The major areas of valueemotive processing and their basic functions are listed in Table I-7-1. These areas, in turn, have direct or indirect
All interoceptive, homeostatic state sensations serve
background states, they have been referred to as feeling states or feelings (emotions are described later). When the more intense feeling states occur, their intensity continues for some period of time, after which they tend to diminish
toward or to homeostatic background states.
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Before they are sent to higher order processing areas, both familiar and unfamiliar sights, sounds, and sensations
are routed through the value-emotive categorization areas of the brain for appraisal. At very high speeds (millisec onds), the relevant value-emotive areas (led by the two amygdalae, the hippocampal areas, and the orbital prefrontal cortices) assign a threat-benefit value to the sights, sounds, and sensations (Halgren, 1991; LeDoux, 1996, pp. 174-178; also see Chapter 2). That value is based on (1) innate reflex responses that already may have occurred, and/or (2) memory of past experiences that share similar or same fea
awareness. Those neural network correlations result in summated pleasant or unpleasant, favorable or unfavorable value-emotive categorizations of the sights, sounds, and sensations. When novel, unfamiliar sights-sounds-sensations are perceived, the amygdala-orbitofrontal cortex areas trigger the ascending reticular activating system to tone up the gen eral level of neural arousal, and the vigilant attentional sys tems also are engaged to produce a conscious focusing of the sensory and cognitive systems on the person, place, thing, or event that is unfamiliar. If the person, place, thing,
tures with current experience, but are outside conscious
Table I-7-1. Major Brain Areas and Functions That Process Value-Emotive Categorizations orbital area of right and left prefrontal cortex (Rolls, 1990, 1995, Brothers, 1995, 1997, pp. 52-55)
processing of threat-benefit significance, emotional motor system, social interaction responsiveness
anterior cingulate cortex of the right and left limbic lobes (Brothers, 1995, 1997, pp. 52-55; Damasio, 1994, pp. 71-73)
processing of threat-benefit significance, emotional motor system, social interaction responsiveness
right and left amygdala (Everitt & Robbins, 1991; Gaffan, 1991;
processing of threat-benefit significance, emotional motor system, social interaction responsiveness; integrated with the orbital area of prefrontal cortex, thalamus, hypothalamus, and various brainstem and cranial nerve nuclei, the periaqueductal gray area and nucleus ambiguus (emotional voicing), the
Rolls, 1995; Brothers, 1995, 1997, pp. 52-55; LeDoux, 1996; Pribram, 1998)
autonomic nervous system
septal area at the base of the forebrain and the medialforebrain bundle, midbrain nucleus accumbens (Nolte, 1993, p. 397; Feldman, et al., 1997, pp. 455-491)
part of the integration of limbic system with the hippocampal areas, the cerebral cortex, various brainstem nuclei of the emotional effector system
hypothalamus-pituitary complex (Rogers and Herman, 1992; Rolls, 1995; LeDoux, 1996)
integrated with thalamus and cerebral cortex, various brainstem and cranial nerve nuclei, the periaqueductal gray area and nucleus ambiguus, the autonomic nervous system, endocrine system,
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many brainwide neural networks that use acetylcholine, dopamine, epinephrine, norepinephrine, or serotonin as their neurotransmitters (Feldman, et al., 1997, pp. 235-389)
include integrations of areas within the sensory, motor, and limbic systems, endocrine system, immune system; affect functions such as arousal and attention, sleep-wake, feeling states, memory, learning, health
many neural networks in which the opioid neuropeptides modulate neural activity (Blalock, et al., 1985; Feldman, et al.,
participate in modulating perceptual sharpness, intensity of pleasant-unpleasant feeling states, pain analgesia, relative indelibility of memory, and
1997, pp. 455-491; Pert, 1997)
immune system functions
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or event is appraised as not immediately threatening, then
When bodyminds carry out a threat-benefit appraisal
an orienting reaction occurs as either observation of, or interaction with, the unfamiliar element(s) takes place for a
and literal or potential benefit to survival or well being is detected, a bodily physio chemical state of alert eustress occurs (briefly described in Chapter 2). Certain nuclei within those brain areas and networks that are listed in Table I-71 are likely to be activated. Other brain areas also are acti vated and, together, they produce a recipe of transmitter molecules in the bodywide endocrine system that, in turn, produces background or feeling states that can be com monly categorized on a scale from "pleasant" to "ecstatic". Damasio refers to them as positive body states. Com monly, in these states, a range of constructive behavior pat terns is facilitated; "...the generation of images is rapid, their diversity wide, and reasoning may be fast though not nec essarily efficient.." (Damasio, 1994, p. 147).
brief period of time. At the same time, heart rate and blood pressure increase and respiratory rate increases or decreases, depending on the nature of the experience. EEG changes
also have been recorded in animal and human experimen tal subjects (Pribram, 1998). If an unfamiliar person, place, thing, or event is ap praised as nonthreatening, but otherwise uninteresting (no benefit), then the orienting reaction will subside after about 3 to 10 encounters (Pribram, 1998). That process is referred to as habituation. Arousal is lowered and attention goes elsewhere. When the amygdalae have been removed or are no longer functioning, then orientation reactions continu ally occur adfinitum. If a person, place, thing, or event has been encoun
tered enough times to become habituated, the orienting re action will be reactivated if some of the sights, sounds, or sensations that it presents are rearranged. This reorientation is referred to as the novelty effect. Arousal and attention are reengaged. When familiar (habituated) elements of a visual, auditory, or kinesthetic environment are rearranged, then more and more perceptual and value-emotive catego rizations occur. The value-emotive categorizations are very likely to produce physio chemical states of the body that are conceptually categorized as potentially beneficial, pleasantly interesting, or exciting. These bodymind events occur when listening to music because the designs of sounds and si lences produce familiarities that are then rearranged in rela tively unpredictable ways (Pribram, 1982). When literal or potential threat to safety or well being is detected, then the brain areas that induce arousal and attention go quickly into a state of alert distress (briefly described in Chapters 2 and 4), and a value-emotive cat egorization of unpleasantness occurs. Damasio refers to such background and feeling states as negative body states (Damasio, 1994, p. 147). The emotional motor system be comes engaged to activate high-speed, reflexive fight-flightfreeze motor responses (Holstege, et al., 1996; LeDoux, 1996), along with a range of learned protective behavior patterns. During distressed internal states, "...the generation of images is slow, their diversity small, and reasoning (is) inefficient..." (Damasio, 1994, p. 147).
When episodic events occur, the limbic system's memory engines (the right and left hippocampal areas) also are acti vated by the reentrantly linked networks of perceptual and value-emotive categorization. In other words, the associa tion-cortex-linked visual, auditory, and somatosensory "rep resentations" of the episode, and the limbic-system-linked somatosensory representations ofthe body's physio chemical state, activate the hippocampal areas. The particular hip pocampal neuron networks that are activated can be reac tivated if similar perceptual and value-emotive categories are processed in the future. Those neuron networks also are re-triggered when people "imagine" a past experience in the absence ofthe actual experience (Damasio, 1989, 1990b, 1994, pp. 155-158; Kosslyn, 1994; Kosslyn, et al., 1993, 1999;
Merzenich & deCharms, 1996; see Chapter 3). The scene will be seen, heard, and felt, in some degree of intensity, by "the mind's eyes, ears, and body". As the same or similar networked neuron groups are repeatedly activated, their synaptic connections become stronger. Long-term poten tiation occurs in the synaptic connections of those neuron networks (see Chapter 3). That is referred to as episodic memory by neuropsychologists (more later). Each time a person, place, thing, or event is reexperi enced, the memory is recategorized, at least to some extent.
Experiences that are the same except for relatively minor differences are likely to result in adjustments to a "same" experience. If an experience is sufficiently unlike a previous related experience, it often will be processed as a new cat
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egorization or a variant version of a person, place, thing, or
unlike, in-out, up-down, front-back, center-periphery, higher-lower,
event These processes are common when singers are learn ing vocal register skills. Regardless, current perceptual cat egorizations are always compared with same or similar value-emotive categorizations that have occurred in the past Conceptual categorizations. Children learn spoken language by hearing and seeing people talk, and sensing what others do when they talk, and by hearing and sensing
visible-hidden, rough-smooth, general-specific, simple-detailed, intensemild, part-whole, sequential-whole pattern, moving-still, slower-faster, origin-path-end, nearer-farther, threatening-beneficial, bitter-sweet,fra grant-pungent, irritating-soothing, like-dislike (see Edelman, 1989, pp. 140-143). The foundation of self and non-self conceptual catego rizations are formed by contrasts between (1) perception of external surroundings and (2) sensation of the body's boundaries and internal physio chemical states, and (3) prop rioceptive sensation of the body's movement in space and time (Damasio, 1994, p. 235; Edelman, 1989, pp. 93, 94). Sensations of background feeling states serve as a means by which more intense internal physio chemical states may be perceived and categorized (feeling states). Pre-language infants regularly form internally pro cessed conceptual categorizations (Diamond, et al., 1994). Newborn human infants behaviorally demonstrate the de velopment of conceptual categorizations when they select recordings of their mothers' voices reading a story or sing ing a song that had been read or sung to them many times during the third trimester of prenatal gestation (DeCasper
what they themselves do when they attempt to talk. But no parent or professional educator engages infants in a sequen tial curriculum that includes language labels for the sounds of speech (phonemes: vowels, consonants), or the semantic functions of words (nouns, verbs, and so on). Similarly, children learn to sing in the absence of a sequential curricu lum that includes language labels for pitches, rhythms, or melodic contours. When perceptual categorizations have occurred within the sensory modalities, and have been correlated with each other and with value-emotive categorizations, then mul tiple relational categories are established among an array of neural networks (Edelman, 1989, pp. 140-146,155-159; 1992, pp. 108-110). Areas within the prefrontal association cor tex co-activate with areas within the parietal-temporal-occipital association cortex. These areas, especially the pre frontal areas, are directly or indirectly interfaced with all other brain areas such as the thalamus, basal ganglia, cer ebellum, hypothalamus-pituitary complex, and the limbic system's amygdala, hippocampus, septal area, and so on
(Edelman, 1989, pp. 159-166; Fuster, 1996, pp. 150-184, 209-
252). Interfaced areas within the prefrontal and parietaltemporal-occipital association cortices then globally map some of the brain's earlier categorizations to each other in hierarchical and parallel interconnections. These interrelational categorizations can be referred to as con ceptual categorizations. Most conceptual categorizations occur outside con scious awareness, although many do occur in conscious awareness, and they may or may not be language-labeled (Edelman, 1989, pp. 173-185; Millikan, 1984; Weiskrantz, 1988). The following word pairs, however, can be used to linguistically describe many conceptual categorizations, even though the person that is doing the categorizing may never
use them, or use them after the concepts have been instan tiated within the bodymind: same-different, self/nonself, alike96
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& Fifer, 1980; Panneton, 1985; briefly described in Book IV, Chapter 1). Newborns prefer even more a recording of
mothers' voices that includes the background sounds of arterial pulse-flow from within a womb (Fifer & Moon, 1989; Moon & Fifer, 1990). Most likely, these conceptual
categorizations are formed outside conscious awareness. Older children and adults form non-language conceptual categorizations when sights, sounds, and sensations are ex perienced that are extremely unfamiliar. Hearing a record ing of Tibetan monks perform "overtone singing" (without any pre-experience description) is an example. We just hear it and then we begin to make comparisons with sounds from our past experiences and then, if we talk about it, we can only generate metaphoric expressions to describe the experience.
Prototype concepts may be illustrated by consider
ing "chair-ness". Generally speaking, objects upon which individual people sit are adapted to the dimensions of hu man legs, derrieres and backs. Although they are constructed in a huge variety of specific designs, they all have a proto type design by which they are conceived, recognized, and used.
"Music-ness" is a culturally defined prototype con cept that has many interrelated perceptual features. The most generalized features may be labeled as consecutive pitches (melodies), combined pitches (harmonies), durations (meters, rhythms, tempi), sound qualities (timbres), and de signed tonal patterns through time (form). Categorically dis tinct and interrelated general features of phenomena in the world, or of objects, can be labeled as conceptual frame works, that is, correlated "bigger picture" categories. For example, a conceptual framework for skilled vocal coordi nations could be: (1) arrangement of the body's skeleton, (2) efficient generation of breathflow, (3) efficient generation of vocal sound by the larynx, (4) creation of relatively bal
anced vocal resonance with efficient "shaping" of the vocal tract, and (5) efficient shaping of the vocal tract in the cre
(Posner & Peterson, 1990; Posner & Rothbart, 1998). Areas within the frontal and parietal lobe cortices collaborate with the visual, auditory, and somatosensory networks to carry out (1) alerting and orientation to a setting in time and place,
(2) selective detection of a specific target for conscious attention, and (3) maintenance of sustained attention or an alert vigi lance (Harris, 1995, p. 113-120). An anterior attention system
has been observed in the medial area of the right and left frontal lobes, and a posterior attention system has been located in the posterior area of the right and left parietal lobes. When conscious attention is engaged, some degree of an alert physiochemical state is always present. The brainstem's locus coeruleus, the "core" of the ascending re ticular activating system, engages the networks that use nore pinephrine as their neurotransmitter. These networks are
ation of language sounds. Almost all, if not all, of the details
distributed to nearly all parts of the brain, and they per
of vocal skill can be related to those five phenomena of
form a brainwide alerting or arousal function. They are
skilled voicing. Expressive speaking and singing would in
intimately interfaced with the anterior and posterior atten
clude additional framework items. Prototype concepts and
tion systems. An hyperalert state produces faster responses,
conceptual frameworks are subdivisible into many com ponent concepts that form complex conceptual category webs. These conceptual categorization functions are major elements in higher order consciousness (Edelman, 1989, pp. 186-207) and are always correlated with higher order abili ties such as language, decision-making, purposeful behav ior, personal and social regulation, and so forth (Fuster, 1996, 150-172). The capability for these enormous abilities have developed since the earliest forms of cognitive fluidity that emerged about 10,000 years ago, according to Mithen (1996). Cognitive fluidity is the result of the kind of global mapping or parallel distributed processing that is evident in the brain's prefrontal cortices. Elaboration of these capabilities into globally mapped conceptual abilities is highly dependent on varied experiences within emotionally safe settings, and on empathic care-givers (such as parents and teachers) who can skillfully facilitate optimal mastery of constructive higher order abilities.
but tends to result in a higher rate of inaccurate responses (Posner, 1978).
Attention, Memory, Learning, and Behavioral expression When conscious awareness is directed onto bodily
sensations or onto specific persons, places, things, or events outside of the body, the result is referred to as attention
Attention is described as involuntary when persons, places, things, or events that are external to bodyminds trig ger an automatic, reflexive focusing of attention. Involun tary conscious attention is triggered by the high speed threat benefit appraisal that is carried out by parts of the limbic system (value-emotive categorization). Attention is described
as voluntary when internal bodymind processes purpose fully select features of an environment to focus conscious attention upon.
A searchlight attention hypothesis (Crick, 1984; Treisman & Gormican, 1988) provides a model for atten
tion. Particular features to be perceived are focused upon, then moved away from so that other features may be "spot lighted". In visual attention, the eye field of the prefrontal cortex and the midbrain's superior colliculus are involved in selecting a target and moving the eyes there. In the retina of each eye, the massive number of visual neurons that constitute the fovea activate to take in details of the persons, places, things, and/or events that are the focus of attention. The lateral geniculate nucleus and the thalamic reticular com plex prepare the details for further analysis before sending them to the primary visual area of the occipital cortex. There the details are separated and processed further before being internal
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sent to parietal-temporal-occipital association cortex within which the posterior attention system is located. The signal
ing is then sent to the prefrontal cortex where voluntary attentional decision-making can be processed. In auditory attending (listening as opposed to just hear
ing), the efferent auditory networks can be engaged to sup press the processing of environmental sounds that have not been selected by the posterior and anterior attention systems. That enables a focusing of auditory attention to selected acoustic features that are embedded within a gen
recollection of encoded representations of those experiences. In neuropsychobiological terms, memory involves (1) the physio chemical instantiation, mainly within the nervous system's brain, of patterned perceptual, value-emotive, and con
ceptual categorizations that occur during and after interactions with people, places, things, and events, and (2) the reactiva tion of those instantiated categorization patterns in response to "triggering" experiences that match some or most of the
features of the original experience. There is a clear difference, then, between (1) the pat
eral acoustic environment (see Chapter 6). Examples: Se lecting the sound of a teacher's voice giving instructions when other people are talking at the same time, or selec tively listening to the alto part when the soprano, tenor, and bass parts are being sung at the same time. Similar pro cesses enable a focusing of conscious attention on soma tosensory reception from selected areas of the body. The right hemisphere sensory and attention areas ap pear to have greater capability for attending to and pro cessing global, whole-pattern, contextual perception, such
terned features of the actual external environment, or the
as whole faces and expressive pitch contour patterns in
process (Damasio, 1989). The transition from environment
speech and music. The left hemisphere sensory and atten tion areas appear to have greater capability for attending to
to constructive physio chemical instantiation can be prone to both accurate matches and inaccurate mismatches with the environment, and the reactivation process may also produce matches and mismatches. In other words, experi ences may be encoded with inaccuracies, the encoding may be subject to alterations by subsequent experiences and the passing of time, and the reconstructive retrieval experience can produce inaccuracies (Ceci & Loftus, 1994; Ceci, et al., 1994; Loftus & Ketcham, 1994; Loftus & Pickrell, 1995; Loftus, et al., 1995; Schacter, et al., 1995; Squire, 1995). Memory and learning are different processes that may
and processing details that are parts of whole patterns, such as observing eye color in a face or identifying one sequenced
pitch progression within multiple simultaneous pitch pro gressions (Robertson & Delis, 1986; Sergent, 1982). When the conscious attention spotlight is focused on one set of sensory details within immediate surroundings, there is extremely limited engagement with other possible sensory details within those surroundings (Posner & Peterson, 1990). Conscious attention can be focused on only one perceptual or sensorimotor "activity" at a time. Attention processing areas, particularly in the parietal lobe,
also are engaged when people are asked to imagine them selves walking or driving an automobile in familiar sur roundings (Roland, 1985). Any one or all of the sensory association areas activate when visual, auditory, and kines thetic imagery occurs in conscious awareness (Decety, 1996). Memory is the term that refers to certain complex physio chemical processings. A common concept of cog
nate memory includes (1) formation or encoding of "represen tations" of people, places, things, and events that have been experienced, and (2) subsequent retrieval, recall, recognition, or 98
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actual internal bodily state, and (2) the patterned, internal physio chemical categorizations that instantiate representations
of those actual phenomena (long-term potentiation in se lected neural networks, for example). Repetition of similar or same experiences results in some degree of change in the originally instantiated categorizations, thus, recategorizations occur. Memory formation, therefore, is an internal construc
tive process and memory retrieval is an internal reconstructive
or may not co-occur. Learning refers to adaptive changes in:
(1) perceptual, value-emotive, and conceptual categoriza tions, and (2) behavioral dispositions and behavior pat
terns as a result of interactions with people, places, things, and events (Edelman, 1989, p. 57). These changes co-occur with changes in the extent of: (1) size and myelinization of neurons in relevant neuron groups, (2) growth and prolif
eration of axon collaterals, dendrites, and dendrite spines, (3) short- and long-term potentiation of neurons in rel evant neuron groups, and (4) the number of neurons that have been selected for mapping or remapping within rel evant neuron groups.
Clearly, memory is part of learning, but memory may occur without adaptive changes to conditions in the expe
rienced world. We can have a memory of seeing grass in a park, but the memory may not be part of an adaptive ad
justment in our perception, feeling, conception, or behavior
regarding grass or parks. If we perceived the grass as a "deep" green color and it was newly mown and the color and the smell produced a pleasant feeling-state in us, and we then came to the park more frequently for "stress relief", then both memory and learning occurred.
There are many environmental conditions under which adaptive memory, learning, and behavior occur in bodyminds.
Neuroscientists who have studied memory
and learning have identified quite a number of brain areas
that activate differentially during the encoding and reacti vation of many types of memories, learnings, and behav iors. The analysis of those processes has resulted in mul tiple concepts and referential linguistic labels. For example, memories, learnings, and behaviors that are formed and engaged in conscious awareness are referred to collectively as explicit memory and learning. When language is involved in conscious memory, learning, and behavior, the term de
clarative memory and learning applies (Cohen & Squire, 1980; Cohen, 1981). Semantic memory is the neuropsy chological term for the vast associated conceptual categori zations we have encoded in memory that are linguistically ensymboled, that is, factual knowledge about people, places, things, events (see Schacter, 1996, p. 135). Memories, learnings, and behaviors that are formed and engaged outside conscious awareness are referred to collec tively as implicit memory and learning. When reflexive or habitual physical movement is executed outside con scious awareness, the term procedural memory and learn ing applies (Schacter, 1987, 1996, pp. 9-10, 170-176). A young man began having convulsive seizures. By the mid1950s, when he was just past his mid-twenties, the seizures became much more frequent and severe. He could not function, and all medi cal solutions were exhausted except one: surgery to remove the areas of his brain where the seizures were triggered and maintained. He had the surgery at the age of 27 years. Most of both temporal lobes were removed, and to his great relief, the seizures ended. In cognitive neuro science circles he is known as H.M. After the surgery, H.M. appeared to behave normally except for one thing: he had lost the ability to form conscious memories that
lasted for more than about one minute. If you had been introduced to him and had carried on a brief conversation, he would have appeared normal to you. If you then had left his presence and returned about one minute later, you would have had to be introduced again, because he would have had zero recollection of you or anything about the conversation. In fact, if you had done the same thing 50 times every day for one or ten years, the same result would have happened. HM's intelligence measures were normal, he could reason very well, carry on conversations, and he could remember clearly the people, places, things, and events that he had experienced up to about a year or two before the surgery. After that, he remembered nothing. No memo ries ever lasted more than about a minute. At the age of about 65 years, nearly 40 years post-surgery he did not know his age, the status of his parents, or anything about his life history during the past 40 years or so. He could not even recognize a photograph of himself. H.M. was studied extensively for over 35 years by neurologists, neuropsychologists, and cognitive neuroscientists. He is very famous in memory research circles and the research has revolutionized what is known about memory. The temporal lobes' right and left hippocampi, and nearby cortical transition areas, are primary loci of conscious memory formation and reactivation (Kesner, et al., 1992). They
provide a kind of reference index for aspects of memories that are stored in other parts of the brain (Damasio, 1989; Schacter, 1996, p. 87; Squire, 1992; Teyler & DiScenna, 1986). The hippocampal areas are rich with highly branched and synapsed neurons, and have extensive long-term potentia tion capacities (explained in Chapter 3). They receive sen sory input from all of the perceptual senses and share rich, reentrant interconnections with the parietal cortex and the limbic system, especially the amygdalae (value-emotive in put; Cahill, et al., 1996). There are rich reentrant intercon nections with the areas of the prefrontal cortex that regulate and/or modulate reasoning, decision-making, expecting, and
so forth. Neural circuits within the hippocampal area are capable of retaining their long-term potentiation, and thus
their availability for reactivation, for about two or three years. These indexical encodings of experience are referred
to as long-term memory (hours to months). After about two years, areas of the neocortex-mainly prefrontal areas-assume their "storage" as long-lasting memory (months to lifetime; LeDoux, 1996, p. 193; McGaugh, 2000; ZolaMorgan & Squire, 1993).
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Two decades ago, memories of short duration were referred to as short-term memories (seconds to hours). The concept of short-duration memory was elaborated in
the 1970s into the concept of working memory (Baddeley, 1986; Baddeley & Della Sala, 1996). Immediate working memory refers to the ability to track and recall people, places, things, and events that occur in an uninterrupted flow of "present" time, for instance, an uninterrupted conversation. Recent working memory refers to the ability to retain and recall people, places, things, and events that have been expe rienced in immediate time, but then an interruption of the experience occurs and attentional focus is changed to one or more other persons, places, things, and events. Even though immediate working memory then has different con tent, the earlier experiences can be retrieved because they
have been held "on line" and outside conscious awareness. Remembering where you parked your car after eight hours of work is an example of recent working memory. LeDoux (1996, pp. 270, 271) uses the computer term "buffer" to de scribe the temporary storage of memories outside of imme
room and our eyes are closed (Damasio, Grabowski, et al., 1993). After a sufficient number of sensory experiences in
life, and after the neural networks of the prefrontal cortices have elaborated and myelinated sufficiently, human beings have the capability to mutate the vast array of visual, audi tory, and kinesthetic memories. When we do that, we say that we are using our creative imagination. Auditory sense processes are involved similarly during musical composi tion and improvisation. This capability also enables human beings to engage
in "mental practice of motor skills" (Weiss, et al., 1994). The regional cerebral blood flow (rCBF) of a male was mea sured as he performed three motor tasks (Roland, et al., 1980; see Figure I-7-2). When he merely pressed a spring with the fingers of his right hand-an act that requires no conscious planning-the hand areas of his primary motor and sensory cortices activated to trigger the peripheral mo tor system to move his fingers. When he performed a re cently learned complex sequence of finger movements, his supplementary motor and premotor cortices activated along
diate conscious awareness so that they are available if or when needed. In the patient H.M., immediate working memory was still functioning, but he could not form recent working memories. Executive control of the working memory system is in the lateral areas of the prefrontal cortex (Fuster, 1996, p. 4). Those areas can entrain other cortical areas to engage simultaneous oscillatory activation of several to many neural networks (Bressler, et al., 1993; Cohen, et al., 1997; Courtney, et al., 1997; Damasio, 1990b; Eckhorn, et al., 1988; Fuster, 1996, p. 144; Sporns, et al., 1989). Damasio refers to this entrainment process as an activation of convergence zones that can integrate simultaneous and near simultaneous processes within widely dispersed areas of the cortex (Damasio, 1989; Damasio & Damasio, 1994). For instance, the lateral areas of the prefrontal cortex can activate what Schacter calls the perceptual representation system (1996, p. 184) and what Damasio calls perceptual images (1994, p. 96). These systems enable us to have "as-if expe riences", that is, we can "see with our mind's eye", "hear with our mind's ear", and remember bodily sensations. In other words, activation of our prefrontal and visual cortex en ables us to "see", in our visual imagination, the room in which we regularly sleep, even though we are not in that 100
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Figure I-7-2: (A) shows that only the hand areas of the left primary motor and sensory cortices were activated when a man simply pressed a spring with his right hand. (B) shows that his supplementary motor cortex also activated when he performed a complex sequence of newly learned finger movements. (C) shows only the supplementary motor cortex activating when the man "imagined" performing the finger sequence but did not actually do so. [Illustrations from Kandel, Schwartz, & Jessell (Eds.), (©1991), Principles ofNeural Science (3rd Ed.), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.] Illustrations were adapted from Roland, Larson, Lassen, & Skinhof (1980). Supplementary motor area and other cortical areas in organization of voluntary movements in man. Journal ofNeurophysiology, 43,118-136. Used with permission.]
with the primary motor and sensory areas. The supple
an experience, and the greater their intensity, the more in
mentary motor and premotor areas helped provide some conscious planning and guidance for the primary motor cortex. When he just "imagined" performing the complex finger sequence, the primary motor cortex did not activate
delibly they will be instantiated. Sensorimotor memory, learning, and behavior are among the richest sources of perceptual, value-emotive, and conceptual categorizations and memory. Sensorimotor memory and learning enable a reenactment or a repetition
because his fingers did not move for this task. His lateral
prefrontal cortex areas entrained his supplementary motor, premotor, sensorimotor, and parietal-temporal-occipital association areas to participate in producing the image by supplying the planning and guidance aspects of the finger sequence. That is an example of working memory. Episodic memories are neural-chemical instantiations of experienced events that had time boundaries and to which attention was devoted during the event's time-flow, along with the sights, sounds, and sensations that were impor tant. Contextual memories of the people, places, and things and the sights, sounds, and sensations that were not the focus of attention were also encoded, but without the "mag nifying glass" or the "searchlight" of conscious attention. When an episode (event) is encoded in memory, all forms of memory may be simultaneously encoded, and later
triggered into recall. For instance, explicit emotional memory, or memories of emotional states (LeDoux, 1996, pp. 200-204), are recalled when current perceptual categori
zations trigger the amygdala-hippocampus connection to send related perceptual, value-emotive, and conceptual memories to the lateral prefrontal cortex to create conscious working memories. Typically, perceptual categorizations are formed within an episodic memory. Damasio (1994, pp. 165-201) has elaborated a theory of how environment-trig
gered physio chemical states of the body (feelings and emo tions), mark the associated perceptual and conceptual cat egorizations so that when the percepts and concepts are recalled, the physio chemical state is also reactivated. His somatic marker hypothesis explains key features of how feelings are extensively enmeshed in reasoning and deci sion-making (Damasio, et al., 1991; Damasio, 1994, pp. 165201; Damasio, et al., 1995). Somatic markers are interocep tive sensations of the physio chemical changes that occur within the torso when feeling states are triggered (described earlier). Somatic markers also can include proprioceptive physio chemical states, and they, too, can participate in valueemotive categorizations. The more senses are engaged by
of a previously accomplished sensorimotor act or perfor
mance. The process involves dynamic changes in synaptic
networks within global mappings. Both implicit and ex plicit memory networks are activated. The most useful and most indelible form of explicit memory and learning may
involve proportions of all or several of the senses, sen sorimotor action, and the symbolic-expressive abilities of higher order consciousness (speaking and singing, for in stance).
Sensorimotor behavior can be (1) reflexive and automatic, (2) associated with one or more elements of an environment, and (3) highly elaborated and refined (a complex skill). Refined sensorimotor skill learning is undertaken to gain efficiency, accuracy, "smooth
ness", speed, and precision in the mastery of goal-oriented move ment (Donoghue, 1996). Threats to physical and emotional safety in the learning environment will restrict sensorimotor process ing and prevent optimum skill learning. Physical and emo tional safety, then, are prerequisites. Think of throwing darts at a target on a wall. Target
practice means that conscious attention becomes focused on a goal target that has a bull's-eye. Motor planning expectan cies are initiated by areas within the prefrontal cortex, aided by the visual and sensorimotor association cortices. An initial throw of the dart occurs, and immediate sensorimo tor and visual memories of the event are formed. That feedback can then be used to make adjustments for the next throw, and the process recycles. Bull's-eye missing is nec essary so that the nervous system can make adjustments in the neural networks that enact the dart throwing. Contin
ued target practice, then, enables the nervous system to re fine those perceptual and sensorimotor skills. People who are experienced dart throwers can serve as guides who as sist in the skill development process. "Brains learn by tak ing target practice" is a metaphor that is elaborated upon in Chapter 9. Two types of sensorimotor skill learning are:
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1. initial acquisition of a relatively new or novel skill, its re finement, enhancement, and elaboration, and its neural
instantiation and modification in memory; 2. alteration of a previously instantiated skill (habit), the refinement, enhancement, and elaboration ofthe altered skill, and its instantiation and modification in memory. The nervous system areas that change during the ac quisition or alteration of sensorimotor skills are briefly de
scribed in Chapter 3 (see also Asanuma, 1996). Both types of sensorimotor skill learning take place in three phases
(Fitts, 1964): 1. early-cognitive phase; 2. intermediate phase; and 3. late-autonomous phase.
quences and contraction intensities to applicable peripheral
motor nerves and skeletal muscles, and then, first enact ments ofthe skill occur. All ofthe sensory events that oc cur during each succeeding enactment are then placed into immediate working memory and if a pleasant-feeling is tagged
to the experience, then repetition is primed. After an ap propriate number of repetitions, a blueprint neural network patterning is instantiated in the relevant neurons (a degree of long-term potentiation) and recent working memory be comes consolidated. This implicit mode of learning is necessary in infancy and early childhood until the neural processing equipment for conscious attention and analysis, and the larynx struc tures, have sufficiently matured (Book IV Chapters 1 through 3 have details). When learning a skill for the first time,
In the early-cognitive phase of skill acquisition, a
simple, uncomplicated tasks for pathfinding the skill will increase the probability of successful accomplishment. In
global goal is consciously conceived, such as singing songs
fants, children, adolescents, and adults who are learning sing
skillfully and expressively, and literal or potential bodymind benefit for acquiring that skill is assessed by the learners'
ing skills for the first time, need (1) enjoyable, communica
value-emotive processing. In order to begin learning a novel skill, an internal global framework model of the skill must be instantiated in the brain's sensorimotor networks (various targets with bull'seyes). This model can be established outside of conscious awareness (implicitly) and it can be established in conscious awareness (explicitly). Take the skill of singing, for example. Just listening to and seeing the repeated singing of other people begins the implicit instantiation ofthe auditory and sensorimotor parts of the framework model. If singing is perceived as a pleasant-feeling thing to do, and the skill has
not been associated with personal inadequacy, then the in nate imitative, expressive, and exploratory-discovery abili ties of human beings will initiate sensorimotor attempts at performing the skill. Frequently heard models of singing, and just "taking target practice" on the neuromuscular co
ordinations of singing, begins the instantiation of a global framework model of the sensorimotor aspects of singing skills. A rough-draft blueprint (a representation) of motor
sequences and contraction intensities is then constructed for executing "first-trial runs" at accomplishing the skill. The frontal lobe's primary motor cortex sends the planned se
tive voiceplaysm that includes imitative sound-making, wideranged pitch-sliding, word-making, word-sliding, and the
like, and (2) short, simple, repetitive songs with limited pitch ranges. When neurovocal anatomy has sufficiently ma tured, then another person can bring some aspects of sing
ing skill into conscious attention and guide the learning of
the details of singing skill and expressiveness. Once the global framework model of basic pitch, rhythm, and language accuracy has become instantiated, then conscious attention can be focused on more detailed refinements ofthe global skill. For example, if novice sing ers notice that they are able to sing with pitch accuracy in their lower range (shortener prominent lower register) and their upper range (lengthener prominent upper register), but pitch accuracy does not occur in a midpoint pitch range between the two, then attending to and mastering the finer motor skills of lengthener-prominent-to-shortener-prominent coordinations (and vice versa) can be accomplished in conscious awareness (Book II, Chapter 11 explains vocal register coordinations). The visual, auditory, and somatic senses (parietal-temporal-occipital association areas) can then be engaged in visualizing, audiating, and physically "sensing" (imagining) this refinement of the global frame work model of singing skill, and knowledgeable teacher guides can aid the learning.
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The motor planning areas of the frontal lobes can then begin to activate cortical and subcortical sensorimotor net works that could contribute to a realization of the neuro muscular coordinations. Conscious pathfinding occurs in the early-cognitive phase as trial runs of the skill include comparisons of the current global framework model with what actually happened in a trial run (target practice). Each well attended trial run creates a degree of recategorization or adjustment of the sensorimotor model. Gradually the model becomes more and more "detailed" as sensorimotor adjustments occur in the relevant neural networks. Explicit pathfinding is a target practice process. Bull'seyes are missed quite frequently in this early-cognitive phase of sensorimotor skill learning. Early experience of the out
side limits of the target can help the nervous system "home in" on a target's bull's-eye. When consciously developing vocal tract adjustment skills, experiencing a maximally opened and enlarged vocal tract and a maximally narrowed and
"smallened" vocal tract would instantiate a working memory of the extremes of vocal tract adjustment. The nervous sys tem will then be better able to guide vocal tract adjustments toward "middle-ground" bull's-eyes. During and after all trial
runs of the skill, the visual, auditory, and somatic senses track (1) internal neuromuscular events (sense of "more work"
and "less work", for example; many of these events are out side conscious awareness), (2) trajectory of gross anatomi cal movement (global movements in jaw, tongue, soft pal ate, pharyngeal and laryngeal adjustments), and (3) any ef fects on applicable elements of the environment that oc curred (changes in heard vocal sound quality). Some of that sensory feedback can be placed into immediate work ing memory for explicit, conscious, analytic evaluation. That constitutes knowledge of results (Buekers, et al., 1994; more in Chapter 9). Such conscious evaluation commonly includes the
elaboration of conceptual categorizations that are aided by spoken or thought language. The sensory tracking infor mation that is not placed in working memory is catego
rized implicitly or outside conscious awareness. Compari sons then can be made between the framework model and the perceived results in order to assess how close the actual sensorimotor trial came to matching the current framework model. Spoken or thought language can help in the pro cess of refining the motor pattern for the next trial run.
Teacher-guides can assist in focusing sensory attention on
the target practice process, eliciting more sensory feedback
into conscious working memory, and creating correlations between perceptual, value-emotive, and conceptual catego rizations. The early, unrefined instantiation of a sensorimotor skill in the nervous system can be referred to as a template neuromuscular coordination. When neuromuscular co ordination patterns are instantiated in sensorimotor memory, motor skill researchers sometimes refer to them as sen
sorimotor schema or sensorimotor programs. To alter an already established, habitual sensorimotor skill "pat tern", conscious awareness of unmet value-emotive criteria must arise. In other words, elements of the program do not meet newly evolving value criteria for efficiency, smooth
ness, accuracy, precision, speed, agility, or comfort. For ex ample, when teachers notice that their voices are sore, achy,
and tired at the end of most teaching days, they may won der if they could learn speaking skills that could help them avoid that discomfort. When singers notice that their voice quality in upper pitch range has become noticeably pinched and effortful, they may seek to alter their habitual vocal coordinations in order to meet new voice quality and ki
nesthetic sensation criteria. Once the decision is made that a change in vocal co ordination will be more valuable than the coordination as it is, then conscious exploration of alternative coordina tions can occur. Experienced teacher-guides can facilitate the clarification of new bull's-eye criteria and an exploratory
process. Eventually, new bull's-eyes become identified. Con scious awareness of the difference between (1) the habitual sensorimotor coordination pattern, and (2) the altered co ordination pattern can then emerge. The motor planning areas of the frontal lobes activate applicable cortical and
subcortical motor areas to construct an initial plan of the altered motor sequences and contraction intensities that are likely to enact the altered skill. The parts of human beings that produce conscious awareness of sensorimotor details can only attend to one activity at a time, so selecting one vocal coordination change at a time will aid progress in learning the skill. Establishing a bull's-eye template coordination in sensorimotor memory is the first step. Simple vocal sound patterns are needed at
first, so that conscious sensorimotor awareness is optimized. internal
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For example, in vocal tract adjustment skills for singing, the
use of a single vowel (perhaps /uh/ or /ah/) and a simple downward sigh-glide would remove potential barriers to skill development that would be present in the more com
plicated context of a song. For easy onset of vocal sound by the vocal folds and breathflow, downward sigh-glides on single words that begin with slightly sustained /shhh/, /fffff/, or /hh/ consonant sounds can be helpful. As the template neuromuscular coordination is re peated, the necessary neural network routings are gradually
selected for the sensorimotor skill pattern and they are gradu ally strengthened. Disuse of the former routings gradually occurs, and those neural network routings gradually weaken. This is the intermediate phase of sensorimotor skill learn ing. With continued knowledge of results, each repetition enables the synapses of the necessary neuron networks to strengthen, that is, long-term potentiation processes begin. Routings through the right and left hippocampal areas are
glides, to 3-2-1 or 5-4-3-2-1 scale patterns, to wider pitch interval patterns, to snippets of melodies on vowels or syl lables, to larger melodic contours. Pitch and volume ranges and voice qualities can be varied. Eventually, whole songs are sung and the more song contexts that are encountered, the more the recruitment and elaboration of neurons oc curs within necessary neural networks. In one study, six hours after practicing a new template coordination that was mixed with other skills, different re gions of the cortex were activated to produce the coordina tion: the premotor, posterior parietal, and cerebellar cortex
structures (Shadmehr & Holcomb, 1997). When learning
novel skills, or changing habitual skills, memory and learn ing are consolidated more quickly when goal-focused dis tributed practice occurs (several shorter spans of time during a day) rather than massed practice (a single longer span of time) (Kanfer, et al., 1994). Once a skill can be performed frequently with accu
included, as well as differential recruitment of peripheral neuromuscular motor units that produce the actual coor
racy, there will be sufficient strength in the neural networks'
dination adjustments. When learning complex skills, like vocal tract adjust ments in singing, learning proceeds faster if the skill is parsed
(a filled-in framework model) can activate prefrontal, sen sory association, supplementary motor, and premotor cor
synaptic connections that "imagining" the skill's performance
into simple versions first and complexities are gradually
tices. So-called "mental rehearsal" actually can help refine sensorimotor skills (Roland, 1985; Schmidt, 1988; Kosslyn,
added. When finished skills require accuracy and speed at
et al., 1993; Damasio, et al., 1993; Jeannerod, 1995; Decety,
the same time, one strategy is to repeat the skill slowly at first to learn accuracy, and then gradually add speed (Schmidt, 1988; Winstein, 1995). Muscle fatigue impairs accuracy, smoothness, and speed in the performance of neuromuscular skills, and it disturbs the learning of effi cient sensorimotor skills (Carron, 1972; Bigland-Ritchie & Woods, 1984). Conditioning, therefore, is relevant.
1996; Grafton, et al., 1996). Effective practice does not make a skill "perfect". It makes a skill relatively permanent but
During the intermediate phase, template coordinations can gradually be placed into a variety of contexts that gradu ally become more complex. Blocked practice sessions in volve repeating the same skill many times. Blocked practice results in faster acquisition and consolidation of a new or altered skill. Random practice sessions involve mixing the skills that are repeated. Random practice results in increased retention of a global skill in sensorimotor memory (Schmidt, 1988). For example, the same skill can be rehearsed in a variety of increasingly complex contexts, from single-vowel
sigh-glides to syllable sigh-glides, to multiple-syllable sigh
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adaptable. When practice activities are intrinsically reward ing (see Chapter 9) and are appropriately varied, then skill
elaboration becomes a pleasure and the likelihood of vol untary frequent practice is increased. The late-autonomous phase of sensorimotor skill learning is entered when conscious awareness of the skill elements is no longer necessary, the skill is "easy", fluid, ha bitual, automatic, and adaptable to a variety of contexts, even unfamiliar ones. Sensorimotor skill mastery is evi denced by more and more frequent "sweet-spot" bull's-eye
hits. Very minimal prefrontal activity is needed as subcor tical brain areas (such as the basal ganglia and the cerebel
lum) process the complex skills outside conscious aware ness (see Chapter 3). For singing, it is as though the pre frontal cortex says, "Sing me this song in the automatic way". Then it "stays out of the way" while the automatic subcor
tical routine networks execute the highly complex acts of singing. Singing high-speed melissmatic passages from Handel's Messiah would be an example. People with normal, intact brains are shown 500 pictures. Then, those 500 pictures are randomly mixed with another 500 pictures of similar subject scenes that have not been seen previously The people in the study are asked to identify which pictures were seen before. Many such studies have been performed, and the results are predictable: About 450 of the previously seen pictures are accurately identified as familiar (9O°/o accuracy) (Pribaum, 1998). * * * * *
A patient with total amnesia for explicit memories is shown several words on cards, such as pasture or garden. The researcher leaves the room for about 20 minutes and then returns. The researcher reintroduces herself and shows the patient a set of cards that have the firstfew letters of the words that had been shown earlier, such as pas___ and gar___. The group of letters could actually be the beginning of several words. The patient, of course, has no explicit memory of the earlier words, but is asked to say a word that the letters might be the beginning of. Over 90% of the time, the patient speaks the words from the initial list. * * * * *
Another patient with total amnesia for explicit memories is shown how to perform a skill that he had never learned before in his life. He learned to do simple knitting over several therapeutic sessions. At the next session, the neuropsychologist asks the patient, "Do you know how to knit?" Answer: "No." "Here are some knitting needles and yarn, can you show me how to knit?" Answer: "Well, I'd like to, but I really don't know the first thing about it." Without saying anything else about knitting, the psychologist then places the knitting materials beside the patient, sits down and begins knitting while con tinuing to converse with the patient. After a few minutes, the patient picks up the knitting materials and begins to knit.
formed, but is outside the conscious awareness of the per son who is remembering (LeDoux, 1996, pp. 179-224; Schacter, 1987, 1996, pp. 161-191; Stadler & Frensch, 1998). Implicit memories do not use the temporal lobe, hippoc ampus-centered memory system. They appear to use the prefrontal cortex-regulated memory system. The prefron tal cortex is richly connected to every aspect of internal CNS processing. As the renowned Russian neuropsycholo gist Alexander Luria wrote (1973), the prefrontal cortex is "...the brain's brain'' That is part of the reason why implicit memory can involve so many different human capacities. The first of the above stories demonstrates that a large
number of memories can be stored in and retrieved from
recent implicit working memory by intact brains.
The second story illustrates the priming of implicit semantic memory, and the third is about implicit sensorimotor skill memory, with explicit denial of ever having learned a skill.
None of the initial learning experiences could be recalled consciously, yet memory was clearly demonstrated. The intact implicit sensorimotor memory of the knitting pa tient was instantiated when he originally learned how to knit. Another common term for implicit sensorimotor memory is procedural memory. In this patient's case, his im plicit knitting skill was primed when the psychologist mod
eled knitting skills. The fourth story is about implicit emotional memory.
These memories are commonly manifested in much less
dramatic forms (Damasio, 1999). Mangan (1993) has writ ten about feelings of knowing. He states that we "...have them about items in working memory that are available to con sciousness, but are not conscious in the current moment."
A common example occurs when we say that a word or a name is "on the tip of my tongue". His studies indicate that
* * * * *
feelings of knowing are (1) quite accurate most of the time,
The doctor of a patient with total amnesia for explicit memories always reintroduced himself with a handshake, and the patient al ways pleasantly joined in. One day, as an experiment, the doctor con cealed a small tack in his hand before entering the room. Predictably, the patient's hand was jerked away with a cry of pain. Upon entering the room the next time, the patient had no explicit memory of the experience, was very pleasant to the new doctor, but absolutely refused to shake his hand (Claparede, 1911/1951, pp. 58-75). The above stories are examples of implicit memory and learning, that is, memory and learning that is neurally
(2) receive high confidence ratings by people he has stud
ied, and (3) do not involve detailed, structured experiences. Research subjects are given a stack of paper money and four decks of cards that are labeled with the letters A, B, C, and D (Bechera, et al., 1993,1994,1997; Damasio, 1994, pp. 205-222; Adolphs, & Bechera, et al., 1995; Adolphs & Tranel, et al., 1995). As they turn over the cards from each deck one at a time, the cards tell
them how much money they can take from the money stack for them selves, and occasionally, how much money they have to put back in the
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cards from decks A and B give $100 rewards and cards from decks C
their card turning strategy, and long before they became con sciously aware of their strategy change. In other words, GSR in the normals indicated that implicit emotional processing of threat to well being oc
and D give $50 rewards. Occasionally and unpredictably however,
curred before they became consciously aware that the high-
cards are turned that produce large losses. They do not know that there
reward decks resulted in greater overall losses than the low-
are more such cards in decks A and B than in decks C and D, and as
reward decks. These results suggest that threat-response
the game proceeds, the subjects have no way of knowing when the
physio chemical state changes occurred (unpleasant feeling
losses will occur and no way of keeping track of the exact amounts of gain or loss. One group of subjects have no neural abnormalities and an other group have abnormalities (from accidental brain injury or neces sary surgery) in the ventromedial areas of the prefrontal cortices (un derside, central areas of the two frontal lobes). The ventromedial areas of the prefrontal cortex are heavily involved in developing value-emo tive criteria for planning and enacting appropriate ongoing and future behavior. When the function of those areas is disrupted, behaviors occur that violate self-interest and social propriety. Parts of all subjects' hands are connected to contact electrodes that measure the extent of, and variations, in skin perspiration as the game proceeds (galvanic skin response or GSR). Increased sweat on the skin increases its capacity to conduct electricity. When people are under some degree of threat, the autonomic nervous system is engaged, meta bolic rate and body heat are increased, perspiration increases propor tionately, and the GSR electrodes record more electrical conductance. As threat subsides, the extent of perspiration subsides, and conductance is reduced. In the game, both groups learn quickly that turning over cards from decks A and B are very rewarding. As the game proceeds, the brain-damaged subjects continue to turn cards from the high-reward decks, and never figure out that doing so results in winning consider ably less money in the long term than turning cards from the lowreward decks. As the brain-normal subjects turn high-reward cards from decks A and B and then experience the more frequent larger losses, they start turning more and more of the low-reward cards from decks C and D. Eventually, they begin turning over the $50 cards almost exclusively. The studies' significant findings: (1) The GSR in the brain-damaged subjects never changed. (2) As the brain normal subjects turned high-reward cards from decks A and B and then experienced the more frequent larger losses, their GSR increased noticeably. (3) In the brain-normal subjects, increased GSR began before they actually changed
states), and although those changes may not have been
money stack. They also are told that the game will end when a par
ticular signal is given, but they will never know how long the game will continue. As the subjects turn the cards over, they soon learn that
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interoceptively perceived in conscious awareness, they were encoded as part of implicit emotional memory and learn
ing.
Somatic markers that are formed outside conscious
awareness are an example of implicit emotional memory
(LeDoux, 1996, p. 201).
The Bodymind’s ’’Interpreter Mechanism” and ’’Observer Mechanism” Cognitive neuroscientists are continuing to determine
which brain areas are globally networked to produce what
is referred to as conscious awareness. These global net works are vastly interfaced with neural networks that enact
our learned symbolic expression abilities. The most elabo rated mode of symbolic expression is perceived and spo ken language. Human beings have, therefore, a global con scious-verbal system that enables us to "interpret" our experiences, that is, make sense (perceive, analyze, sequence, label, describe, correlate, hypothesize, theorize), gain mastery (understand, reason, make decisions, adapt, learn skills), and protect (enhance safety and a relative state of well being). Genetic and epigenetic processes produce a primary array of capability-ability clusters, and lifespan experiences con vert capabilities into a unique array of elaborated abilities (see Chapter 8). Higher order capabilities include highly sophisti cated neural repertoires for perceptual, value-emotive, and conceptual processing, and for behavioral expression. So, human beings are born with brain areas that are uniquely capable of converting experiences and images of
self and world into symbolic expression. Symboling capa bilities must be converted, of course, into symboling abilities. Internal processing of perceived symbol-making by others, and "practice" of actual symbolic expressions, result in the
learning of symboling abilities (Deacon, 1997). In about 95°/o of normally developed people from Western cultures, large areas of the temporal and frontal lobes of the left cere bral hemisphere are devoted to language perception, de coding, acquisition, and production. Language is the pri
mary means by which denotative perceptual and concep tual "meanings" are communicated (briefly described in Chapter 3). Corresponding areas of the temporal and fron tal lobes of the right cerebral hemisphere are devoted to spoken paralanguage perception, decoding, acquisition, and production, that is, to connotative value-emotive or prosodic "meanings". Connotative meanings in speech are embedded in patterned variations of vocal pitch, volume, quality, and duration. The hemispheric brain areas that produce language
and paralanguage are vastly integrated within (1) the tem poral, parietal, and frontal association areas of the neocor
tex that integrate all sensory experience, (2) the prefrontal
neocortex that plans and sequences behavior, and (3) the limbic association areas that process value-emotive experi ences. Also, language and paralanguage processing are "si multaneous" due to interhemispheric integration mostly through the corpus callosum. Semantic processing (Greek: semantikos = significant) requires vast arrays of high-speed, specialized, and reentrantly interacting brain areas (Damasio & Damasio, 1992; Edelman, 1992, pp. 124-136). Normal human brains have far more capacity for such processing than any other creature on Earth (Deacon, 1997; Lieberman, 1984, 1991). Gazzaniga (1985, pp. 74-80, 135; 1995; 1998a,b) refers to the conscious-verbal system as the interpreter mecha nism or the interpreter. He and his colleagues gathered extensive research evidence that an interpreter mechanism is primarily a feature of left hemisphere processing. Ac cording to Gazzaniga, the interpreter mechanism excels at analyzing the details of an experience and generating inter pretations and verbal explanations about why events have
occurred and how they occurred. Possible alternative ex planations, hypotheses, or "theories" are generated about the logical meaning of events in an attempt to bring "order" and "reason" to experiences. The left hemisphere actively
categorizes specific experiences in a multifaceted, sequential context. The conscious-verbal system also protects self-
Figure I-7-3: If the corpus callosum is severed for medical reasons, nearly all axonal communications between the right and left hemispheres are prevented. [From: LEFT BRAIN, RIGHT BRAIN, 3rd Ed., by Springer and Deutsch. Copyright ©1989 by Sally P. Springer and Georg Deutsch. Used by permission of W.H. Freeman and Company.]
identity by interpreting self-behaviors as logically appro priate within the context in which they have occurred. Research with "split-brain" patients, and patients who have had their left hemispheres removed surgically (hemispherectomy), has produced revealing information about left hemisphere interpreter processing and about how right hemisphere interpretative processing is different. Split-brain
patients are people whose corpus callosums have been sev ered (callosotomy) in order to save their lives. They fre quently experienced intense, long-lasting grand mal seizures. Following the surgery, their two hemispheres cannot coop eratively correlate their perceptual, value-emotive, and con ceptual categorizations, and they cannot coordinate left side with right side bodily movements through their corpus callosums (Chapter 3 reviews the basic anatomy and func tion). When a split-brain person stares at a fixed point, the left side of the person's visual field is received through the right half of each eye, but all visual signaling is sent only to
the right hemisphere for "analysis and interpretation" (de scribed in Chapter 6). The right side of the visual field is received by the left half of each eye and all visual signaling is sent only to the left hemisphere for analysis and interpre tation (see Figure I-7-3). In a person with an intact brain, all internal
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Figure I-7-4: In this example of right-hemisphere comprehension, a split-brain patient was asked notto draw what he actually saw, but instead to draw a picture of "what goes on it." He drew an English saddle. Subsequently, he was asked to draw what he saw. [FromM. Gazzaniga, The Social Brain, Copyright ©1985, HarperCollins Publishers. Used with permission.]
the visual information would be shared equally in both hemispheres, and each hemisphere would cooperatively participate in analysis and interpretation. In one experiment carried out by Gazzaniga and as sociates (1978; 1985, pp. 95-97), the word horse was shown to J.W, a split-brain patient At that time, J.W. had the abil ity to comprehend language with right hemisphere pro cessing, but could not use right hemisphere processing to produce spoken language. The word was shown only to J.Ws left visual field, thus only to his right hemisphere (see Figure I-7-4). J.W. was asked, "What was it?" Answer: "I don't know" The right hemisphere did not have the ability to use
spoken language to describe the image it had received, but
the left hemisphere had seen nothing and "said so". He was then told, "Draw with your left hand a picture of what goes on the word I flashed" Reply: "But I didn't see anything. How can I draw what goes on something that I didn't see?" Reply: "Oh, go ahead and let that left hand try"
A pencil was placed into his left hand (controlled by his right hemisphere which had received the image "horse").
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Figure I-7-5: Two problems ("What goes with what?") are presented simultaneously to a split-brain patient. The problem posed to the talking left hemisphere is perceived with conscious awareness, and the one posed to the nontalking right hemisphere is perceived without conscious awareness. The answers for both problems are available in full view in front of the patient. See narrative for description of patient's reaction. [Reprinted with permission from M.S. Gazzaniga & J. LeDoux (1978), The Integrated Mind, New York: Plenum Publishing.]
He proceeded to draw a picture of a saddle with his left hand. He also was asked to draw what he had seen, and a horse was drawn. This kind of experiment has been repli
cated in other patients with the same result
It demon
strates other-than-conscious, implicit perception and direc
tion of behavior in the bodyminds of split-brain patients. In another experiment (Gazzaniga, 1985, pp. 70-73;
see Figure I-7-5), P.S.'s left hemisphere was flashed a picture of a chicken claw, and simultaneously his right hemisphere
was flashed a picture of a snow scene in front of a house. The pictures were shown with a tachistoscope which was programmed to flash pictures in less time than eyes would take to shift either to the left or right. A row of four cards
depicting various objects was placed in front of P.S's right hand and another four cards was placed in front of his left
hand. The question was asked, "What goes with what?" The patient's left hand (operated by the right hemisphere)
typically pointed to a shovel, and the right hand to the
head of a chicken.
The response discrepancy was then
pointed out to P.S.'s language-capable left hemisphere, and
he was asked, "Why did you do that?"
Reply: "Oh, that's easy. The chicken claw goes with the chicken and you need a shovel to clean out the chicken shed." In this experiment, the left hemisphere's consciousverbal system did not see the snow scene, and pointing to the shovel was an "illogical" response to the chicken claw. The language-capable left hemisphere was put in the posi tion of having to explain that illogical behavior. So, the
shows, however, that the interpreter creates explanations for self-behavior or environmental events, even when there is no logical reason for the events or self-behavior. This interpreter tendency is quite common among people with intact brains. Gazzaniga (1998a, pp. 156, 157) suggests an informal ex periment that reveals this tendency, and it can be carried out by anyone who has the courage to do it. Before starting the test, prepare a completely randomized list of about 30 "yes" and "no" answers, with three or four consecutive "yes" answers in the middle of the list and again at the end. Select a subject for the experiment (people who "know-it-all" are the best subjects, according to Gazzaniga). You may say to that person, "I just learned a fun test of reasoning ability-an intelligence experiment. I know a sequence of numbers
conscious-verbal system created a "logical" connection in order to explain the observed behavior. In yet another experiment (Gazzaniga, 1985, pp. 75-
between one and 100 and the sequence follows a logical pattern. To figure out the pattern, you ask me no more than
77), a sophisticated device was used to control which hemi sphere was observing a series of films which were intended to elicit strong emotional reaction-some pleasant, some un pleasant. One film showed people throwing others into a fire. After she had observed it from her left visual field to her right hemisphere, patient VP. responded this way: M. Gazzaniga: What did you see? VP: I don't really know what I saw. I think just a
quence and how it is patterned" After each question or number guess is offered, the
white flash. M.G: Were there people in it? VP: I don't think so. Maybe just some trees, red trees like in the fall. M.G: Did it make you feel any emotion? VP: I don't really know why but I'm kind of scared. I feel jumpy. I think maybe I don't like this room, or maybe it's you. You're getting me nervous. (The patient then said to an assistant) I know I like Dr. Gazzaniga, but right now I'm scared of him for some reason"
VPs bodywide sensory response to the film was me diated by limbic, brainstem, endocrine system, and periph eral interoceptive processing that have whole-body, precortical, sensorimotor linkage, such that both hemispheres receive the results of that processing . VPs conscious-ver bal interpreter (left hemisphere) then generated an explana tion for the bodily feelings that had no apparent cause. So, the interpreter creates reasonable, logical explana tions for events and self-behavior. The research clearly
30 yes/no questions about which numbers are in the se
experimenter responds with the answers from the prede termined sequence of yes/no answers. After the first series of consecutive "yes" answers, tell the subject that he or she is doing well and ask if they have a theory about the pat tern. Ask what the theory is, and then observe their inter preter go to work. Gazzaniga describes the result as "...a frightening spew of gibberish....The (interpreter) insists on generating a theory, even though there really is nothing to
generate one about. The (subject), usually mortified, will not speak to you for a month." In its "enthusiasm" for generating explanations, the interpreter commonly produces inaccurate interpretations of experience, which may be followed by inaccurate reinter pretations, especially when defending one's own behavior (self-protection). When an inconsistency between verbally stated beliefs and actual behavior is pointed out, the inter
preter commonly reinterprets the belief or the situation to justify the behavior.
The interpreter can produce conceptual overgeneralizations about perceived people, places, things, and events. If a large group of people are categorized by one or more common features, and a few of them behave inappropriately, some interpreters may say, "Well, all of those people behave that way. They're always getting into trouble.
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They never do the right thing" And the "offenders" may say "But everyone does that!" Interpreters also commonly construct an altered, pos sible past (memory) as opposed to an accurate one. When describing a recent episodic memory, interpreters commonly embellish the event in order to enhance their own role in a successful accomplishment, or to clearly disassociate them
pable of acquiring a considerable degree of language ability
selves from an unsuccessful one. Such altered interpreta tions can create altered, inaccurate, or false memories that are then consolidated in memory as though they were real (Gazzaniga, 1998; Loftus & Pickrell, 1995). When two or more people are eyewitnesses to the same event, they each are exposed to the same people, places, things, and tempo ral sequences that constituted the event. Variations in eye witness accounts of an event commonly occur during a post-event description of it. Typically, the interpreter mecha
the present moment and responds literally to that input, thus a literal observer mechanism, the observer, can be pro posed. If the words "Take a walk" are flashed to the right hemispheres of seated split-brain people, many of them will rise to leave. If they are asked why they are leaving, a typi cal reply from the left hemisphere interpreter might be, "Oh, I need a drink of water" So, the right hemisphere's percep
nism inserts elements of the event that did not actually oc cur. The left hemispheres of split-brain patients report many
(Gazzaniga, et al., 1996). Studies suggest, however, that ar eas within the right hemisphere do participate in conscious
sensory awareness and behavioral responses, and process a notable degree of language comprehension (Chiarello, 1991; Gazzaniga, 1998a; Hagoort, et al., 1996). The right hemisphere just observes sensory input in
tions and reactions are literal or "truthful", and accurate memories are formed and acted upon. fMRI research has indicated that when people with intact brains recollect memories accurately, only the right hippocampus is acti
inaccuracies when they are asked to provide "eyewitness
vated (Miller & Gazzaniga, 1998). Both the left and right
accounts" (Phelps & Gazzaniga, 1992; Metcalfe, et al., 1995; Miller & Gazzaniga, 1998a). Ceci and colleagues (1994) had preschool children ran domly select cards that had descriptions of events on them. Some of the events had actually happened to the children and some had not. When questioned several weeks later about whether or not a nonevent had actually happened to them, 58°/o of the children said that at least one nonevent
hippocampi are activated when false memories are recalled. Whereas the left hemisphere interpreter places experi ences into larger sequential but interrelated contexts, the right hemisphere is structured to attend more to whole pat terns of the perceived current environment (Gazzaniga, 1995; Gazzaniga, 1998a,b; Metcalfe, et al., 1995). In people with intact brains, the two hemispheres are always co-active, but which processing orientation predominates? The answers to that are currently under research. One theory is that the
had actually happened to them, and 25°/o elaborated false
details about a majority of the nonevents. In many cases of
"repressed memories" of traumatic events, interrogators or psychologist examiners have helped the interpreter mecha nisms in their clients to construct false memories (Ceci & Loftus, 1994; Loftus & Ketcham, 1994; Loftus, et al., 1995; Miller & Gazzaniga, 1998). The left and right cerebral hemispheres internally pro cess perceptual, value-emotive, and conceptual categoriza tions differently, and they produce behavioral expressions differently. Unlike the left hemisphere interpreter, the right hemisphere does not interpret perceptions to construct ex
planations or "deeper meanings". Neuroimaging and re search with split-brain and hemispherectomy patients has
shown that the right cerebral hemisphere can only produce rudimentary (one-to-two word) spoken language (Bogen, 1997; Gazzaniga, 1998b, Hamilton, 1986), although it is ca 110
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dominance depends on the nature of a current situation, and of past experiences that have "shaped" global activa tion patterns in the brain. A teacher who is experienced in nonverbal commu nications (Anna Langness, Ph.D., Boulder Valley Public
Schools, Colorado) once portrayed the nonverbal commu nications that three stereotypical teachers might habitually
produce. No vocal sounds were emitted, that is, neither language nor paralanguage was used. Only postural move
ment, arm-hand gestures, facial expressions, and arrange ments of clothing were used while pretending to teach stu dents in a classroom. An observing group of 12 educators
were asked to note their observations of the three teachers. After the experience, the teachers were asked to share their observations verbally, and they were listed on a chalkboard. Of 68 observations, 57 (84°/o) were categorized as "judg
mental interpretations" of the teachers' behaviors. They in cluded such phrases as, "very sloppy person," " emotionally cold", "looked angry", or "too enthusiastic". These expres sions would be typical of a left hemisphere interpreter mechanism. On the other hand, 11 (16%) of the observa tions were literally descriptive of what was seen, such as, "bra strap was showing", "did not smile", or "facial expres sions were often exaggerated". These expressions would be typical of a right hemisphere that just sees, hears, and senses what it observes, and then influences the left hemisphere to describe same in language. Human Communication and Linguistic Expressions Formed by ‘Interpreter Mechanisms’ People express their interpretations of experience much more frequently in spoken than in written language. In
creating and in perceiving language-embedded interpreta tions, human beings draw on their unique array of accu mulated perceptual, value-emotive, and conceptual catego rizations of people, places, things, and events (memories), including their experiences with language symbols. The selection and interpretation of denotative linguistic sym bols is a critical part of what interpreter mechanisms do. Human beings are not born with pre-encoded lan guage labels for the people (including self), places, things, and events that they encounter or will encounter. Histori cally, neural processing capacities proliferated in human
bodyminds as human cultures, and the use of symbolic reference, became elaborated (Deacon, 1997, pp. 334-340). Label words (nouns), action words (verbs), and modifier words (adjectives for nouns, adverbs for verbs) were devised, along with grammatical function words that convey the parsing of "meaning units" within sentences (conjunctions like and, or, but, for example) (Caramazza & Hillis, 1991; Deacon, 1997, p. 284; Edelman, 1989, pp. 147-148, 173-192; 1992, pp. 124136,237-252; Johnson, 1987; Lakoff, 1987; Macnamara, 1982; Millikan, 1984). Nouns and verbs were the first language sounds that human beings devised. Nouns are label words that "stand
for" entities that have material substance, that is, a concrete, bordered, physical existence. Their symbolic reference is indexical, that is, this combination of sounds refers to that material object or that category of material objects. Water,
air, dirt, tooth, mountain, wrench, chair, shirt, boat, and human
being are examples. Over time, human beings developed increased capa bility for self-awareness, social interaction with other people, and critical evaluation of ongoing events. As those capa
bilities were converted into abilities, there arose a need for a
linguistic ensymboling of these complex processes during human discourse. For example, the array of feeling-state sensations that occur during longer-lasting human relation
ships were not concrete objects like carving tools were, nor was the performance of complex social roles like mating and child nurturance. These complex experiences did not have concrete material characteristics, but noun-words were the only naming words that could be devised. So, human beings used their noun-making abilities to create a category of label words that were noun-like, but stood for complex phenomena that were more interpretative in nature. Such words are now referred to as nominalizations. Nominalizations are concept category words. Most of them are richly enmeshed with nonverbal value-emotive categorizations. Rather than symbolizing concrete entities, nominalizations symbolize complex, multi-patterned, multirelational phenomena, an evolving-event reality. What they represent is abstract and obscured from direct perception. They cannot be seen, heard, or touched by anyone's hands, or tossed back and forth. Nominalizations can produc tively facilitate human communication in many ways, but they also can "build limiting familiarity fences" around con cepts that can prevent a global appreciation of the complex,
dynamic, multifaceted nature of what they "stand for". So, conscious, analytic description of nominalized phenomena is quite challenging. For example, just what is mind, bodymind, self, thought, cognition, memory, intelligence, feeling, emotion, subjec tive experience, hope, attitude, motive, motivation, belief, value, qual ity, intention, learning, philosophy, science, even a voice. Other nominalizations are concept words for various complex behavior patterns or roles that human beings en
act during social interactions, such as teacher, principal, artist, philosopher, scientist, clergy, physician, patient, nurse, psychologist, lawyer, officer, executive, white collar worker, blue collar worker, secre tary, corporation, employee, mayor, governor, president, singer, speaker, wife, husband, mother, father, parent, child, daughter, son, friend, peer. Can you touch "teacher-ness", or hold "artist-ness" in your
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hands, or go to a store and buy replacement parts for "lawyer-ness"? One can argue, therefore, that nominalizations are derived from a culture's interpretative language labeling of nonphysical, complex, process-oriented phenomena, and value-emotive biasing is frequently involved. They usually do not exist without two or more human beings to produce whatever the categorical phenomena actually are. Nominalizations are often used when an interpreter mecha nism is: 1. overgeneralizing ["Students these days just don't...."; "Teachers always/never..."; "My child always/never..."]
2. parsing or compartmentalizing complex, process-oriented, conceptual relationships [mind vs. body; cognition vs. emotion; objective vs. subjective; cognitiveaffective-psychomotor; young human being vs. student;
human being vs. patient or customer or politician or voter, or...; human being vs. Caucasian or African-American or Indian or...; human being vs. Christian or Muslim or Jew or atheist or...; political history-art history-music history-lit
erary history; psychology-sociology-neurology-endocrinology-immunology; information about vs. direct experience with or doing and creating; speaking voice vs. singing voice]. [Author's Note: For additional examples of nominalizations,
see the Addendum at the end of the chapter] Many ofthe linguistic labels that are commonly used today were originated during prescientific or early scientific times as human interpreters were trying to make sense and gain mastery of the world. For example, people still com monly behave and talk as though nonphysical minds in habit human bodies and operate them. Within that tradi tion, one manifestation of mind is pure logical reasoning and
another is nonlogical emotions. A logical conclusion, then, is that reasoning and emotions are separate and competing manifestations of mind. But, check the assumption on which that logic is based—minds are non-physical. At the most general descriptive level, what we label as feelings and emotions can be categorized under two headings, pleasant or positive, and unpleasant or negative. The word feel ing (Old English: felan; Old Saxon: gifolian; Old High Ger man: fuolen = sensing) is a commonly used, colloquial nominalization. Linguistically, it is used in many symbolic 112
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contexts. For example, such expressions as "I feel...(good, bad, indifferent, happy, sad)"; "That feels...(rough, soft, hard)"; "You hurt my feelings"; "How did that make you feel?" refer to different semantic categories. At all times, human bodyminds with normally func tioning anatomy and physiology, experience relatively steady background feeling states (explained previously). When individual persons experience feelings, the "intensity" of the body's physio chemical states have been elevated above the intensity of background states. When feelings are experi enced, particular recipes of neuron networks are activated and particular recipes of transmitter molecules ofthe endo crine and immune systems are released in varied intensities. The sensory domain of the nervous system then is acti vated by the particular physio chemical changes that have occurred, and the person then can perceive a categorical change in the status ofthe body. Feelings, therefore, are re lated to value-emotive categorizations in the nervous sys tem and all memories are feeling-tagged. In a context of internal body state changes, the word emotion (Latin: emovere = to move out, expel) is often used interchangeably with feeling. Both words refer to relatively intense physio chemical body states, but among speakers of English, emotions (1) are associated with defined categories of hu man experience, and (2) have been given nominalized language la bels. The most colloquially used emotion labels are love and hate. Various psychologists have indicated that there are anywhere from 4 to 17 basic emotions. Sadness, anger, fear, disgust, and happiness are commonly cited in the literature on emotions. Ekman (1992a) and Panksepp (1998) also list rage, anxiety, distress, awe, amusement, satisfaction, nurturance, con tempt, panic, lust, embarrassment, guilt, shame, relief, interest, and pride in achievement. Some emotion labels are associated with specific types of experiences, such as jealousy, homesickness, envy. In order to qualify as a categorically distinct, basic emotion, Ekman proposes seven defining criteria: (1) auto
matic appraisal, (2) commonalities in antecedent events, (3) presence in other primates, (4) quick onset, (5) brief dura tion, (6) unbidden occurrence, and (7) distinctive physiol ogy.
Damasio (1994, pp. 131-142) proposes primary and secondary emotion categories. Primary emotions are in
nate and meet Ekman's criteria. They are generated by auto
matic neural processes that are "prewired" into our limbic
and brainstem systems during prenatal gestation. They are triggered when certain features of our world occur (large
creature size, type of motion, certain sounds) and certain configurations of internal body state occur. Secondary emo tions are acquired or learned from our particular experiences with people, places, things, and events. Areas within the cerebral cortices, especially the prefrontal cortex, are neces sarily engaged in their triggering and formation into memory. The cerebral areas entrain the prewired limbic and brainstem
networks, and the endocrine system, to produce the inter nal state characteristics that we sense when we experience learned emotions. The neural areas that produce emotions have access to motor systems so that emotional behavior can be triggered (Holstege, et al., 1996). Emotional behavior can then be observed by other people who are present, and at times, by the behaver. Word labels such as feeling, emotion, happiness, or fear, are not the actual physio chemical states of bodyminds. Various word labels (nominalizations) have become com monly used as denotative symbols for various complex and dynamic, but categorically different, physio chemical body states. The written notations of a musical composition are analogous. Notation symbols are not the actual music. They are a symbolic blueprint that "stands for" the actual sounded musical expressions. In other words, human left-hemi sphere-prominent interpreter mechanisms have invented in terpretative, conceptual word labels that serve as linguistic
symbols for categorically distinguishable, internally sensed, physio chemical body-states that may result in behaviors
such as facial expressions. Emotions, therefore, are processed by a linkage of brain areas that process value-emotive and higher order concep tual categorizations. For example, the physio chemical states that are referred to as love are highly varied in intensity and are associated with different categories of people, places, things, and events. Love for a parent or sibling is very dif ferent from love for a potential or actual mate, and those loves are different from love for a toy, an automobile, a city, a style of music, or a platonic friend. The constitution of each of those people-place-thing-event-related physio chemical states change over time as experiences change. So, the words that speakers of English use to label these physiochemical body states are not nouns.
Physio chemical body states cannot be literally held or touched or bounced or tossed. Neither the words feeling and emotion, nor the word labels for the various types of emotion symbolize a concrete, bordered, material entity. Anger, fear, sadness, happiness, and so forth, are used as though they refer to "entities" that have concrete, material existence. For example, "Your emotions get in your way"; "I just want
to be happy"; "pursuit of happiness"; "I was overtaken by fear"; "Get control of your anger". Again, these "affect" words are interpretative conceptual word labels for dynamic, mul tidimensional, electrophysio chemical body states that are complex, variable, evolving-event realities. When people be have in an angry or fearful, or happy way, we can assume that their immediate and past histories of feeling-tagged ex periences were instrumental in triggering the emotional dis plays. Psychologists and cognitive neuroscientists use these same nominalizations when they scientifically investigate feelings and emotions. They debate about what emotions ac tually are and how we know when we, or other people, are "having an emotion". The challenge that they face is that the symbol systems that are used to describe emotions (lan guage and sometimes mathematics) impose limitations on the description. Denotative language symboling is linear, serial-sequential, this-then-that. Language is helpful when
it is used to describe objects and their actions in the physi cal world using nouns, verbs, and their modifiers. But phe nomena that are simultaneously multilayered, multi-interconnected, and multidimensional processes that occur in complex temporal relationships and are represented in bodyminds as memories that can affect future behavior, do not lend themselves well to denotative description. Can you use descriptive words to convey exactly how fear or anger or happiness feels? That's why nominalizations, meta phors, and analogies are commonly used to describe analy ses of feelings and emotions-including scientific analyses. The problem is that nearly all of us, including the scientists, have assumed that such nominalizations as feel ing, emotion, fear, anger, disgust, sadness, happiness, and joy are nouns. We behave as though such language labels refer to
something that is material. Some scientists have looked for
the places in the brain where those different emotions are
processed. There are identifiable areas of the brain that are dedicated to processing what we refer to as feelings and internal
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emotions, but their interconnections to a vast array of other neural networks and neurochemical processes are unique in each person and are experience-dependent (Black, et al., 1990; Cahill, et al., 1996; Greenough & Black, 1992; Kirkwood, et al., 1996; LeDoux, 1990; Leon, 1992; Phelps & Anderson, 1997). Feelings and emotions are established and altered mostly by lifelong interactions with, and evolving adapta
tions to, the people places, things, and events that have been encountered. For example, some people react to nonpoisonous snakes as a source of threat, while others relate to them as home pets. Why is this important? How does the difference between nouns and nominalizations relate to learning, teaching, self identity, and human communication?
Nominalizations and the Depersonalized Objectification of Human Beings When a category of experience is assigned a nominalized word label or description, the concept becomes "surrounded by a familiarity fence", and becomes bound in memory with an implicit "concreteness" or "bordered object-ness". In other words, nominalizations for complex, dynamic processes can take on a "misplaced concreteness" (a term used by the philosopher A.N. Whitehead, cited in Deacon, 1997, p. 286). When that happens, nominalizations are used as though they are nouns that symbolize an "objec tive reality". That misplaced concreteness can inhibit an under standing of the complex, dynamic, multidimensional na
ture of what nominalizations symbolize. As a result, open
ness to conceptual modification may then be reduced or eliminated, and personal behavior patterns that the nominalizations support may become "solidified" and au tomatic. Altering those solidified conceptual or behavioral patterns will then be quite challenging. As use of a nominalization becomes more widespread among mem bers of a society of human beings, their "concrete objectiv ity" can become implicitly assumed so that their actual com plexities are rarely examined for a more accurate and com
plete understanding. Sunrise and sunset are examples. So are feeling and emotion. A voice educator purchases a plastic model of a hu man larynx. By studying it, the teacher learns more clearly how voices are made and how they function. The teacher 114
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then uses the model to help learners understand what their own voices do when they speak and sing. Each time the model is used, the teacher thinks, "This is neat. The model helps me become a more effective teacher of expressive voice skills." The value of material objects to human beings de pends on their usefulness in accomplishing goal-oriented or purposeful behaviors. A material object (the model) is a means to a constructive end and a pleasant "feeling connec tion" to the object becomes part of a memory formation.
Material objects are not like human beings, of course. The larynx model did not argue about how it was being used. It did not extract a promise from the teacher that it would be the only model used for teaching, and it did not give the teacher flowers after its successful use in teaching about voice skills.
A crucial key to human interaction is the outcome of the fronto-limbic system's threat-benefit categorizations.
Human beings who have contributed to our personal sur vival, and to prominent degrees of safety and need fulfill ment, are rarely categorized in the same way that material objects are categorized. "Significant others" are rarely con ceived of as useful material objects like a hammer, a car, or a building. When initial experiences with one human being (or a group) are categorized as nonthreatening and benefi
cial to constructive well being, then pleasant feelings and
empathic emotions tend to be experienced and co-categorized with familiar perceptual-conceptual categorizations. When benefit, pleasant feelings, and familiar percepts-concepts are co-categorized, then personalized nominalizations are spoken that enhance constructive human interactions. They tend to reflect a growing emotional bond or connec tion, and the interactions may be described as respectful, affiliative, empathic, mutually supportive, caring, or loving. Nominalizations such as friend, good guy, pal, buddy, team member, and friend are likely to be spoken. The interpreter mecha nism, then, tends to generalize that reaction to other human
beings who have similar physical and behavioral charac teristics. On the other hand, human beings who have not con tributed to our survival, safety, and need fulfillment, and who are: (1) unfamiliar (strangers), (2) have physical fea tures that are noticeably different from familiar people, (3) dress differently, (4) talk differently, and (5) behave differ
ently, are likely to be categorized by normal bodyminds as high in potential threat value. That categorization triggers
some degree of an unpleasant feeling state that is co-categorized with the unfamiliar or different perceptual-conceptual categorizations. An emotional disconnection is more likely and possible protective behaviors are called into working memory in case they are needed (avoidance, isolation, counter threat). The emotional-behavioral reaction may be described as ranging from vigilant wariness, suspicious, on-edge, disrespectful, antagonistic, accusatory, to belligerent. Over time, a typical result of threat-benefit categoriza
tions is that human beings become divided into defined social groupings (addressed in Chapter 9). In-group (famil iar-pleasant) and out-group (unfamiliar-unpleasant) social hi
protect citizens from harm and help them when in certain
types of need. But in some people, those pleasant, or at least neutral nominalizations do not always produce inter pretations of safety and service. The terms student and teacher also were intended to be at least neutral value-emotive labels that simply denoted particular complex roles for human interaction. When threat
to well being is the more frequent value-emotive experi ence between students and teachers, however, then the la bels begin to be used as though they were nouns, and can be imbued with a depersonalized, non-empathic and ob jectified feeling-meaning. When that happens, then human beings are more likely to treat each other as though they are inanimate objects rather than complex fellow human be
erarchies may be formed that range from cliques to orga
ings. Disrespectful interactions then become easier, maybe
nized associations to whole cultures and subcultures. In
more likely, between students and teachers. Chapter 9 addresses this challenge.
terpreter mechanisms, then, can easily assign noun-like word labels to the familiar-pleasant in-group people that express
empathic connectedness. And they can easily assign noun like word labels to the unfamiliar or different out-group people, so that they can be interacted without empathy, as though they were depersonalized objects. In the United States, nominalizations such as jock, nerd, geek, dummy, bully, enemy, gook, white trash, whitey, redskin, wetback, polack, jew', and nigger may be spoken. The interpreter mechanism, then,
tends to generalize that reaction to other human beings who have similar physical and behavioral characteristics. The nominalized word label(s) help consolidate all of the cat egorizations into a bordered concreteness and an indelible memory. These types of nominalization enable a depersonal
ized, non-empathetic objectification of human beings. And that makes emotionally or physically hurtful behavior to ward them easier.
Originally neutral, well intended nominalizations can take on these depersonalized and objectified characteristics. Does your body-state change when you are driving your automobile and you see a police patrol car in your rear view mirror? If so, was the feeling pleasant or unpleasant? Most people automatically react with an unpleasant feeling state and protective behavior. In the United States, the terms police, policeman, and police officer were originally intended as references to people who were hired by governments to
Nominalizations and the Compartmentalization of Complex, Dynamic Phenomena 1. An imaginary academic conference on music learning is
announced. The conference is titled "Cognitive Processes of Children in Music Education". The term cognitive processes is defined as the men
tal operations or structures that children use when engaged in musical activity. 2. A group of music educators are setting goals for a school system's music program. They list curriculum goals and teaching activities under three categorical headings: (1) cognitive, (2) psy chomotor, and (3) affective. 3. A professor publishes a book that is titled "Musical Think ing" All of the key terms in the previous list are nominalizations that represent explicit knowledge that has been generated by human interpreter mechanisms. They convey the following implicit assumptions. Assumption #1. Mind (mental operations) is a dis embodied, depersonalized collection of cognitive structures, de vices, or processes that produce psychological phenomena. The structures or devices are subdivisions of the mind, and therfore, they have nothing to do with the physio chemical processes of the body. [Cognitive psychology is the professional
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discipline that theorizes about and studies these cognitive processes, structures, and devices.] Assumption #2. The human mind is divisible into separate operational domains: cognitive operations, psychomo tor operations, and affective operations. A consequence of this implicit assumption is that when teachers are engaging stu
dents in cognitive activities, then psychomotor and affective phenomena are regarded as inconsequential, or not occur ring at all, and may not be attended to. Assumption #3. The most important activities in mu sic education are those that emphasize musical cognition and conscious analytical thinking. When mind is conceived in these ways, then music educators are more likely to pay a great deal of attention to the consciously controlled, cognitive, reasoning, thinking and sequential aspects of music learning. Compartmentalizing mind into cognitive, affective, and psychomotor operations implies that the three mental processes can be activated independently of each other as though they were disembodied. When stu dents engage in musical activities, are they expected to shut off their affective neural processing when cognitive activi ties are undertaken? How much time will be devoted to experiencing and gaining insight into the human-expres sive affective and psychomotor aspects of music. [Have you ever seen a choir singing expressive text and music
with expression-less faces and bodies?] If the value-emo tive or expressive dimension of music is minimized and its perceptual-conceptual-cognitive dimensions are maximized, then might we be saying that musical thinking is the reason that it came into existence in the first place? (elaborated upon later, and in Chapters 8 and 9). When the above interpretations are compared to what actually happens in whole bodyminds, they are shown to be only partially valid or completely invalid. The use of nominalizations to label and describe the "parts and sub parts" of complex, ever-evolving phenomena can result in
incomplete and inaccurate perceptions and conceptions, and misplaced value-emotive categorizations. Future perceptual, value-emotive, and conceptual categorizations, and behav ioral interactions with people and events, then, are likely to be less constructive and productive than might be possible. For example, when schools are conceived of as places where cognitive learning takes place, then social-emotional self regulation aspects of human beings will often be conceived
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of as interferences with the "true purpose" of education or
as inconsequential to the mission of schools. "Quick fixes" for discipline problems may intensify protective behaviors in
students (and teachers), and the development of empathic re latedness and self-reliant autonomy may be disparaged as
evidence of a decline in academic rigor (addressed in Chapter 9).
Connotative Language, Paralanguage, and the Arts Higher order processing enables us to perceive, ac
quire, and produce sounded, written, and gestured (signed) symbol systems that have a relatively direct, literal, logical, one-to-one correspondence to the world as we have expe rienced it. Languages and mathematics provide us with these denotative references to our perceptual, value-emo tive, and conceptual categorizations. Symbolic communication over thousands of years has resulted in a linguistic and mathematical heritage that is shared, in varying degrees, with other human beings. The neural networks that enable the perception, acquisition, and production of written language symbols are "built onto" the already formed neural networks that produce spoken language, and are dependent on prior development of spo ken language (phonology).
Language is, of course, a common part of episodic events. If particular words have been used frequently enough over a person's life-span, and nearly always in an unpleas ant feeling context, eventually a version of the unpleasant
feeling can be triggered just by hearing those words spoken-an implicit emotional memory. If particular words
have been used frequently enough in a pleasant feeling con text, eventually a version of the pleasant feeling can be trig
gered just by hearing those words spoken. Higher order processing also enables us to perceive, acquire, and produce gestured and sounded symbolic com munication that has an indirect, implied, figurative, met onymic, metaphoric, evocative, analogical, and "holographic" correspondence to current or accumulated feeling states as we have experienced them. Primarily, these symbolic modes are connotative references to value-emotive categoriza tions of the experienced world. People use language figura tively, for instance, when they say a word or phrase that
has a literal denotative reference but they "refigure" that ref erence so that it connotes a related but amplified valueemotive significance. For example, a common metonym is the use of Washington or London to signify complex national government events in the United States and the United King dom, rather than as labels for the cities in which those gov
erning events take place. Metaphors create an implicit comparison of denota tive and connotative references that result in a change in bodily feeling states that can be described as a feeling mean ing. They are commonly used in the story arts and poetry. An example would be the feeling meaning in the words September and November in the popular "September Song". The months that occur toward the end of each year are meta phors for the closing years of a human life. To a six year old child, a song about a caterpillar becoming a butterfly is just a song about a caterpillar becoming butterfly. Some time during the ages of 9 to 11 years, the butterfly can ex press the transformation of "my soaring spirit" (see the de scription of brain growth spurts and cognitive develop ment in Chapter 8).
During the production and interpretation of meta phoric language, implicit semantic memories and implicit emotional memories are evoked. Linguists refer to such neural network processing as a transderivational search. Various higher order neural networks search for any expe riential memory that may be associated with the metaphoric expression. Although specific episodic memories do not arise in conscious awareness, a "feeling of knowing" commonly
occurs and "feeling meaning" is assigned to the metaphor (value-emotive categorization). Paralanguage occurs when prosody is co-produced with spoken language, that is, socially established patterns of vocal pitch contour, volume contour, voice quality, and
durational variation. Prosody is the primary means by which the "feeling meanings" of spoken words are expressed (Ross, 1981,1984,1996; Ross, etal., 1981,1988). Paralanguage is a right hemisphere temporal-frontal function that is inte grated with the left hemisphere's language function (in about 95°/o of people in Western cultures). Right hemisphere pro cessing also appears to influence the selection of figurative or metaphoric language. Higher order processing also enables more elaborated symbolic modes by which human beings can (1) make sense
of their world, (2) gain mastery over it and themselves, and
(3) ensymbol expressions of a self's life experiences. The
feeling or emotional flow of life experiences can be for mally ensymboled by designing and constructing objects
or shapes in space, sounds in time, and bodily movements
in space and time. A human being's life history of visual, auditory, and somatic senses (perceptual categorizations) and feelings-emotions (value-emotive categorizations) and the interrelationships between people, places, things, and events (conceptual categorizations) are the resources from which the expressive designs are constructed. These symbolic modes are referred to as the arts, that is, music, dance, story, reenactment (ritual and theatre), draw ing, painting, sculpture, decoration, and so forth. Some origi
nal creators of these designed self-expressions are referred to as painters, sculptors, composers, writers, poets, and choreogra phers. Interpretative re-creators of original creations are re ferred to as performers, singers, instrument players, conductors, ac tors, directors, and dancers. The crafted designs that some people create can be formed and performed in such a way that they evoke an empathic physio chemical reaction inside perceiving human bodyminds (Hodges, 1996; Wallin, 1991). The reaction is very much like the ebb and flow of the physio chemical states that are responses to actual life experiences, that is, feelings. Perception of the designs tends to elicit a form of memory-wide transderivational search for implicit valueemotive categorizations that bear a formal symmetry to salient features of the designs. The response is a triggering of the brain's perceptual and value-emotive categorization circuits (listed earlier) that, in turn, trigger physio chemical changes in the body. These internal processing events can be referred to as as-iffeeling states (Chen, et al., 1996; Damasio, 1994, pp. 127-164, especially 145,146; LeDoux, 1986; LeDoux, 1990; LeDoux, et al., 1984; LeDoux, et al., 1990; LeDoux, et al., 1991; more details in Chapter 8).
So, the arts are symbolic modes that human beings have invented and elaborated over millennia of time. They involve nonspecific, whole-form symbolic designs that are capable of marshaling a large range of bodymind processes that are integrated with experiential memories and their as sociated emotional memories. "Memoried" perceptual, value-emotive, and conceptual categorizations are the gen eral resources that bodyminds draw on for these forms of internal
processing
117
self-expression. Many, perhaps most, are implicit memo
Internal Processing and Health
ries so that the memories are not of specific episodes that
occurred in the past, but of general "forms" or intensity varia tions in feeling reactions—as-if feeling states. Visual perceptual and value-emotive categorizations are the primary resources for symbolic self-expression through created designs/shapes/colors/light-dark shadings in the
spatial dimension. The designs are analogues to, and trig gers for, visual-dominant as-if feeling states in their human being creators. The designs are perceived visually by other
human beings and also may be analogues and triggers for visual-dominant feeling states in their bodyminds. Draw ings, paintings, and sculptures are forms that these expres
sions take. Somatosensory/kinesthetic perceptual and value-emotive cat egorizations are the primary resources for symbolic self-ex pression through creations of designed physical movement. They function as analogues to, and triggers for, kinesthesia dominant as-if feeling states in their human being creators.
The nervous, endocrine, and immune systems are in terconnected by way of highly elaborated physio chemical,
psychosomatic networks (Blalock, et al., 1985; Pert, et al., 1985; Ader, et al., 1991; Maier, et al., 1994; Pert, 1997). The
scientific evidence has been in for several decades now, that longer-lasting, unpleasant, distressful, and threatening life
circumstances adversely affect health in human beings. Strong scientific evidence also supports the conclusion that longer-lasting pleasant, reasonably eustressful, and construc tive life circumstances can enhance health in human beings (Rossi, 1993). Chapters 2 and 5 present some of the physi cal evidence and Book III, Chapters 8 and 12 through 14 present documented suggestions for pointing behavior to ward the constructive, healthy way. Because the arts can
engage human beings in constructive, self-expressive experi
ences, and because they engage the physio chemical states of
monly combined with music) and mime are forms that these
the body that are referred to as feelings, emotions, or affect, they can be very valuable in a wide variety of therapeutic, health-enhancing, disease preventive applications (see ref erences section under the heading, "The Arts, the Immune System, and Health").
expressions take. Auditory perceptual and value-emotive categorizations are the primary resources for symbolic self-expression through
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The designs are perceived visually by other human beings
and also may be analogues and triggers for kinesthesia dominant feeling states in their bodyminds. Dance (com
creations of sound-through-time designs. They function as analogues to, and triggers for, auditory-dominant feeling states in their human being creators. The designs are per
ceived aurally by other human beings and also may be
analogues and triggers for auditory-dominant as-if feeling states in their bodyminds. Music, word metaphors, poetry and spoken/written story literature are forms that these ex pressions take. Language is primarily based in the auditory sense. Singing combines the symbolic modes of language and music. Two or more of our sensory modes may be com bined with their value-emotive categorizations in the cre ation of self-expressive symbolic modes that include the atre, opera, performance art, and the media arts of film and video.
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Zatorre, R.J. (1979). Recognition of dichotic melodies by musicians and non-musicians. Neuropsychologia, 17, 607-617. Zatorre, R.J. (1984).
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Caine, J. (1989). The effect of music on selected stress behaviors, weight, caloric and formula intake, and length of hospital stay of premature and low birth weight neonates in a newborn intensive care unit. Unpublished master's thesis, Florida State University. Chetta, H.D. (1981). The effect of music and desensitization on preoperative anxiety in children. Journal of Music Therapy, 18, 74-87.
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Dimensions in
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Addendum on Nominalizations To illustrate the complex, value-emotive, relational,
wrong, no matter the circumstances. Some said that it was
evolving-events nature of nominalizations, here is an analy
usually wrong, but there might be circumstances that would justify it, such as when you felt that the professor had been
sis of the term value(s). This nominalization is common among users of the English language, along with such re
unfair and you had to pass a course. A few students said that cheating without getting caught was okay. The stu
lated nominalizations as ethics, morality, and character. What are we talking about when we say that we need to instill good values in children? In the sense of that question, what is
dents were then placed in a situation where they could ac tually cheat on a non-crucial exam and get away with it completely. Some students in the first and second groups cheated. A subsequent written survey about cheating re
a good or a bad value? How do we know that we or some one else has good or bad values? How are good or bad values instilled? Are values and beliefs related? What are beliefs? Can we determine what another person's learned per sonal values are by asking them to tell us what they are? Suppose some teachers are asked about their "philosophy of teaching", and they say, "I believe in student-centered teach ing." Suppose that multiple samplings of their teaching over five months reveals a preponderance of teacher talk, mini mal student talk, minimal direct student experiencing, and
threatening or punitive talk and action by the teachers. If asked, most teachers' interpreter processing would justify the discrepancy in one or more ways. So, are their actual values revealed by what they say their values are, or by their observed behavior over time? When young people observe how their parents be have when they interact with certain people, and then how they talk disparagingly about those people when they are no longer present, might their children behave in similar
ways when they are away from their parents? When a grocery store clerk returns less than the correct change, the parent asks for the correct amount. On another visit, a grocery store clerk returns more than the correct change,
and the parent keeps the money and says, "It's their job to get it right." Are values being learned implicitly? Are values
being learned when young people observe-over and over-
how hero adults in movies and on television programs fre quently resolve conflicts by violent means (rather than us ing empathic, reasoned communication), and there is little or no mediation of those observations by parental discus sion? In one study (Mills, 1958), a small group of university students wrote down whether or not they would cheat on an exam if they knew for certain that their cheating would
never be discovered. Some stated that cheating was always
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vealed that they had changed their written beliefs about cheat ing.
Could beliefs and values actually be behavioral tendencies or behavioral dispositions that have been explicitly and im plicitly instantiated in complex, highly distributed neural networks? Behavioral tendencies are strongly influenced by past value-emotive categorizations within neural net works, and ongoing experiences may change them. In other words, pleasant-unpleasant feeling biases are physio chemically instantiated as a result of life experiences
with people, places, things, and events. A person's history of threat-benefit categorizations would greatly influence the presence of protective versus constructive behaviors, and of confrontational versus empathic human relationships. Verbal reports of beliefs or values often are produced by an "interpreter mechanism" and may or may not reflect a lit
eral "truth" that has been produced by a "literal observer mechanism". So, when we or other people speak or write of values and beliefs as though they were material, tangible, concrete objects, rather than complex, relational, dynamic processes, then we have the opportunity to pay closer attention to
what we or they are actually expressing. One or more nominalizations are being used that can easily trigger feel ing biases and associated behavioral tendencies, and they may or may not be in our best interest. The interpretation that the expresser intended to express may be very different from the interpretation that our interpreters derived. Could this be related to what public relations "spin doctors" do? Are nominalizations more likely to trigger pleasant or un pleasant internal feeling biases? Will constructive or pro tective behavioral reactions result?
In educational circles, the terms quality, excellence, and standards are common. What are we talking about when we
say that we need to improve "the quality of teaching and learning" or strive for "educational excellence"? What are "higher educational standards" or "performance standards"? Is mediocrity the opposite of educational excellence? How do we determine whether or not education is excellent or mediocre? What are lower and higher standards? Is the nominalization standard the same as, or different from, the 1960s nominalization behavioral objective? How are educa tional standards selected and who selects them? In any list of standards, are they based on implicit assumptions about what happens inside human beings when learning takes place, and if so, what are those assumptions? What is learning? How do we know when lower or higher standards have been ac
complished? Are some high standards more important than other high standards? How does a focus on quality, excellence, and high standards translate into the practical, day-to-day interactions between human beings who are called teachers and human beings who are called students? Will students be asked to accomplish goals that their experiential histories have not prepared them for? Will school policies and teacher behaviors produce more coerced compliance in students, or more exploring, discovering, participating, expressing, alternative thinking, evaluative reasoning, weighing "pros and cons" and then deciding, social-emotional self-regula tion, self-reliance, and a sense of community in the student teacher relationships? If empathic relatedness between human beings is the neuropsychobiological earth from which con structive competence and self-reliant autonomy grow, then where is it in the curriculum of schools? [see Chapters 8 and 9] How do we measure the degree of educational excel lence and the achievement of high educational standards? Given what is known about the vast complexities of hu
present an accurate picture of whether or not quality teach ing, educational excellence, and high standards have been achieved? Will placing high in international, national, or local aca demic competitions determine the degrees to which quality, excellence, and high standards have been achieved? (See Chap ter 9) Will charter schools, magnet schools, site-based school management, different curricular formats, more days in the school year, longer school days, block scheduling of the school day, and more homework achieve those goals?
Most of recorded history is prescientific. It occurred before the analytical process of science was invented. Many of the labels, concepts, and theories that were devised then, involved assumptions about "the world" that were created by interpreter mechanisms that had little or no reliable evi dence about that world's "composition and processes". Those early, language-expressed conceptual interpretations (often nominalizations that are tagged with value-emotive catego rizations) were logical but inaccurate because of (1) miscategorizations or (2) incomplete or partial categoriza tions. Does the sun really rise in the East and set in the West? Are elephants comparable in form to a tree, a rope, or a curved wall? [see the Fore-Words of this book for an explanation.] Miscategorizations can render related behavioral pat terns ineffective or under-effective. In other words, the suc cessful enactment of purposeful behavior can be under mined. For example, an ear-nose-throat physician can di agnose singer's nodules in a "singing voice" and ignore the more extensive contribution to nodule formation of "speak
ing voice" functions.
man bodyminds, will a standardized test measure educational excellence "objectively"? Are tests that use such formats as multiple choice, true-false, label-and-descriptor matching, word definition, word analogy, reading comprehension, and mathematical problem solving the most accurate ways to measure excellence and high standards? Can human learn ing be accurately and comprehensively quantified by using "tests" that are converted easily into numbers and letter grades? Will national comparative scores on such tests
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chapter 8
bodyminds, human selves, and communicative human interaction Leon Thurman
hat is a bodymind? What is a self? What
parents' deoxyribonucleic acid (DNA). DNA is made up of smaller components called genes. Each human being has a genetic heritage of about 30,000 genes. strong or weak self-identity, or that a human being is becom initiate the formation ofthe many different pro Genes ing a person, what are we talking about? tein types that constitute all of the elements in each of the Does human symboling and communication involve body's cells (Hawley & Mori, 1999). They also initiate the more than spoken, written, or signed language? Can hu creation, within cells, of protein molecules that are released man communication occur outside conscious awareness and from the cells into extracellular spaces or the circulatory affect how we perceive and interact with other people? What system. These initiating events are referred to as genetic
W
is a person? Are they the same or differ ent? When we say that human beings have a
are we talking about when we say that we have formed a favorable or an unfavorable impression of another person? Are the arts related to any of those questions?
Human Bodyminds and Human Selves We can begin by saying that currently living human
beings have prominent characteristics that biological scien tists have labeled hominid species (Latin: homo = human; Greek: eidos = form; Latin: species = kind or type). There is now only one class in the hominid species, homo sapiens sapiens (Greek: homos = same or shared characteristics; Latin: sapere = capable of sensing and wisdom). The nucleus of each normal cell in human bodies contains 46 chromosomes (Greek: chroma = color; soma = body). Normal female cells include two X chromosomes and normal male cells include an X and a Y chromosome. Each chromosome consists of coiled double strands in a helix formation that includes a 5O°/o to 5O°/o blend of our 134 bodymind & voice
processes and the activation of each cell's genes is referred
to as genetic expression. Only a few genes within each cell are ever activated. For example, only the genes that create the protein types that make up the cells and functions of a pancreas are activated within a pancreas. Likewise, only the genes that create the protein types that make up the pyramidal neurons of the brain's motor cortex are acti vated within those neurons. The other genes within those types of cells never activate. In the topobiological formation of human beings, genes initiate the creation of extracellular tracer molecules that help guide the migration of cells to their normal location. Genes also initiate the creation of adhesion molecules that enable the formation of the collections of cells that form the tissues that make up all of the organs and systems of hu man bodies. The interaction of tracer and adhesive mol ecules plays a significant role in the external and internal forms that bodies take (Edelman, 1988, 1989). In addition, genes trigger the formation of trillions of transmitter mol ecules (proteins) that circulate throughout the body and
bind with receptor sites on cell surfaces (created by genes). These interactions functionally link all of the body's organs and systems. Once any of the body's molecular proteins are formed, the genes no longer have direct control over where they go or how they interact with other molecules or cells. Their post-formation interactions are referred to as epigenetic processes. For example, if the normal chemical constitu tion within a pregnant mother's body is altered in some non-normal way, the tracer and adhesion molecules of her gestating baby may become misplaced and physical mal formations may occur. So-called "Thalidomide babies" and fetal alcohol syndrome are examples of such events. Sorahan, et al. (1997) noted a greater than normal incidence of childhood cancer in the children of parents who use
tobacco during and after pregnancy. Some of the timing of genetic expression is controlled from within genes and some timing is influenced by nongenetic processes. Epigenetic processes that are affected by environmental experience, for example, can influence the tim ing of some genetic expression (Kandel, 1989, 1991). Col lectively, about 10,000 of the human genes are informally referred to as housekeeping genes. They maintain the "dayto-day" physio chemical state of human bodyminds. Again, only some of them activate in any given cell of an organ or system of the body. The expression of housekeeping genes is influenced by transmitter molecules that are, in turn, in fluenced by the state of the body's physio chemical ecology. According to Nobel Laureate Eric Kandel (1991, p. 1028), "Development, hormones, stress, and learning are all factors that alter gene expression. It is likely that at least some neurotic illnesses (or components of them) result from reversible defects in gene regulation, which are produced by learning and which may
be due to altered binding of specific proteins to certain regu latory regions that control the expression of certain genes" (italics added). Rossi (1993, pp. 190-195) proposes that changes in genetic expression can alter general health and physio chemical disease states.
During the in utero genetic and epigenetic processing that creates a normal human body, neuropsychobiological functioning of that anatomy gradually begins to "come on line". As prebirth anatomy gradually grows into post-birth anatomy, its functioning becomes increasingly complex. These prebirth-to-postbirth biological processes gradually
initiate and then elaborate human consciousness, intentionality, and behavior. The biological processes that produce human consciousness always occur outside conscious awareness, but the summated results of that processing produce pri mary and higher order consciousness (for more details see Chapters 1, 2, and 7, and their references). Consciousness is a generic term for vastly complex biological processes that include the following major aspects of primary conscious ness: (1) conscious sensory awareness of surroundings in integrated wholes, (2) protective reflex behaviors, (3) per ceptual, value-emotive, and conceptual categorization and memory; and the following major aspects of higher order consciousness: (1) volitional, intentional, and purposeful behavior in relation to past and present experiences, (2)
estimates of future experiences, and (3) symbolic commu nication with other human beings through language, math ematics, and symbolic modes called "the arts". The biologi cal processes that produce consciousness always occur
outside conscious awareness. The summated results of that processing, however, produce an integration of primary and higher order consciousness that includes conscious aware ness (for details, see Chapters 1, 2, 7, and their references). Bodyminds A television set is made up of complex electronic cir
cuitry that receives complex electronic signals. The set's circuitry then processes the received signals in complex ways that produce a wide array of ever-changing images of people, places, things, and events on its screen. A set's internal processing literally cannot be separated from the images it produces and still be a TV set. Using a TV set as a very loose analogy, the brain is the main "circuitry" where adaptive human consciousness, in tentionality, and behavior (mind) are processed and enacted. But a brain without the rest of its physio chemical body is useless, just as a body without its brain is useless. They are an intricately interwoven whole (see Chapters 3 and 7). The word label bodymind, then, is a nominalization that refers to all of a human being's neuropsychobiological processing. Bodymind "circuitry" and processing is almost infinitely more complex than a TV set, of course. To optimize our survival, our genetically and epigenetically formed constitution confers on us an initial array
of innate capabilities, such as seeing, hearing, sensing, smell
ing, tasting, and threat-benefit-pleasure-displeasure categobodyminds,
selves,
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rizing, as well as moving and vocal sound-making. Before
musical experiences to them, they are highly likely to de
birth, we also are provided with a primary repertoire of innate abilities that optimize sheer survival, such as suck ling for nourishment, pleasure-displeasure sensations, and crying out when in distress (Edelman, 1989; Lecanuet, et al.,
velop the ability that is referred to as absolute or perfect pitch. Experience-expectant growth processes and experi ence-dependent sculpting interact with each other through
1995). In order to survive and thrive over a lifetime, how ever, genetically initiated growth processes confer an in creasing range and extent of innate capabilities for respond ing and adapting to whatever our environment presents to
adapt to it, an estimated 1,000 trillion synapses are sculpted into the brain's numerous, widely distributed, locally and globally mapped neuron networks that provide vast op tions for continued interactions with that world (Chapters 2 and 7 have some details). For example, when the experi ence-expectant capabilities for emotional perception, feeling
us. In the nervous, endocrine, and immune systems, these innate capability-extending processes are sometimes referred
out life (described later). As we interact with our world and
to as experience-expectant self-organization of physio chemical processes and include a genetically expressed overproduction of neurons (before birth) and synapses (be fore and following birth). A long-standing debate continues to occur over the
expression, and emotional regulation "come on-line" in bodyminds, experience-dependent abilities are formed when responses and adaptations to people, places, things, and events occur (Dawson, 1994a; Ekman & Friesen, 1969; Ek
relative influence of genetics versus environments on cog nitive-emotional-behavioral patterns. In this nature-nur ture controversy, various scientists have asserted that envi ronment accounts for anywhere from 4O°/o to 7O°/o of "intel ligence". As Greenspan notes (1997, pp. 133-137), many re
Panksepp, 1998; Rolls, 1995; Salovey & Sluyter, 1997). A common concept of learning includes any alteration
in perception, cognition, and behavior patterns.
searchers are unaware of "how nature and nurture actually
two processes alone do not result in learning.
work". The debate has focused on polarizing the two influ ences rather than understanding how they interrelate. "(M)ost
multimodal perceptual categorizations and their memories only lay the foundation for learning. Such a foundation
genetic proclivities can also be understood only in the con
cannot be laid without "...multiple interactions among local maps resulting from sensorimotor activity....the moving or ganism, actively sampling its environment. This sampling is
text of complex intracellular and hormonal environments" (note the Kandel statement presented earlier). Over the course of a lifetime, the provided capabilities make possible the development of a vast secondary reper toire of learned abilities. The pruning and "sculpting" of the excessively produced neurons and synapses into increas ingly refined and entwined neuron networks is sometimes referred to as experience-dependent self-organization of physio chemical processes (Greenough & Black, 1992). It appears to be a selective process (Edelman, 1989). For ex
man, 1992; Davidson, 1994a,b; Gazzaniga & Smylie, 1990;
In
neuropsychobiological terms, perceptual categorization and memory are necessary for learning to take place, but those Ample,
the source of signals underlying the selective and correla tive neural events that build procedural memory (automatic, implicit categorization and behavioral patterns) and pro vide the basis for learning....(M)emory results from a pro cess of recategorization, which, by its nature, must...involve continual motor activity and repeated rehearsal....(P)erception depends upon and leads to action..." (Edelman, 1989, pp. 54,
56; italics by Edelman)
ample, when genetic, epigenetic, and experience-expectant
Learning occurs when perceptual categorizations and
physio chemical processes result in a greater than usual number of neurons in the upper border area of the right
perceptual memories are correlated with value-emotive "set points" that enable (1) mapping or remapping of relevant
and left auditory cortex (the planum temporal), that human being will have much greater capability for processing, inter
neuron groups (internal concept formation or change), and (2) adaptive changes in behavior during present and future interactions with people, places, things, and events (Edelman, 1989, p. 57). "(H)ypotheses relating conscious plans to motor programs, novelty, and automatization....connect attention
relating, and linguistically labeling the fine details of sounds,
including pitches and tone qualities (Nowak, 1995; Ward, 1999; Zatorre, 1989; Zatorre, et al., 1994; Zatorre & Samson, 1991). If that person's life circumstances present favorable
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to hedonic (value-emotive) states and to peripheral, auto
nomic, and central arousal....(T)he direction of learning is
during later prenatal gestation (see Book IV Chapter 1). They
strongly influenced by novelty and hedonic needs" (Edelman, 1989, p. 206; parenthetical items added for clarity) Three key abilities appear to derive from the innate capabilities for (1) perceptual, value-emotive, and concep tual categorization and (2) adaptive behavioral expression.
are continually constructed, elaborated, and reconstructed over the course of a person's experiential lifetime (Benes, 1994). Construction, elaboration, and reconstruction of the
An initial version of these abilities are part of the primary repertoire of neuronal networks with which human beings are born. They are: 1. an interactive-expressive ability (Bloom & Capatides, 1987; Brazelton, et al., 1974; Chamberlain, 1998; Condon & Sandor, 1974; DeCasper & Fifer, 1980; DeCasper,
the brain's neuron networks (topographic reorganization, Merzenich, et al., 1983); and 2. generation of new synaptic connections within the neural networks (synaptogenesis, Huttenlocher, 1994).
et al., 1994; Dunst, et al., 1990; Field, et al., 1990; Goldberg, 1977; Papousek, et al., 1992; Papousek & Papousek, 1992;
1. genetically and epigenetically produced biological
Rosenthal, 1982; Sagi & Hoffman, 1976; Tronick, 1989);
2. an imitation ability (Bavelas, et al., 1987; Clarkson & Clifton, 1985; Clarkson, et al., 1988; Kessen, et al., 1979; Meltzoff, 1988a,b, 1990,1995; Meltzoff & Gopnik, 1989,1993; Meltzoff & Moore, 1977, 1989, 1992; Nadel & Butterworth,
1999; Uzgiris, et al., 1989); and
3. an exploratory-discovery ability (Bornstein, 1985; Bruner, 1968; Campos & Bertenthal, 1987; Fischer & Rose, 1994, 1996; Oller, 1981; Papousek, 1979, 1996; Papousek & Papousek, 1978, 1982, 1984, 1991; Siegler, 1996; TamisLeMonda & Bornstein, 1993; Thelen & Fogel, 1989).
These three innate abilities are seeds from which nearly
all learned human abilities grow and branch. As cyclical brain growth spurts occur during infancy, childhood, and adolescence (described later), they bring increased cogni tive-emotional-behavioral capabilities "on-line". Learning in creasingly complex abilities becomes possible, such as (1) detailed, subtle, expressive interactions between a growing per son and the people, places, things, and events that the per son encounters, including creation and elaboration of sym bolic expression with both gestural and vocal phonationresonation capabilities; (2) imitation of detailed postural, ges
tural, facial, and general body movements as well as vocal pitch, vocal volume, tonal quality, and duration, (3) de tailed sensory and motor exploration of surroundings (people, places, things, events), followed by elaboration. Evidence has accumulated that elemental perceptual, value-emotive, and conceptual categorizations, and explor atory and imitative behavioral expression, begin to occur
relevant neural networks include: 1. recruitment of available neurons for inclusion in
Such changes are subject, however, to:
constraints (Kagen, 1994, pp. 50-56, 165-169; Robinson, ; 1993) and 2. neurochemically triggered cyclical growth spurts in cerebral cortex association areas, into the sixth decade of biological life, that enhance higher order neural processing capabilities (increased neuron size, myelinization, and synaptogenesis, particularly in frontal and parietal lobe neuron networks) (Benes, 1994; Chugani, 1994; Dawson, 1994; Fischer & Rose, 1994, 1996; Fuster, 1996, pp. 34-40, 176-179; Huttenlocher, 1994; Yakovlev & Lecours, 1967; Thatcher, 1994). Perceptual categorization networks (visual, auditory, somatosensory) that have been repeatedly activated along with set-point, value-emotive categorization networks (emo tional memory; somatic markers-see Chapter 7) can result
in increasingly global neuron networks that are "tuned" to activate in relatively automatic ways when cued. Given cues from a familiar environmental situation, these networks can produce dispositions toward (1) satisfaction of neuropsychobiological needs, (2) possible or anticipated fu ture events, and (3) possible self-behavior. When these as sociated networks activate, they are commonly referred to as internally generated expectations. Expectations partici pate in planned, goal-directed behavior (Fuster, 1996, pp. 145-146, 176-177, 221-222). Damasio (1994, pp. 94, 102108) describes such networks as accumulated dispositions to activate, and refers to them as dispositional representations. A concise summary of Hart's (1975, 1983, 1998) theory of an innate, survival-related, capabilities-to-abilities learning process illustrates many of its prominent features. Human beings: bodyminds,
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1. make sense of (categorize, interpret) encounters with
the people, places, things and evolving events of the per ceived "world" and of sensed events inside the body; 2. protect the person from actual and potential threats to safety and well being;
tems of the whole body. Neuropeptides are a prominent class of transmitter molecules that modulate bodywide neu ral, glandular, and organ processing. They travel through out the body by way of a circulatory system that includes
its cardiovascular, lymphatic, and cerebrospinal fluid sub
3. increase and gain mastery of personal interactions
systems. Each gland's and each organ's contribution to body
with the people, places, things and events of the perceived "world," including one's own bodymind.
ecology is activated or inhibited by nervous system signal ing or when varying recipes of transmitter molecules are
delivered to receptor sites by the circulatory system. The
Human beings are genetically endowed with these "drives" and they are carried out by genetically provided processes that produce: 1. active seeking of sensory input; 2. detection and categorization of familiar and unfa miliar patterns within the sensory input, interpreting them, and encoding them in memory; 3. formation, elaboration, and selection of bodymind
"programs" for carrying out the three drives; 4. disengaging from the current ongoing "stream" of bodymind programs and engaging protective ones when safety and well being are threatened. Hart's macro-level, capabilities-to-abilities learning process is actualized by incredibly vast cascades of internal, physio chemical microprocesses. All sensorimotor experi ences are processed through a vast array of patterned and stabilized but highly plastic neuron and neurochemical net works that are highly concentrated in the brain but extend throughout human bodies (reviewed in Chapter 3). At the synaptic interface of the networks' activated neurons, mo lecular neurotransmitters and neuromodulators are released into the synaptic gaps so that they can attach to matching chemi
cal receptors that are located on the membrane surfaces of adjacent neurons.
These transmitter molecules enter the
adjacent neurons and influence the specific routings of the
networks. The glands (thyroid, for example) and tissue or gans of the entire body are innervated by associated neural networks (muscles of the vocal folds, for example). All glands (endocrine system) and some organs and systems of the body (intestinal tract and immune system, for instance) also produce recipes of transmitter molecules, and all glands and organs have molecule-specific receptors for them. Nearly all of the known transmitter molecules exist in both the nervous system and the glands, organs, and sys
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summated interaction of these neural, endocrine, and im mune system networks contributes to human neuropsychobio-logical consciousness. Consciousness in cludes such phenomena as perceptions, cognitions, memories, feel ings, emotions, behaviors, and immunity. Gerald Edelman, a Nobel laureate neuroscientist, has estimated that the num ber of electrophysio chemical events that enable us to be what we are, and do what we do, is "hyperastronomical", about 10 followed by millions of zeros (Edelman, 1992, p. 17). So far as we know, human beings are the most com
plex entities in the known universe. In people with relatively normal anatomy and physi ology, experience-expectant capabilities for learning any ability are enormous. The extent of capability for develop ing a given ability, however, is different between human beings. Some of the factors that influence variation in the
extent of innate capabilities are: 1. extent to which brain growth spurts occur to bring
various cognitive-emotional-behavioral capabilities "on-line" over the lifespan (presented later); 2. existence of more-than-ordinary physio chemical anatomy and physiology that make more-than-ordinary ability development possible;
3. existence of less-than-ordinary physio chemical anatomy and physiology that prevents ordinary ability development; 4. characteristics of perceptual, value-emotive, con ceptual, and behavioral experiences that influence the de
gree to which capabilities are converted into abilities, espe
cially during the prenatal, infant, childhood, and adolescent periods of life. Either genetic-epigenetic advantage or appropriate
early experience of acoustically complex sounds can opti mize greater-than-usual auditory abilities. If sensory expe
riences are favorable, language and musical abilities can flourish to an extraordinary degree. On the other hand,
line, or if they are labeled by parents, peers, or teachers as having low "aptitude" or "talent" for singing, then their value-
prenatal malfunctioning of genes that form the auditory
emotive categorizations of personal singing are likely to
system may result in deafness or impairments in the capa
become threat-laden. The memory of those categorizations are likely to deter them from even attempting further progress
bility to process sound characteristics such as pitch, vol ume, sound qualities, timing, localization of sound, isolat
ing one or a few sounds from background sound, and so forth. Exposure to relatively frequent, longer-lasting 85-dB sounds (or higher) and/or relatively frequent high-inten-
sity bursts of sound, even during prenatal gestation, can result in lifetime permanent hearing loss (see Book III, Chap
ter 5). Untreated or late-treated ear infections during in fancy can result in permanent conductive or sensorineural hearing loss. Appropriate prenatal and early childhood ex posure to Western orchestral music and to interactive speak ing and singing will enhance the formation and synaptic elaboration of the auditory system, and with it, provide an advantage for developing language and musical abilities.
Figure I-8-1 illustrates a continuum concept of con verting a capability into an ability in people with normal anatomy and physiology. Both zero capability and the ca pability to be perfect at all times are imaginary and do not
exist. The capability line is longer when favorable anatomy
and physiology exist. The exact length of a capability line, therefore, varies with the individual, but the line is enor mously long for all human beings with normal anatomy
and physiology. Current evolved ability can be plotted along the capability line as an informal estimate of the extent to which a capability has been converted into an ability. Valueemotive preferences or biases will determine the extent to which any one capability will be converted to an ability. In the development of singing ability, for instance, less experienced people would plot themselves somewhere on
the left half of the continuum. If they become consciously aware of their relative lack of ability by comparisons with those who already plot themselves on the right side of the I
Potential Ability
I
Capability Continuum Non-Existent Zero Capability
Non-Existent Capability to Always Be Perfect
Figure I-8-1: The concept of an experience-expectant capability continuum that is dependent on experience for conversion into an actual ability [Concept and design by Graham Welch and Leon Thurman].
in the conversion of their actual singing capability into ability. The primary locus of the vast human capability for adaptation and learning is in the brain's two cerebral hemi spheres. They are more complex by far than in any other
creature on Earth. The macroanatomy of the right and left hemispheres is very similar in its gross organization and appearance. Certain anatomic areas within the left hemi
sphere correspond to the same anatomic areas in the right hemisphere. The two hemispheres send and receive about 300 million axons out of and into each other (mainly the corpus callosum). But the macro- , and especially the mi croanatomy, of the right hemisphere is not an exact mir
ror image of the left hemisphere, and vice versa. There are significant asymmetries, therefore, between the two sides of the cerebrum that are unique in every human being. The asymmetries reflect the fact that (1) genetic and epigenetic
"wiring" of each hemisphere is innately unique, (2) the unique experiences of each human being select different densities of neurons, and unique synaptic densities, into the various neuron networks of the two hemispheres, and (3) the differ ently arrayed macro- and microanatomical areas of the two hemispheres contribute different but related "influences" on the internal and behavioral functions that are carried out in whole bodyminds. For example, the areas of the left hemisphere that per ceive, interpret, and produce denotative language (literal "word meanings") have corresponding areas in the right hemisphere. But the right hemisphere areas perceive, inter pret, and produce the prosodic and connotative aspects of language ("feeling meanings" and metaphor). The cell bod ies of the neurons that make up those right and left areas send axons to the neurons on the other side so that they are mutually interconnected. The result is a simultaneous inter pretation and production of both aspects of human self expression. Also, people who have perceived, interpreted, and produced comparatively large amounts of music and language, have anatomically larger language areas than people who have had comparatively minimal music and language experiences. In fact, people who have interpreted bodyminds,
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and produced a great deal of denotative language but have
interpreted and produced minimal prosodic, connotative,
and musical expression, are likely to speak with relatively minimal variation of pitch, volume, voice quality, and word rhythm, and their singing abilities will be underdeveloped. Anatomical and functional asymmetries also change over the human life-span. For example, the fetal right hemi sphere develops earlier than the left (Bracco, et al., 1984) but the left is usually larger than the right (Chi, et al., 1977). Although the left planum temporal (auditory processing) is larger than the right in a very high percentage of fetal, new born, and infant brains, the frontal operculum (motor pro
Synaptogenesis in response to experience appears to begin during the second trimester of womb life and a vast over production occurs just before birth and into the early post natal time (Huttenlocher, 1994). Postnatal experience also induces a concomitant paring of synapses as processing is
refined over about the first ten years of postnatal life. An exception appears to be the prefrontal cortex where maxi mum synaptic density appears to occur at about one year post-birth and the paring-refining process extends from about age seven years through adolescence (Huttenlocher, . 1994) MRI evidence shows that the gross anatomic differ
cessing) is larger in the right hemisphere (Wada, et al., 1975).
entiation of the whole brain is complete by age 2 years
Also, the right hemisphere is functionally dominant in in
(Salamon, et al., 1990), but compared to adult brains, there is a large disparity between brain structure and the func tional capabilities of brains. In normal human beings, there fore, there is a long period of time during which functional capabilities come on-line and can be sculpted into abilities that enable adaptation to diverse and unpredictable envi ronmental demands (Thatcher, 1994). The prefrontal cortex of the human frontal lobes is the primary regulator and modulator of the abilities of all vertebrate mammals. In human beings, it is considerably larger and structurally much more complex compared to any other creature on Earth. As the prefrontal cortex devel ops, there are gradual increases in a bodymind's ability to focus attention on beneficial and interesting tasks, to plan further ahead and foresee consequences of planned action, and to accomplish those plans despite distractions. By age six years, for instance, a child is capable of making elabo rate plans for accomplishing a purpose, if the goal is clear (Klahr & Robinson, 1981) and the social circumstances are supportive. The cognitive development studies of Piaget (1952, 1954, 1975) are cited by both Fuster (1996) and Thatcher (1994) as substantially congruent with measured
fants (Chiron, et al., 1997). Genetic and epigenetic processes prepare new human beings for basic survival, and that in cludes the ability to process pleasant and unpleasant
bodymind feeling states that relate to body temperature, hunger and satiety, comfort-discomfort-pain, and what some psychologists refer to as social affiliation. In addition, the brain areas of human beings that generate vocal sounds and facial expressions are linked to the brain areas that process bodymind survival states. At minimum, infants can signal these states to attentive caregivers. Eventually, however, the left hemisphere becomes larger than the right as conscious analysis, language, and working memory capabilities increasingly "come on-line". For ex ample, as language acquisition evolves in about 95°/o of people in Western cultures, more and more neurons in the left hemisphere come on-line for language processing. In response to increased use, the neurons in those areas in crease their size, and their axon colaterals and telodendria proliferate massively along with their receptive dendrites. Along with increases in supporting glial cells, all of these developmental processes increase the macro-dimensions of the left hemisphere's language processing areas. Genetic and epigenetic formation of the cerebral cor tex begins at about 10 weeks gestational age and virtually all of the brain's neurons have been formed and the pri mary repertoire of synapses have been connected by 18 weeks (Huttenlocher, 1994). Once neurons are formed, they remain remarkably stable throughout most of the lifespan. Neuron cell death appears to occur only when a neuron is
not connected synaptically into a local circuit or network. 140
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anatomic and physiologic development. The development of the eight human capability-ability clusters, as defined by Gardner (1983, 1998), are dependent on lifelong genetic, epi
genetic, and experiential brain development. The basic internal architecture of the prefrontal cortex has been assembled by the time of birth. At that time, neu ronal size, dendritic arbors, and synaptic density are com paratively sparse, but all three increase rapidly over the first 24 months of post-birth life in response to environ
mental interactions (Fuster, 1996, pp. 34-40; Mrzljak, et al., 1988, 1990). Neuronal elaboration continues through ado lescence, especially in layer III ofthe neocortex. Layer III is the origination and termination area for enormous cortex-
to-cortex axonal projections that participate in the devel opment of cognitive-affective capabilities, including the for mation of memory by association (Fuster, 1995, 1996, p. 34). Following birth, myelinization of cortical areas pro ceeds in stages with layers II and III being the last to de velop, particularly in the prefrontal cortex (Fuster, 1996, p.
37; Yakovlev & Lecours, 1967). Full structural maturity is achieved by about age 12 years, with maximum develop ment of temporal-integrative capabilities for motor memory, selective and exclusionary attention, working memory, and
planning evolving between the ages of 5 to 10 years (Fuster, 1996, pp. 177-179). Bodymind plasticity is enormous until about ages 9 or 10 years, and then it tapers into puberty. Although plas ticity then becomes relatively stable, compared to child hood, it remains considerable throughout life. In his early 20s, after lifesaving surgery that severed his corpus callo sum, patient J.W (see Chapter 7) had the ability to compre
hend language within his right hemisphere, but he did not have the ability to produce language from that hemisphere. He could use language to describe his left hemisphere's sen sory reception, but remained silent about the sensory re ception that was presented only to his right hemisphere.
Thirteen years later, he had learned to do so (Gazzaniga, 1998). That is an example of adult brain plasticity. Over a lifetime, the neural networks that process per ceptual categorizations are accumulated in response to en counters with the people, places, things, and events of a person's surrounding world. Perceptual categorization net works include discriminations between me (sensed body
borders and internal physio chemical states), and not me (ev
erything else). In people with intact brains, those percep tual networks are always interfaced with value-emotive cat egorization networks. Based primarily in the limbic sys tem, these networks correlate valuative significance with the people, places, things, and events that are encountered. Before birth, genetic and epigenetic processes create automatic threat-benefit and value-emotive tendencies that are related to such core survival needs as oxygen consump
tion and carbon dioxide expulsion levels, metabolic fluc
tuations, and social interaction and affiliation. When these core survival needs are commonly met, pleasant feeling states and interactive-affiliative behaviors occur that are associated with the people, places, things, and events that are encountered. When core survival needs are not sufficiently met, unpleasant feeling states occur and
associated distress behaviors result. As life experiences continue, feeling states and behav ioral expressions become increasingly discriminated and elaborated in response to increasingly complex aspects of people, places, things, and events. Most of those feeling states and behavioral expressions are not related directly to survival and are not genetically "hard wired" into the ner vous system. They are memoried, learned response tendencies that are elaborated over the lifespan. For example, glucose is necessary for metabolic survival. The pleasant taste of glu cose is a built-in feature of value-emotive categorization that enables identification of foods that are necessary for
survival. As a result of experiencing candy (glucose that is separated from the many nutrients that are co-provided by nature in fruits and vegetables), many learned value-emo tive categorizations and behavioral expressions occur that have little or nothing to do with metabolic survival. The elaboration of such learnings may have nutritional health consequences later in life. The changes in the nervous system that produce the memory and learning of value-emotive tendencies relate to (1) the extent of excitatory versus inhibitory potentials within relevant neural networks, (2) short-term and long-term po tentiation and depression dynamics, and (3) extent of corti cal-subcortical neuron network map formations. Neural network response sensitivity is dynamic, therefore, and can vary depending on the nature of instantiated sensory and motor experience. For example, when a young person en counters an adult person who is identified as a teacher, the internal dynamics of the young person's past value-emo
tive categorizations may result in either a relatively pleasant-feeling-and-approach-behavior response, or a relatively unpleasant-feeling-and-avoid-behavior response. In es sence, then, the nature of each experience of people, places,
things, and events influences the development of activation criteria or activation set-points (Edelman, 1989, pp. 56, 57; 98100; 151-153), or conditions of satisfaction (Searle, 1998, pp. 99-104). bodyminds,
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Thus, value-emotive neural networks are more likely
or less likely to activate based on the valuative dispositions
that determine whether the limbic system initiates criterianot-met feedback signals or criteria-met feedback signals. When these signals occur, they in turn trigger signals that are sent to the hypothalamus-pituitary complex and the autonomic
nervous system so that related physio chemical body states and behavioral patterns are triggered. In everyday lan guage, these body states are referred to as feelings (Damasio, 1994, pp. 114-126) and they become pleasant or unpleasant somatic markers of experiences. Whether they are perceived consciously or not, they are still encoded in implicit memory (Chapter 7 has some details). Criteria-not-met feedback signals create physio chemical body states that higher order language ar eas might label as unfamiliar, inappropriate, incomplete, inaccu rate, uninteresting, puzzling, doesn'tfeel quite right, unsatisfying, nega tive impression, apprehensive, potentially threatening to well being, or that person is not connected with me or not attracted to me. Cri teria-met feedback signals produce physio chemical body states that higher order language areas might label as famil iar, appropriate, complete, accurate, successful, interesting, satisfying, fulfilling, positive impression, potentially beneficial to well being, or that person is connected with me or is attracted to me. In either case, memories occur within neural networks that process perceptual and value-emotive categorizations and behav ioral expressions. By their nature, then, value-emotive categorization networks acquire valuative signaling dispositions or biases. They correlate possible benefit or threat to a person's sur vival and well being within the perceived world. Internally processed biases can be described linguistically in such terms as benefit-threat, favorable-unfavorable, pleasant-unpleasant, appro priate-inappropriate, yes-no, for-against, accept-reject, orfamiliar-pleasant versus familiar-unpleasant versus unfamiliar. Commonly, these valuative dispositions result in expressions of sen sorimotor behaviors that can be described linguistically in such terms as smile-frown, approach-avoid, compliment-criticize, or assist-threaten-attack. During the final months of prebirth life and the first few years of post-birth life, as interactions with people, places, things, and events become more com plex, these networks become elaborated into increasingly complex patterns of perceptual, value-emotive, and con
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ceptual categorizations, with resulting behavioral expres
sions. Finally, global conceptual categorization networks (net works of networks) result from generalized correlations that
are carried out mostly within temporal-parietal and frontal association areas, and they may or may not be languagelabeled (Chapter 7 has some details). With relative repetition of similar experiences, long term potentiation occurs in both the excitatory and inhibi tory neurons within the networks so that longer-term memo
ries are formed. Higher order language areas of bodyminds might label some of these networks as habitual patterns of thinking, feeling, and behaving. Nominalizations for these
patterns (described in Chapters 7 and 9) then can be created such as beliefs, values, attitudes, motivations, habits, and emotions (love, hate, happy, sad). Development within the prefrontal portions of both hemispheres makes possible an increasing mastery over one's own body and one's world. This area of the brain-the brain's brain-can modulate or regulate most if not all hu man neuropsychobiological functions. The planning of all motor action, including speech, is carried out there. Con scious learning of new skills is coordinated from the pre
frontal cortex. The orbital areas are necessary for conscious appraisal of socially relevant threat versus benefit to self.
Reentrant connections between the orbital area of the pre frontal cortex and the amygdala and hypothalamus modu late and regulate feeling reactions which influence decision making for the present and for the future (Adolphs, et al., . 1995) In 1983, Gardner introduced the terms intrapersonal and interpersonal intelligence. The current inclusive terms are emo tional intelligence (Salovey & Mayer, 1990; Salovey & Sluyter, 1997), emotional self-regulation, and emotion regulation (Barbas, 1995; Brenner & Salovey, 1997; Dehnam, 1998; Eisenberg, et al., 1997; Saarni, 1997; Stroufe, 1996; Thompson, 1994). Areas within the prefrontal cortex must be experientially developed to become key regulators and modulators of emotion regulation (Davidson, 1994a,b; Greenberg & Snell, 1997). Orbitofrontal circuits and the amygdalae, interacting with other cortical and subcortical areas, can mediate empathic, courteous, and socially ap propriate behavior, including inhibition of inappropriate behavior (Brothers, 1995, 1997, pp. 49-62; Chow &
Cummings, 1999). Areas within the left prefrontal cortex
through adolescence to young adulthood. Such tiers also
der conditions of optimal environmental support for the conversion of the capabilities into refined abilities. The development of specific cognitive-emotional-be havioral abilities, being experience-dependent, is a selective process. For example, if children who have a genetically provided, highly elaborated right and left planum tempo ral, experience a minimal amount of music, they may never display the ability to hear and name pitches with absolute accuracy. If much music is heard but they are never ex posed to a pitch labeling system to associate with specific pitches, they will recognize very familiar pitches but never refer to them by their letter-names. If, instead, they are exposed to an unusually large number of visual scenes and receive constructive instruction in drawing them, they may display "average" musical abilities but highly elaborated vi sual art abilities. The process of general human ability development
have been observed in the age range of 45 to 55 years (Thatcher, 1994, p. 262). They began by reviewing the cog
tends to be weblike in nature, like a relatively chaotic crossstitch pattern (Fischer & Rose, 1996). Each ability is like a
nitive, emotional, and behavioral development research that has accumulated for over 65 years. The work of Piaget (1952, 1954, 1971, 1985), and others, was included in the cognitive development research. They also reviewed the developmental brain and neuroimaging research of the past 30 years (for example, Yakovlev & Lecours, 1967; Matousek & Petersen, 1973; McCall, 1977; Hudspeth & Pribram, 1992; Chugani, et al., 1994; Thatcher, 1994; Tucker, et al., 1995;
strand in the web that branches and interfaces with other strands. Although ability development (1) occurs differ ently in different people (in "fits and starts"), (2) is experi ence-dependent, and (3) is highly elaborated only under
have been associated with pleasant emotional orientations and approach behaviors and areas within the right pre frontal cortex have been associated with unpleasant emo tional orientations and withdrawal behaviors (Davidson, 1994a,b). Using qEEG coherence studies, Thatcher (1994) re ported patterned, cyclical reorganization of intracortex syn aptic connections in a study of 436 children and adoles cents who ranged in age from 6 months post-birth to 16 years. He observed recurring brain growth cycles, during
which differentiation and integration of intracortical con nections were marked by periods of phase transition.
Fischer and Rose (1994, 1996) have recently proposed
a global theory of correlated, tiered cognitive-emotionalbehavioral-brain development that extends from infancy
Paus, et al., 1999). They then correlated the cognitive-emo tional-behavioral spurts with cyclical growth spurt patterns in the brain as measured by: (1) quantified electroencephalographic analysis (qEEG) combined with the more recent magnetoencephalographic analysis (MEG), (2) positron emission tomography (PET), and (3) magnetic reso nance imaging (MRI) and functional MRI (fMRI) (briefly described in Chapter 7), and (4) examination and measure ment of autopsied brains (Kinney, et al., 1988).
Fischer and Rose do not propose discretely bordered,
sequential "stages" of cognitive-emotional-behavioral and brain development, as in steps in a ladder. They propose that there are sequenced patterns of growth spurts in physio chemical brain development that appear to coincide
with spurts in global cognitive-emotional-behavioral capa bilities. They strongly advocate, however, that optimal cog nitive-emotional-behavioral abilities are developed only un
conditions of optimal environmental support, several differ ent ability strands tend to "bud or blossom" in relatively predictable time frames within a lifespan. For example, a noticeable difference occurs in the behavior of infants at about the age of eight months, and there are considerable differences in young people between ages 9 to 10 years and 12 to 14 years. These are examples of a lifelong interplay between brain development and cognitive-emotional-be havioral evolution. Developmental range within any one ability refers to the degree to which that ability has been developed opti mally or just functionally. Functional ability develop ment shows increases that are continually low with almost no detectable plateaus. Optimal ability development clearly shows a series of increase-plateaus or "clusters of disconti nuity" (Fischer, et al., 1984; Fischer & Rose, 1996). Different people will develop some abilities optimally, other abilities sub-optimally, other abilities will develop functionally or slightly above functionality, and so forth. According to
Fischer and Rose (1996, p. 275), "The optimal level specifies the most complex skills that the person can consistently bodyminds,
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control under optimal conditions, including an alert state, a familiar context, practice with the task, contextual support for high-level performance, and the absence of interfering
conditions such as conflicting emotions" When optimal support conditions are no longer present, however, an im mediate reversion to a near-functional ability level is com
mon, although reinstating the optimal conditions brings a return of optimal or near optimal ability (Fischer, et al., 1993, . 1996)
Fischer and Rose propose a sequence of four brain
behavior developmental tiers: (1) reflex, (2) sensorimotor, (3) representational, and (4) abstract (see Table I-8-1). Within each developmental tier, four predictable, repeated cycles of growth in neural network connectivity occur. At the con clusion of four cycles, a new developmental tier begins. Each of the four growth cycles is referred to as a tier level. When each level within a tier occurs, (l)a patterned growth spurt of neural network connectivity occurs in a particular area of the brain, and (2) new observable cognitive-emotionalbehavioral patterns are observed. The tier levels have been
named: (1) single sets, (2) mappings, (3) systems, and (4) systems of systems. The systems of systems level of a pre vious tier and the single sets of the next tier are the same. The tiers, tier levels, and their patterns of growth are sum marized in Tables I-8-1 and I-8-2. Each tier of brain and cognitive-emotional-behavioral development begins with a growth spurt of neuron net
work connectivity in the right and left frontal lobes, the socalled "brain's brain". This is significant because the frontal
lobes are capable of activating and entraining a large array of neural networks and "hold them on-line" (working memory) in anticipation of the enactment of an ability, during its enactment, and after its enactment. The extent and intensity of these initiating frontal growth spurts is relatively minimal in the reflex tier and become progressively greater in succeeding tiers. The greatest
frontal growth occurs during the late representational and abstract tiers. These interfaced and parallel distributed neu
ral networks are sometimes compared to computer pro
grams, but the brain's "programs" are vastly more complex and are subject to innumerable experiential variables. Fischer and Rose refer to these collections of neural networks as control systems. They refer to emerging cognitive-emotionalbehavioral abilities as dynamic skills. 144
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Spurts in the growth of control systems and dynamic
skills are referred to as developmental discontinuities. Ac cording to Fischer and Rose (1996, p. 266), After the new networks emerge, they are then gradually tuned to form efficient neural and cognitive control systems at the new level. After a period of consolidation of a network/control system, another new type of network/control system be gins to grow for the next developmental level, and so an other cluster of discontinuities begins." The first level within each tier begins with growth spurt
patterns of neural network connectivity in the right hemi sphere (Table I-8-2). Connectivity increases first between
more distant neuron groups (global), followed by connec tivity increases with adjacent or nearby neuron groups (local). Growth spurt patterns in the left hemisphere begin with connectivity increases in nearby neuron groups, followed by connectivity between more distant neuron groups. Each level of growth in network connectivity is completed when both hemispheres undergo simultaneous growth spurts. These simultaneous spurts may indicate that new interhemi spheric connectivities are occurring as more axons in the corpus callosum are "coming on-line". During the single sets level, growth spurts occur over broad areas of the brain, but are much more concentrated in the occipitoparietal areas where visual, somatosensory, and sensory association areas are located. During the map pings level, growth spurts occur over broad areas of the brain, but are much more concentrated in the temporal lobes where auditory processing and visual association process
ing occur. During the systems level, growth spurts occur over broad areas of the brain, but are much more concen trated in the central areas of the cortex where substantial sensorimotor processing occurs. The systems of systems level introduces the beginning of a new tier, so it begins with a growth spurt of neuron network connectivity in the fron
tal lobe (see previous paragraph) followed by the cycles just described. According to Fischer and Rose (1996, p. 274), "Mo ment by moment we construct, modify, and elaborate con trol systems, and moment by moment our neurological states change as our behavior varies" Concurrent with these brain development growth spurts, new cognitive-emotional-be
havioral patterns can be observed.
During the single sets level of the reflex tier, lasting about one month post-birth, only very simple cognitiveemotional-behavioral ability patterns occur. These ability
patterns are almost entirely from the primary or "hard-wired" repertoire of abilities, such as eye focus, head turning in response to louder sounds, crying when distressed, or grasp ing a finger or piece of cloth placed in the hand palm. The mappings level of the reflex tier occurs during
about the second post-birth month. Some single reflexes
are mapped together to form more complex cognitive-emo tional-behavioral ability patterns, such as extending arms toward a ball that is held in front of eyes, hearing a familiar voice and looking at the eyes of the vocalist, or beginning
to responsively and spontaneously emit cooing (vowel-like) vocal sounds. The systems level of the reflex tier occurs during about the third post-birth month. Some mapped reflexes are linked with other mapped reflexes to form even more complex cognitive-emotional-behavioral ability patterns, such as seeing a ball and extending arm with open hand, or coordinated "melodic-like" cooing, smiling, and nodding a nonverbal recognition greeting after looking at a face and
hearing its voice.
Table I-8-1. Tiers and Levels of Cognitive Development (adapted from Fischer & Rose, 1994, 1996)
Tiers
Tier Levels
Approximate
Reflex
Single Reflexes Reflex Mappings Reflex Systems Single Sensorimotor
3-4 weeks (1 month) 7 -8 weeks (2 mos) 10-11 weeks( 3 mos)
Actions
Sensorimotor
Sensorimotor Mappings Sensorimotor Systems Single Representations
Ages
15-17 weeks (4 mos) 7 -8 months 11-13 months 18 -24 months
The systems of systems level of the reflex tier is the same as the single sets level of the sensorimotor tier. This level occurs during about the fourth post-birth month. Some systems of reflexes are linked with other systems of reflexes to form even more complex cognitive-emotional-behav ioral ability patterns, such as following the movement of a
ball with eye-head-body coordination as the ball follows a more complex moving path and adjusting open hand in
pursuit of ball's trajectory, or highly varied and spontane ous exploration of vocal sound-making and pitch-making
with longer durations (squeals, gurgles, raspberries, and so forth). The mappings level of the sensorimotor tier occurs during about months 7 to 8 post-birth. Some single sen
sorimotor sets are mapped together to form increasingly
complex cognitive-emotional-behavioral ability patterns, such as crawling, looking closely at a ball in order to guide
hand to grasp the ball and bring it to face to examine it more closely, or using immediate and recent working memory to search for a ball that has rolled behind a box, or repetitive babbling of consonant-vowel combinations, or accurately imitating sustained pitches, or accurately imi tating the melodic pitch direction of parts of a simple song (not accurate pitches). The systems level of the sensorimotor tier occurs during about months 11 to 13. Some mapped sensorimo tor cognitive-emotional-behavioral patterns are linked with other mapped patterns to form yet even more complex cog nitive-emotional-behavioral ability patterns, such as first walking steps, moving a rattle in different ways to catego rize the different sights, sounds, and sensations that their own action produced and delighting in the different effects, or mixed syllable babbling, or imitating the pronunciation of single words, or speaking nouns that are the names for
commonly experienced people, places, and things, or be ginning to sing one or two pitches of a familiar action-song accurately.
The systems of systems level of the sensorimotor Representational
Abstract
Representational Mappings Representational Systems Single Abstractions
3.5 - 4.5 years 6 -7 years 10-12 years
Abstract Mappings Abstract Systems Principles
14-16 years 18 -20 years 23 -25 years
tier is the same as the single sets level of the representa tional tier. This level occurs during about months 18 to 24. Some systems of sensorimotor cognitive-emotional-behav
ioral patterns are linked with other sensorimotor systems to form more complex cognitive-emotional-behavioral abil ity patterns, such as free walking and running, moving a bodyminds,
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Table I-8-2. How Skill Levels Within a Tier Relate to Brain Development as Measured by EEG (adapted from Fischer & Rose, 1994, 1996)
Tier Levels Single Sets
Mappings
Hemispheric Coherence Cycle
Front-to-Back Power Spurt Cycle
Right: global to local Left: local to global Both: global
a) Frontal spurt b) Spurts over broad area,
Right: global to local Left: local to global Both: global
Spurts over broad area, especially temporal
Right: global to local Left: local to global Both: global
Spurts over broad area, especially central
especially occipital-parietal
The systems of systems level of the representational tier is the same as the single sets level of the abstract tier.
This level occurs during about years 10 to 12. Some sys
tems of representational cognitive-emotional-behavioral patterns are linked with other representational systems, such as awareness and evaluation of how parents display con formity, or understand honesty as a quality of consistently being truthful in human interactions, or using representa
tional language in simple abstract ways so that a poem or song about a flying butterfly can take on a "double mean ing" or "feeling meaning" that is, an expression of one's self observing the "world" from a distance. With the beginning of this tier, the optimal period for learning spoken language(s)
Systems
Systems of Systems Right: global to local Left: local to global Both: global
ends. The mappings level of the abstract tier occurs dur
a) Frontal spurt b) Spurts over broad area, especially occipital-parietal
ing about 14 to 16 years. Some abstract single sets are mapped together to form increasingly complex cognitiveemotional-behavioral ability patterns, such as appreciating
doll's feet while pretending that the doll is walking, and
speaking a simple subject-verb sentence, "Doll walk" or spon taneously improvising songlike speech, or singing the words, rhythms, and pitches of familiar simple songs with approxi mate pitch and rhythm accuracy but may change tonal cen
ters (keys) after breathing between musical phrases. The mappings level of the representational tier oc curs during about 3.5 years to about 4.5 years. Some rep
how telling some social lies (dishonesty) can display kind ness toward another person, or appreciating the use of analo gies, similes, and metaphors in speech and literary writing, or appreciating the difference between "how the world is" and "how it could be", or appreciating how expressively contoured melodies, meters and rhythms, harmonic pro gressions, and formal designs can be performed in ways that express out and induce feeling states or "feeling mean ing" in human beings.
resentational single sets are mapped together to form in
The systems level of the abstract tier occurs during
creasingly complex cognitive-emotional-behavioral ability
about years 18 to 20. Some mapped representational cog
patterns, such as pretending that two dolls are mother and father and speaking their parenting dialogue, or knowing a secret that mom or dad does not know, or singing a reper
nitive-emotional-behavioral patterns are linked with other
mapped patterns, such as delivering "constructive criticism" in several ways that integrate both honesty and respect for
toire of simple songs.
the feelings of other people, or analyzing the melodic, rhyth
The systems level of the representational tier oc curs during about years 6 to 7. Some mapped representa
mic, harmonic, and formal characteristics of music and us
tional cognitive-emotional-behavioral patterns are linked with other mapped patterns, such as pretending that the
same two dolls can be mom and dad in one situation but can be fireman or teacher in another situation, or, when the same amount of water is poured from a tall-thin container
to a short-wide container, perceives that the water amount is the same.
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ing the analysis to detect, as much as is possible, what com posers or songwriters intended to express in their music, and then using those observations to prepare, and present an expressive performance of the music, or organizing com plex sequences of cognitive-emotional-behavioral patterns in the preparation for and leading of a music learning expe rience for musically less experienced and skilled people.
The systems of systems level of the abstract tier occurs during about years 23 to 25. Some systems of the
abstract cognitive-emotional-behavioral patterns are linked
with other abstract systems to form principles of cognitiveemotional-behavioral processes, such as understanding and applying the complexities of achieving social justice, or pre paring and enacting a learning environment that: (1) is ap
propriate to the developmental capabilities and current abilities of the learners, (2) applies principles of human learn ing that facilitate the development of self-realized abilities (competence and autonomy, more later), (3) uses both ver bal and nonverbal communication skills that facilitate hu man relatedness with and between the learners, and (4) adapts the enactment of the learning environment and ver bal and nonverbal communication to the evolving abilities of the learners.
Selves As unique life-cap abilities and life-abilities evolve, the Homo sapiens sapiens, the human bodymind, becomes a self, a person. Self and person are nominalizations that refer to the cumulative, global expression of: 1. the unique genetic inheritance of each human being, combined with the unique epigenetic events that occur dur ing the lifelong topobiological and experience-expectant for mation of each human being; and
Self-identity, or personhood, evolves over a lifetime (Harter, 1999). By far, the most powerful influences on its evolution are social interactions with other human beings (Brothers, 1995, 1997). Its foundations begin to be laid dur ing womb life as a result of physio chemical interactions with mother, and become more pronounced as awareness of self/nonself distinctions occur. We human beings are very vulnerable to many literal and potential threats at the beginning of our lives. During womb life, we are vulnerable to deleterious chemicals that are inhaled or ingested by mother (smoke, alcohol) or pro duced within mother (abundant stress hormones). Being forcibly ejected or removed from mother's womb at birth
has neuropsychobiological effects. It is a form of neuropsychobiological abandonment that can be intensi fied or minimized by the events that surround the birth experience (see Book IV Chapter 1). Following birth, we continue to be quite helpless and, therefore, we are depen dent on older, more able people for food, water, shelter, and
nurturance. Interactions (or the lack thereof) with caregivers during infancy and early childhood (lost to conscious memory
after about ages 3.5 to 4.5 years) have a profound effect on the lifelong evolution of self-identity. The life-abilities of some human beings may have been
2. the unique, bodywide, experience-dependent, ever
sculpted by frequently threatening and hurtful interactions
evolving, physio chemical network alterations that occur as
with the people, places, things, and events of their world (Perry, et al., 1995). Their abilities, then, will most likely
a result of each human being's unique collection of percep tual, value-emotive, and conceptual categorizations that have been accumulated in bodymind memory over the lifespan
become prominently fearful, self-focused, and protective.
(Snodgrass & Thompson, 1997).
In other human beings, those life-abilities may have been
Preemptive hurting of others may be a common defense. sculpted by frequently safe, beneficial, and interesting inter
Following birth, convergences occur between (1) ex
actions with the people, places, things, and events of their
perience-expectant, genetically driven brain growth spurts
world. Their abilities will most likely become prominently
(evolving capabilities), and (2) ongoing, experience-depen
empathic, fulfilling, expressive, creative, and constructive
dent neuron group selection and elaboration (abilities). Ge netic expressions and epigenetic processes produce a phe nomenally vast array of potentials for internal categoriza tions and their behavioral expressions. Although these human capabilities are vast, there are unique capability differences between individual human beings. The unique life circumstances of each human being will select which of
(Csikszentmihalyi, 1990, 1993; Isen, 1987), leading to self-
the capabilities will be converted into abilities and which abilities will be optimally developed.
reliance and comfortable social collaboration.
Lifelong, daily interactions with other people, places, things, and events result in global accumulations of higherorder perceptual, value-emotive, and conceptual categori zations of ongoing life circumstances and the development of adaptive life-abilities. Verbal (language) and nonverbal expressions of these processings (paralanguage, body pos tures, arm-hand gestures, facial expressions) occur both in and out of conscious awareness. Observers of other people bodyminds,
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refer to these outward expressions of internal processing as
of their perceived world through attentional focusing, (2)
personality. In the previous television set analogy, a self is comparable to the ever-changing signals that are processed within the set's electronic circuitry that produce the ever evolving images that can be seen on the set's screen.
make and update their value-emotive and conceptual "sense"
poseful behaviors. Learning competencies involves experi ence-dependent instantiation of vast varieties of locally and
After extensive clinical experience and review of psy
globally mapped physiochemical networks within
chology literature, Deci & Ryan (1985, 1995), Ryan (1993), and Ryan, et al. (1996), described a self determination theory. The theory proposes that human beings have three lifelong, experience-dependent, neuropsychobiological needs: (1) relat edness, (2) competence, and (3) autonomy. Relatedness is a prerequisite for competence, and relatedness and compe tence are prerequisites for autonomy (Greenspan, 1997). [The
bodyminds. Human beings tend to evolve capability-ability clus ters that include particular perceptual, value-emotive, and conceptual categorizations and motor coordination. Ana lyzing, ordering, and sequencing of places, things, and events, relating details into whole, global patterns, verbal and non verbal symbolic self-expression, empathic social sensitiv ity, protection when under threat, spatial orientation and navigation, and fine motor coordination, are examples.
concept of neuropsychobiological needs fits well with Hart's
drives and processes (1975, 1983, 1998; summarized previ ously).] Relatedness refers to the need for supportive, emo tionally engaging, human-to-human interaction. This neuropsychobiological need emerges during womb life and exists throughout life. It is the foundation upon which all
constructive internal processing and external behavior is built. The most profound of threats to neuropsychobiological well being is unrelatedness or abandonment, and the relative helplessness that accompanies it. Unrelatedness can perva sively undermine self determination, and its cognitive-emo tional-behavioral effects are commonly outside conscious awareness. For example, during World War II, Spitz (1945, 1946; Spitz & Wolf, 1946) observed orphaned, hospitalized in fants, whose substance needs were adequately met (air, wa ter, food, shelter). Due to lack of personnel, however, the babies were infrequently held, talked to, played with, and cuddled. Eventually, the babies began to be less and less responsive, they took less and less food, and began to waste away physically. Insufficient or absent relatedness led to changes in neurotransmitter processing in areas ofthe lim bic system that produced the neuropsychobiological state that is called depression (Feldman, et al., 1997, pp. 819-821, 838-849; see Book III, Chapter 8 for more information).
Competence refers to the conversion of capabilities into increasingly refined abilities that fulfill needs and ac complish desired goals. Core competencies are developed when human beings: (1) categorize more and more details
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of those details, and (3) plan, coordinate, and refine pur
Human beings also have evolved knowledge-ability dus ters. For instance, the symbolic self-expression mode called music is a large knowledge-ability cluster (Langer, 1951,1953), as are the symbolic reference systems called languages (Dea
con, 1997b), and mathematics, biology, chemistry, kinesiol ogy, physics, engineering, and the like. The extent of human capabilities, and the degree of their conversion into abilities, have been labeled with four
nominalizations: aptitude, intelligence, achievement, and compe tence. For many centuries, degrees of aptitude and intelli gence were assumed to be unalterable, inherited traits. Ap titude is the capability (potential) for developing an ability. When psychological scientists have attempted to measure human aptitude for a given knowledge-ability cluster, they
appear to be assessing the immediacy and ease with which
elements of an ability are achieved and displayed. The com monly held concept of intelligence in most Western cultures
posits a general intelligence factor. Displays of intelligence have been evidenced by the extent to which analytic rea soning was used to solve decontextualized academic prob lems, primarily using linguistic and mathematical symbol systems, on a printed test. The tests have been scored to provide a numerical index of general intelligence called In telligence Quotient (IQ). In schools, achievement refers to the extent to which one or more knowledge-ability clusters (aca demic disciplines) have been mastered. Deacon (1997a, p. 132) presents an alternative descrip
tion of human intelligence. He writes of intelligence as "...originating, moment by moment, new, detailed, appro
priate representations [images, concepts, symbols, and so forth] of an ever-changing environment and spontaneously generating new, complex, adaptive responses to that envi
ronment where none previously existed (italics added), generat ing useful information from scratch to fit in with and take advantage of.." unfamiliar environments as they occur. In
telligence is reflected in "many levels of functioning" and in "highly robust regulatory flexibility". It also is demonstrated
in the ability to judge the extent to which newly originated representations match "reality", and the extent to which new adaptive responses are appropriate to various situations
that are encountered. Gardner (1983, 1998) has proposed labels for eight mixtures of capability-ability clusters and knowledge-abil ity clusters that he refers to as domains of intelligence (mul tiple intelligences): 1. bodily-kinesthetic; 2. visual-spatial; 3. linguistic; 4. musical; 5. logical-mathematical; 6. intrapersonal; 7. interpersonal; and 8. naturalistic. Sternberg (1996, 1998; Sternberg & Grigorenko, 1997)
has proposed three global "ways of thinking" or ways of exhibiting successful intelligence in the real world. Criticalanalytic intelligence is used in all career categories, but the specific environmental context will determine the ways this intelligence will be used. Detecting, sequencing, and ex pressing the details of an experience, or an anticipated course of action, or the definition of a problem, are abilities that
this intelligence confers. A music educator would use this intelligence to analyze the compositional details or voice production challenges that a musical selection might pose for learners-singers. The use of this type of intelligence in
traditional academic settings will be significantly different from its use in the real world of business, science, and teach ing, for instance. The use of critical-analytic intelligence in intrapersonal and interpersonal (socioemotional) intelligence is rarely addressed explicitly in school settings. Creative-synthetic intelligence confers such abilities as observing the connectedness of experiential details that
form "larger pictures" and whole patterns, and rearranging
the details to form unique relationships, patterns, and prob lem solutions. A songwriter would use this intelligence to create and refine expressive qualities in an original song; a singer or voice educator would use this intelligence to gain insight into the expressive qualities of the whole song. Prac tical-contextual intelligence includes what many people refer to as common sense. It confers such abilities as "reading" the context in which people, places, and things interact, fig uring out the practicalities of solving real world problems, and then solving them. Savvy or street smarts are synonyms. A songwriter would use this intelligence to market his song to publishers and record companies; a singer or voice edu cator would use this intelligence to arrange a rehearsal sched ule, a rehearsal and performance setting, and marketing that brings in an audience. Autonomy refers to the perception by individual human beings that a preponderance of their intentional actions have an internal, freely chosen, from-inside-to-outside origin. Their actions have established a strong self identity with self-respect boundaries that they gently pre vent others from violating (when possible). They perceive that they "have a voice" in the decisions and actions of groups of which they are members, and they have the option to respectfully disagree, at appropriate times, with the perspec tives of other group members, including a group's leader. A preponderance of their intentional actions are not induced, therefore, by an external, nonself control source. When purposeful, goal-directed behavior is perceived to have an internal locus of causality, then behavioral disposition neural networks are activated and overt behav ior is expressed out that enhances goal achievement (Damasio, 1994, pp. 102-105,136-138; deCharms, 1968; Deci, et al., 1994; Deci & Ryan, 1985, 1991; Ryan, 1993; Ryan, et al., 1996). Decisions and actions are perceived to be selfdetermined, self-initiated, and self-expressed. When goal-directed behavior is perceived to have an external locus of causality, then the activation of behav ioral disposition neural networks appear to be induced by an external agent (person, place, thing, event). Behavior, then, is often described as having been externally motivated, stimulated, elicited, drawn out, brought out, coerced, or forced.
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A teacher was visiting in the home of two former students who
display "uncooperativeness", are likely to have engaged in a
were married to each other and had two adorable sons. The boys
preponderance of experiences that have been extrinsically re
began to display several competencies with their toys while the adults conversed. Four-year-old Colin had seen his six-year-old brother Bret having a lot of fun riding on a spring-suspended wooden rocking horse, and when it was vacant, he started to get on to ride. But he couldn't get his right leg to go over the horse. He tried several times with increasing frustration, and he finally began to whimper. His father started to get up, go to him, and lift his leg over the horse so he would not be distressed. The guest held up a hand to suggest, "Wait," and the father sat back down. Within two more tries, Colin's leg went over the horse's back, and a huge smile spread over his face as he sat tall in the saddle and rode like the wind.
warding. When people engage in externally rewarded expe
What do you suppose would have happened inside Colin, to Colin's rocking-horse behavior, and to future whim pering, if his father had moved his leg over the horse for him? Compared to preponderantly controlled or depen dent people, autonomous people tend to:
1. be more creative (Amabile, 1983);
2. display more cognitive flexibility and depth of pro cessing (Grolnick & Ryan, 1987); 3. demonstrate stronger self-identity (Ryan & Grolnick, 1986); 4. report and display greater positive emotional tone
(Garbarino, 1975) and greater satisfaction and trust (Deci, et al., 1989; Yetim, 1993); 5. have better physical and psychological well being (Emmons, 1991, 1992).
Autonomous people have frequently engaged in ex periences that have been intrinsically rewarding (Deci & Ryan, 1985, 1991; Ryan, et al., 1996). Intrinsically rewarding expe riences are engaged in because the sheer having of the ex perience, by itself, produces internally sensed, pleasant, re warding feeling-states. Engagement in these experiences is perceived to be freely chosen, and thus they have an inter nal locus of causality. When people engage in intrinsically rewarding experiences, there are no obligatory "intrapsy chic prods" or promises or threats and no external rewards are received during or after the experience itself. People who display a preponderance of dependence on other people, places, things, or events, or whose actions 150
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riences, a pleasant consequence other than the experience itself has been provided by an outside agent. Praise, awards, grades, special privileges or experiences, money, and with drawal of punishment are examples. These after-the-experience rewards are perceived as having an external locus of causality. Extrinsic rewards for behavior usually result in an increase of the behavior as long as the rewards are avail
able, but absence of the behavior when the rewards are withdrawn (see Chapter 9 for more). Scenario One: A teacher invites some children to learn a new
game, and the children join in (perceivedfreedom of choice). The teacher just facilitates learning the game's activities and, as the children mas ter parts of the game, the teacher only describes what the children did. The game's activities engage the children's pattern detection, categoriza tion, and movement capabilities (perceptual, value-emotive, conceptual, behavioral) and the children enhance their self-mastery. Soon after ward, the children are dismissed for free play time and the teacher is not present. Scenario Two: The same teacher teaches the same new game to a different group of children. The game is presented as a required activity in which everyone must participate (coerced choice). Each time the children successfully master part of the game, each child is given a small piece of candy. Soon afterward, the children are dis missed for free play time and the teacher is not present. Will one group of children spontaneously choose to play the game more frequently than the other? Research
studies have shown repeatedly (Deci & Ryan, 1985; Ross, 1975; Ryan, et al., 1985; Ryan & Powelson, 1991) that there is a high probability that the children in scenario one will frequently choose to play the new game, and a high prob ability that the children in scenario two will rarely choose
to play the game. Expectation of remembered or potential intrinsic reward plays a strong role in selection of attentional focus and goal-directed behavior, sometimes referred to in psychology literature as intrinsic motivation or intrinsic interest. The children in scenario one are likely to play the game "for the fun of" playing the game, that is, for its intrin sic reward or value. The children in scenario two are much less likely to play the game. From their experience with the game, they learned that it was played in order to
get candy. When no one was present to provide the extrin
A cascade of increasingly detailed secondary apprais
sic reward or value, there was no advantage to playing it
als (reappraisals) are then reentrantly looped between the
Often, behaviorist psychologists do not appreciate this dis tinction. As a result, parenting and teaching techniques use
sensory association, limbic, and prefrontal areas (and oth ers). Denham refers to these processes as cognitive construal of emotional experience. If emotional modification pat terns have been learned, they are then likely to be activated and result in coping behaviors. But if not, then "heat of the moment" emotionality is likely to continue, "the interpreter mechanism" may amplify its intensity, and emotional dis
extrinsic rewards to increase desired behaviors, but they function as bribes to control behavior or gain compliance with what parents or teachers want youngsters to do. When the extrinsic rewards are withdrawn, however, the desired behavior commonly disappears (more in Chapter 9). Primary and secondary caregivers (including parents,
array may become instantiated in neuroendocrine memory
daycare providers, and teachers) can provide interpersonal
(Chapters 2 and 7 have more).
contexts that support the development of relatedness, compe tence, and autonomy in children (Ryan, et al., 1995, 1996; Ryan & Stiller, 1991). Their significant others can: (1) devote time for family and one-to-one interpersonal attention and com munication, (2) provide appropriate opportunities to inter act with a variety of people, places, things, and events, (3) include the child's perspectives and feelings in interpersonal communications (Koestner, et al., 1984), (4) provide and al low opportunities to make choices and observe and evalu ate consequences within the constraints of safety and well being, (5) allow and then describe self-initiation, (6) mini
Each person's genetic-epigenetic constitution produces a consistently stable core of reactive value-emotive and behavioral tendencies that are referred to as temperament. Kagen (1994, pp. 140-173) addressed two categories of tem perament that he referred to as inhibited and uninhibited. He observed that varied neurotransmitter or receptor site reac
places, things, and events, neurosensory networks are acti vated and the signaling is routed within a few milliseconds to the brainstem's ascending reticular activating system which
tivity in key nuclei within the amygdalae are major effec tors of the two temperaments (also see Benes, 1994). The amygdalae are reentrantly connected with the orbital fron tal cortices and the hypothalamus, and those two areas are interfaced with most of the neuropsychobiological processes of human bodyminds. Eisenberg & Fabes (1992) proposed two characteris tics of individual temperament that influence the success of emotion regulation in social situations: (1) differences in emotional intensity, such as arousal threshold and rise time, and (2) differences in regulatory processes, such as atten tion focusing and shifting, voluntary initiation of action, and voluntary inhibition of action. Denham (1998, pp. 164)
triggers an initial orienting response of heightened sen
suggests that a positive-negative or pleasant-unpleasant
mize controlling interactions and avoid controlling language (Ryan, 1982; Ryan, et al., 1983), (7) minimize pressure to perform or live up to externally dictated standards (Deci, et al., 1982; Grolnick & Ryan, 1987). When we human beings encounter unfamiliar people,
sory alertness and action readiness (Barbas, 1995; Siegel, 1999, p. 124, 125). Within a few more milliseconds, a pri mary appraisal and arousal process is activated within the limbic, value-emotive appraisal areas such as the amygdalae and the anterior cingulate and orbitofrontal cor tices, among other areas. They then activate the hypotha lamic-pituitary-adrenal axis and the emotional motor sys tem (see Chapter 7). If reflexive threat programs are acti vated, reflex behavioral responses of fight-flight-freeze will be triggered. If not, a "pay attention now" state is triggered in the "heat of the moment" and possible behavioral reactions are primed (Denham, 1998, p. 151; Siegel, 1999, p.124).
emotional valence might be a temperament characteristic
based on right or left frontal reactivity differences. For ex ample:
1. Some children may be highly intense emotionally, yet also highly regulated. These children may be described
as shy, withdrawn, inhibited, emotionally unexpressive, and
unable to enjoy social situations with other people who are unfamiliar to them. If they also have a propensity for nega tive emotional processing, they may be more readily dis posed to aggressive self-defense if provoked enough. If they have a propensity for positive emotional processing, they may be pleasantly expressive in social situations with other
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people who are familiar to them, and undertake extensive
categorizing, conceptual categorizing, behavior pattern for
measures to escape when provoked. 2. Other children may be low in emotional intensity
mation and elaboration, memory, learning, and so forth;
and very regulated so that they may be described as emo tionally "flat" and socially inhibited. These children may be relatively unresponsive, withdraw excessively from social situations, and experience frequent depression. 3. Children who are emotionally intense and have low emotional regulation allow their emotions almost free
expressive reign. When they are angry, they are very angry and they express their anger with high-intensity displays of
physical and verbal aggression. When they encounter adult anger, they respond with increasing emotional distress, nega tive judgmental appraisals, and behavioral aggression. They
are very challenged when parents or teachers help them learn emotional regulation. When they have emotionally rewarding experiences, their expressions may be "over the top" and excessively inappropriate. 4. Children who display moderate emotional inten sity and regulation are emotionally expressive, but they can plan responses, cope by solving social problems interac tively, and can learn a variety of emotion regulation strate
see Damasio, 1994, 1999; Damasio, et al., 1995; Davidson, 1994ab; Edelman, 1989; Greenspan, 1997). When threats to
well being are interpreted, emotional reactions can impel protective ability patterns that may not be in the short- or long-term interests of the reacter. Inhibition or channeling of emotional intensity and emotional behavior can be learned, so that emotional responsiveness can produce con
structive behavior patterns that are in the best interests of the reacter and other people as well. Several nominalizations have been devised to refer to the influence of feelings and emotions over cognition and behavior, such as emotional self-regulation (Bridges & Grolnick, 1994; Tucker, et al., 1995) and emotion regula tion (Brenner & Salovey, 1997; Denham, 1998; Thompson, 1994). Emotion regulation has been described as the "...ability to maintain flexibly organized behavior in the face of high levels of arousal or tension..." (Stroufe, 1996, p. 159), and as "...the extrinsic (external) and intrinsic (internal) processes responsible for monitoring, evaluating, and modifying emo tional reactions, especially their intensive and temporal fea tures, to accomplish one's goals" (Thompson 1994, pp. 27,
gies. Beginning with the constraints of every person's ge
28, parenthetical terms added for clarity). Gradually, young children can monitor and appraise
netic-epigenetic baseline temperament, the available neuroscientific evidence strongly indicates that (1) experi ence-expectant temperament capabilities evolve over the hu
the intensity and time variations in their emotional arousal, such as the intensity and speed of onset, intensity increases
man lifespan as genetically triggered tiers and levels of neu ral capacity "come on-line", and (2) value-emotive and be havioral tendencies of temperament are experience-depen dent and can be modified by learning during life experi
extent to which resolution/closure to ground-state homeo
ences. In other words, inherited temperamental tendencies can be intensified by life experiences, or they can be altered. If shy or unresponsive children's neuropsychobiological needs for relatedness, competence, and autonomy are satis fied constructively, they can evolve confident, assertive, con structive behaviors in social situations. The same would be true for children who are emotionally intense, low-regu lated, and negative by temperament. Feeling-emotional-affective states are primary gover nors of cognitive processing and behavior (arousal, attentional focus, perceptual categorizing, value-emotive
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over time, peaks of intensity, intensity decreases, and the
stasis is incomplete or complete. A two-year-old boy wants his mother to turn on the television set, but she is busy
storing newly purchased groceries in the kitchen, and she says, "Not now'' The boy begins wailing, falls to the floor, and beats it with his hands and feet. What if the mother of the two-year-old had asked her son to help her by arrang ing selected cans from tallest to shortest on a small table? [Examples of the emotional component of emotion regula tion are adapted from Denham, 1998, p. 148]. Teachers, too, can help children to implicitly learn emotion regulation. A four-year-old girl has been playing an outdoor, high-intensity, chasing game with four friends and they do not even hear their preschool teacher calling them inside. Her high-arousal state and slow calming rate prevent her from attending to schooling activities for about
20 minutes. What if, on the way from free-play time, the four-year-old girl's teacher had engaged her in a brief con versation about how much fun she was having and then
Greenspan's stages and levels and the tiers and tier levels of Fischer and Rose that were described earlier. According to Greenspan, each of the six sequential,
eased her into an intrinsically interesting, quiet personal task away from other children?
ment of the next level. If any of the levels is incompletely
A relative preponderance of constructive caregiver
developed, the subsequent levels also will be incompletely
child interactions has been correlated with greater organis
developed. The common result is mild to severe psychoso
mic integration (Deci & Ryan, 1985, 1991; Ryan, 1993), or a tendency to organization (Piaget, 1971) or actualization and self actualization (Rogers, 1963; Maslow, 1971). They also have been correlated with (1) self-reports of task enjoyment and
cial difficulties as a child grows toward and through adult hood. Greenspan (1997, pp. 41-53) gives the label security and engagement to the first and most primal stage in the development of a bodymind/self (internal categorization and behavioral expression). He describes this stage's first level of development as making sense of sensations. This level begins prenatally (see Book IV Chapter 1) and extends through the first 3 to 4 months post-birth. As nervous system sensory networks first come "on-line" and intercon
feeling "trusted" to make autonomous decisions (Deci, et al., 1994), (2) a greater tendency to engage in achievement ac tivities, and (3) higher teacher ratings for psychosocial ad
justment and classroom performance (Deci, et al., 1981; Grolnick & Ryan, 1989; Ryan & Grolnick, 1986). Those
contextual experiences also are more likely to be integrated into longer-term coherent goals ("personal strivings") that are associated with self-actualization, vitality, positive af fect, empathy, openness to experience, self-confidence, life
satisfaction, daily subjective well being, and overall coher ence of personality (Emmons, 1996; Sheldon & Kasser, 1995; Ryan, et al., 1996). On the other hand, the children of parents and teachers who use controlling external rewards and punishments tend to: (1) report a preponderance of external influences on achievement, and (2) be rated by teachers as less "self-moti vated" and more likely to "act out" in the classroom (Deci, et al., 1981; Grolnick & Ryan, 1989; Ryan & Grolnick, 1986).
overlapping levels provides the foundation for develop
nect during womb life, they begin to categorize incoming experiential input in rudimentary ways. During and following birth, however, a virtual explo sion of unfamiliar sights, sounds, sensations, smells, and tastes occurs. As an infant's sensory receptors respond to patterns in the experienced "world", attentional processing begins to be engaged and the first physio chemical categori zations of that world occur. With experiential repetition, the perceptual and value-emotive categorizations become instantiated in memory as increasingly familiar patterns and pleasant or unpleasant feeling states are correlated with the people, places, things, and events that are encountered.
The controlling parents and teachers indicated that their
Rudimentary rhythmic features of sounds are catego
interactions were the best way to help their children toward higher achievement. Research indicates that their actions
rized (speech and song, for instance), and shapes, motions,
actually contributed to interference with the intrinsic pro
father's facial expressions, warmth, touch, and smell of
cesses that result in greater degrees of relatedness, compe tence, and autonomy (also see Becker, 1964, and Chapter 9).
mother and father, the texture of diapers, for instance). Sen
Greenspan (1997, pp. 41-109) presents an overview of
reflexive movement is synchronized with mother's and father's movements during parent-child interactions. Even tually, these movements lay the foundation for more com plex abilities such as visual, auditory, and sensorimotor tracking of moving objects, reaching out and grasping, cud
the experiences that form the foundations of optimally con structive self-development from birth to about the age of four years, as well as maladaptive and protective self-de velopment. He refers to three developmental stages of mind, (1) security and engagement, (2) from intent to dialogue, and (3) creating an internal world. Each stage has two levels
of mind development for a total of six levels (see Table I-83). There are interesting correspondences between
and body sensations become recognizable (mother's and
sorimotor control of head, arms, hands, and legs begin as
dling, and supported standing in mom's or dad's lap. (1) Ordered predictability in experiences with people, places, things, and events, and (2) remaining calm in the presence of a stimulating environment of sights, sounds, bodyminds,
selves,
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and sensations are two core learnings from the security and engagement stage. According to Greenspan (1997, p. 44), "Basic security is grounded in the ability to decipher sensa tions and plan actions" The ability to (1) regulate excited versus calm internal states, (2) focus sensory attention, and (3) plan and coordinate gross purposeful body movements are the foundations for the next developmental levels. Greenspan labeled the second level of the security and engagement stage as intimacy and relating. This level begins with prenatal mother-child bonding. Infant relatedness peaks from about 3 to 4 months to about 6 months post
birth. It involves establishing emotional relationships with people who are frequently in a child's presence. As optimally beneficial sensory exchanges occur be tween caregivers and child (seeing, hearing, sensing, smell ing, tasting), varying intensities of pleasant feeling states co occur. With intense attention, parents repeatedly gloat over their baby and their child becomes enraptured with many synchronous and imitative exchanges that include facial expressions, talking, and singing songs. According to Greenspan (1997, p. 50), "...this first immersion in delirious relating sprouts a sense of shared humanity that can later blossom into the capacity for empathy and love" Over time, a "sense of engagement" with other human
beings marks the value-emotive difference between relating with inanimate things and relating with human beings, and thus, self versus nonself categories begin to be clarified. If connected two-way relating with at least one adult does not occur during infancy, then "...a child may never know the powerful intoxication of human closeness.." or "...never see
Table I-8-3. Greenspan's Three Stages and Six Levels of Mind (Self) Development (adapted from Greenspan, 1997, pp. 43-109)
Stages
Levels
I. Security and Engagement 1. Making Sense of Sensations: Global Aliveness 2. Intimacy and Relating: The Related Self
II. From Intent to Dialogue 3. Buds of Intentionality: The Willful Self 4. Purpose and Interaction: The Preverbal Sense of Self III. Creating an Internal Self5. Images, Ideas, and Symbols: The Symbolic Self 6. Emotional Thinking: The Thinking Self
"Inappropriate nurturing" therefore, can result in a child that is underprepared for making sense of the world, for self-regulation, and for relationship formation. Greenspan characterizes "the earliest self" as "global aliveness". "(T)he related self" results in a "sense of shared humanity". The second stage of self-development is labeled from intent to dialogue (Greenspan, 1997, pp. 54-73), and its first level is called buds of intentionality. This level occurs from about 6 months to about 12 months. During this time, intentional actions and responses are exchanged be tween child and others, especially the primary caregivers. These two-way exchanges are the earliest interactional,
1945, 1946; Spitz & Wolf, 1946), and are "...at risk of becom
preverbal communications in which children participate, and they involve facial expressions, arm-hand gestures, postural arrangements of the body, and vocal sound con tours. Greenspan (1997, p. 55) refers to these interactions as "circles of communication". For example, eye contact is
ingself absorbed...unfeeling, self-centered, aggressive [people] who can inflict injury..." on other people.
mutual, a smile is responded to with a smile, an arm-hand movement elicits a similar arm-hand movement, a vocal
These earliest exchanges begin the lifelong evolution
sound results in a similar vocal sound, and any of these gestures can lead to a hug and other forms of holding and touching; "...baby gurgles, Dad raises his eyebrows, baby smiles, Dad picks up baby, baby pats Dad." (p. 58) Over time, babies begin reaching, taking, handing back,
other people as full human beings... capable of feeling what she [or he] feels." Such children come to know the threat and distress of abandonment (Carlson & Earls, 1997; Spitz,
of unique constructive and unique protective internal cat egorizations and behavioral expressions. Caregiver re sponses to such common occurrences as exploration of sur
roundings, imitative reactions, and to assertive emotional expression (such as distress, anger, rage, pleasure) contrib ute to that evolution.
and making various accompanying sounds, and they imi tate and invent increasingly complex gestural and vocal "con versations" with others. During this level, reading to chil
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dren the captions in children's picture books (no story lines
or very simple ones), and singing simple interactive songs
can be part of continuing parent-child intimacy and can
lay the foundation for development of expressive language and music abilities. All of these interactions involve per ceptual, value-emotive, and conceptual categorizations that are consistent with current brain and experiential develop
ment Cognitive-emotional-behavioral meshing in social
contexts is occurring, therefore, and these integrated pro cesses initiate a sense of engagement that helps form "...a fundamental psychological ability...the child's capacity to define the boundary that separates 'me' and 'you'. For the rest of our lives, the seemingly trivial gestures first under stood in late infancy serve to anchor both our human rela tionships and our thought processes...(and) delineate the borders of the individual person... With the same simple yet subtle gestural signals...we will negotiate all our adult relationships as long as we live'' (Greenspan, 1997, p. 55; see later section on nonverbal communication) Have you ever had a conversation with someone who gazed slightly to one side with an expressionless face? Have you ever performed before an unresponsive audience? Have you felt some degree of confusion and emotional discom fort? A well known study has shown that four-month-old healthy infants react even more strongly than that, when
Earls, 1997; Spitz, 1945, 1946; Spitz & Wolf, 1946)? Cogni tive-emotional-behavioral development is arrested. They become expressionless children, and in the absence of physi cal stimulation, they begin to make continuous, patterned, reflexive bodily movements such as swaying their heads and upper bodies back and forth endlessly. If they make it to adulthood, many of them do not use mutual eye gaze or gestural communications, and they speak with minimal variation of vocal pitch, volume, word rhythm, and voice quality. Neither do they perceive and respond to such com munications by others when engaged in dialogue. Their language use reveals self-absorption, and they report "feel ings of numbness" and "lack of relationships" during psy chotherapy (Greenspan, 1997, pp. 56, 57). Purpose and interaction is the label that Greenspan
(1997, pp. 60-73) gives to the second level of the intent to dialogue stage. This level occurs from about 12 months to about 18 months. The ability "to see, listen to, and repro duce (imitate) whole patterns, rather than bits and pieces of patterns", and to participate in "larger and larger interactive patterns" with others, are hallmarks of this level. Social behavior, talking, reading stories, singing, and other cogni
tive skills can become more elaborated. In addition to discriminating facial expressions and gestural-postural communications, children now begin to
their faces with no eye contact or facial expression-no smil ing, nodding, cooing, touching, and so forth. The reactions
perceive and respond to nonverbal affective cues, catego rize their emotional significance, and deepen and widen their sense of relatedness. They can more clearly distinguish be tween approval and disapproval, acceptance and rejection, threat and benefit, trustworthiness and untrustworthiness (Greenspan, 1997, p. 64). Contrasting affective states can
of all the infants were predictable: (1) smiling, cooing, and
become integrated into the same sense of self. Play can take
gestural movement gradually became more intense, (2) with
place with emotional comfort in a space that is a near dis tance from a caregiver, another room for instance, as long
they experience unresponsive caregivers. While in the pres ence of their children, mothers were asked to not interact with them at all, but to just silently stare slightly away from
no reaction, they paused and then exaggerated the same physical and vocal gestures, (3) they became irritable and their physical and vocal gestures became somewhat frantic, disorganized, and purposeless after several minutes, and finally, (4) they disengaged as disinterest and apathy was displayed. At the conclusion of these mother-infant episodes in
the study, the mothers picked up their children and hugged them and engaged in intense communications to establish re-engagement. But what about infants whose life circum stances provide little or no such engagement (Carlson &
as the caregiver's presence can be verified vocally. Inten
tional exploration of a larger "world" is then possible, so that sensory input is increased along with increasing de grees of competence and autonomy. Many intentions and affects occur.
Children evolve more details in their "map" of self and others, although the maps are not "set in stone". Con tinual, everyday, human-to-human interactions continually
revise the maps as cognitive-emotional-behavioral patterns are recategorized. The unique array of feelings-emotions bodyminds,
selves,
interaction
155
that have occurred during each child's unique self-and-other
history mean that some areas of those "maps" will be more detailed than others; mixtures of effective emotional regulation with flexible abilities and emotional misregulation with constricted abilities occur. No child's family life is perfect One child's family experiences may "teach" a child to readily deal with most encountered problems in resolute good humor, while another child's family experiences may teach a child to per ceive many problems as threatening to well being, and to frequently respond to them with "aggression, or anxiety or passivity" (Greenspan, 1997, p. 63). These circumstances are likely to lay the foundation for coping with problems later in life. Some "emotional constrictions" may result in fre quent displays of anger, anxiety, or automatic, stereotyped cognitive-emotional-behavioral patterns such as "...intimacy always engenders flight, anxiety always builds up to hyste ria, separation always culminates in panic...(or other) ex
treme and polarized reactions" Countless interactions with primary caregivers, and with other people, are the source of rich complex nonver
bal perceptions, feelings, and actions. "Does the child ex pect others to love her or reject her, to tolerate her anger or abandon her when she shows it, to encourage her curiosity or demand that she remain passive, to allow her to explore in security or condemn her to loneliness when she ventures
out on her own? These earliest behavioral and emotional presuppositions...depend...on the lessons learned directly in innumerable interchanges with others." (Greenspan, 1997, pp. 72, 73) Children who do not get enough interaction time
cannot develop these nonverbal interaction skills to a de gree that enables future social relationships in school. "Read ing" mom's and dad's facial expressions and responding accordingly prepares the way for reading a teacher's non verbal cues and those of classmates. These cognitive-emo tional-behavioral patterns are "...the foundations of a sense of self.' Greenspan (1997, pp. 74-109) calls the third stage of self-development creating an internal world. The first level of this stage is called images, ideas, and symbols. This level extends from about 18 months to about 24 months. Children now can form more detailed and complex multi-
dren have images of how they operate (abilities, purposes, strategies, and so forth), how they feel, and what they want. They have an emerging, conscious sense of self that lays the groundwork for building a self-identity that has a past, present, and future. Optimal patterning of a sense of self (making sense,
gaining mastery) includes a "flexible panorama of feelings
and intentions". More global conceptual categories are now possible, such as anger versus love, make-believe versus
reality, and what we want to do versus what we actually do.
Symbolic expression of feelings and intentions (symbolic mode) can replace the sheer acting out of feelings and in tentions (action mode). Story reading can express these emerging feelings and intentions, as can songs. Pretend play (enactment of human roles) includes rudimentary story lines and spoken dialogue. Suboptimal patterning of a sense of self includes a comparatively more polarized, rigid, eitheror range of feelings and intentions. Polarized feelings and intentions are more prominently displayed when a signifi cant proportion of children's life experiences have been con trolled externally or have been threatening to their well be ing.
For capabilities to be realized into optimal abilities, children need "...the long-term participation of someone who
promotes interaction, supports greater use of signals, who joins in the child's pretend play, who helps him link the pleasure of relating (with others) to the skills of communi cating symbolically. The sheer joy of being listened to, the satisfaction of gaining attention through the use of images, motivates the first step in this epochal move....(As) commu
nication for communication's sake begins to overtake com munication to meet a need, the child embarks on a course he will continue throughout life." These sorts of frequent interactions help children "translate immediate, concrete aims into words and images." (Greenspan, 1997, p. 77, 78) "His love for his caregivers and the pleasure they bring him leads him to enjoy communicating in its own right....(The) plea sures of symbolic expression deepen with the years, and gradually conversation, reading, writing, poetry, mathematics, music, drama, painting, sculpture, and all the arts and sci
"Inner" visual, auditory, somatosensory
ences can become sources of profound gratification." (Greenspan, 1997, p. 77)
images of self-characteristics are included along with simple
Emotional thinking is the label for the second level of
verbal descriptions of perceived self-characteristics. Chil
the creating an internal world stage. This level occurs during
sensory images.
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the third and fourth years. During this level, children begin to interlink formerly concrete or isolated cognitions, emo tions, and behaviors, and they are able to form bridges between their own ideas and those of others. Internally produced images are more detailed and can be "connected" more consistently and held in working memory more co hesively. "Reason can supplant fear, inhibitions, or obedi ence. Ideas can link up to emotions....Time becomes com prehensible, separated into past, present, and future. Space too becomes orderly, perceived as here, there, somewhere else. Categories of fantasy and reality arise..." (Greenspan, 1997, p. 85, 86) The difference between internal experience versus ex
ternal experience becomes clearer as self and nonself are more clearly distinguished. An "internal locus of causality" for cognitions, emotions, and behaviors (Ryan, et al, 1996) be comes clearer (Greenspan, 1997, p. 88) Attention can be
more focused and longer lasting, more cohesive actions can be planned, their consequences better foreseen, and impulse behavior more regulated, and thus reality testing becomes possible. Cause and effect relationships become important and are more clearly perceived and appreciated. These re lationships enable greater cohesion in perceptual, valueemotive, and conceptual categorizations. All of these emerg ing capabilities and abilities can be incorporated in story reading and songs. A family of grandmother, grandfather, mother, father, five-yearold son, and three-year-old daughter are seated in a restaurant. While waiting for their food, the adults converse and the children play with crayons and paper. The daughter, seated to mother's right, begins making somewhat loud verbal expressions during her imaginary play. The mother places her hand on her daughter's upper back, moves her own face near her ear, and speaks softly and pleasantly, "This is a place where we use our soft voice rather than our at-home play voice." The daughter never spoke loudly again during the family's meal. The interlinks between cognitions, emotions, and be haviors can be more completely transformed into symbolic representations. Children no longer express "islands of thought" like "What this?" or "Want juice," or "Me sad" Dur ing this level they are more likely to say, "Why?" and "How?" or "I like that juice because it tastes good," or "I feel sad because I'm leaving Grandpa." Parents can use language to "...explore the roots of a situation and connect it to outer reality" (Greenspan, 1997, p. 86) When children behave il-
logically or inappropriately, primary caregivers can ask them
questions like, "How did the doll's head become broken?" and "Is that what really happened?" and "What can you do the next time you play with the doll?" or (after tripping and falling down some steps) "Next time you walk down the steps, what can you do so you don't fall?" Thereby, chil dren can learn how to check the accuracy, validity, and "logic"
of their purposeful behaviors, their cognitive-emotional interpretations of events, consequences of actions, and con sciously anticipate future actions. Pretend play includes more complex social interac
tions and "story lines". Actual dialogue with family and friends is integrated with and elaborated upon in later play. Story lines, gestural behaviors, and dialogue that are por trayed on television and in movies also become integrated into pretend play. In three different "made for TV experi ments" by the National Institute on Media and the Family (Minneapolis, Minnesota), a group of preschool children watched an episode of the children's TV program "Barney", in which empathic, cooperative behavior was portrayed and expressed through action, talking, and singing. The children responded to the program with animated, smiling faces and by singing along and walking in time with the music. Free play time then occurred. The children were videotaped with animated, smiling faces while they played respectfully, quietly, empathically, and cooperatively. One day later, the same children watched a children's TV program called "Power Rangers", in which the costumed "heros" used a version of the martial arts to violently subdue obviously "bad people". During the program, the children began imi tating the kicking behavior of the rangers. During the sub
sequent free play, the children were videotaped while they yelled challenges at each other, and kicked, pushed, and hit at each other in imitation of the behaviors that they had
just observed. Upon viewing their children's reactions, the parents were quite surprised. Even usually reserved chil dren joined in the "fun" (10PM News, January, 1997, KARETV, Minneapolis, Minnesota, USA). Consciously interlinking cognitive-emotional-behav ioral patterns and transforming them into symbolic repre sentation lays the foundation for lifelong emotional regula
tion, self-reflection, and self-regulation. "For this to hap
pen, of course, the child must be nurtured through years of intimacy, through countless conversations, debates, nego bodyminds,
selves,
interaction
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tiations, responses, remonstrances, and games....Failure to develop this representational ability can lock people into rigid, unproductive patterns. Rather than being able to use ideas to get to the emotional roots of a problem, they re peatedly and futilely try to force others to behave in the way that they desire....Children who lack dynamic interac tion at this stage, whose parents leave them (only) to their own imagination or pretend play, tend to devise rich and creative symbolic images but may not learn to test them against a stable inner sense of reality. In the face of an emotional challenge, they often retreat into fantasy or re main fragmented, living in a piecemeal world of changing images rather than one of stable, coherent meaning" (Greenspan, 1997, p. 87-89). As children continue through middle and late child
hood, they go through several more self-development lev els, according to Greenspan. Each new level brings new capabilities and new social situations with new human re lationship and feeling abilities. Optimal negotiation of each new level, however, is dependent on optimal completion of the first six. School experiences begin at about the age of 5 or 6 years for many children, and with them come an array of very different experiences that bring new perspectives,
contexts, conflicts, contradictions, cautions, and responsi bilities. "...(E)motional ties and relationships remain at the core.." of optimal self-development, however, so that a "new boldness, expressiveness, and expansiveness" can flourish.
Without grounded emotional ties, children run the risk of
becoming "overwhelmed by all the possibilities" or they may "prematurely narrow the range of...curiosity and cre ativity and become overly focused and rigid" (Greenspan, 1997, pp. 103, 104). By the ages of 7 or 8 years, optimal self-development results in "...a firmer grasp of reality, a lively sense of...potential, a rich fantasy life, and a more varied reper toire of social perceptions and responses....(T)he politics of the playground and the pecking order of the classroom dominate both social life and children's maturing concep tion of themselves....Every second or third grader knows
precisely where she ranks in popularity, attractiveness, de sirability as a member of a sports team, ability to spell or
add or read, fashionableness, musical talent, and any of a hundred other (scales) on which children of this age con stantly rank themselves" The reactions of peers become
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very important in self-development (Greenspan, 1997, p. 104).
A prominence of "win-at-all-cost" competitive experiences
may entrench relatively rigid either-or conceptualizations of people, places, things, and events, and frequent polariza tion in human interactions (Greenspan, 1997, pp. 231-238; Kohn, 1990, 1992). Children with optimal self-development establish a strong internal self-identity during the ages of 10 to 12 years.
Peer reactions may no longer be pervasively influential as abstract cognitive abilities begin, value-emotive self-regula
tion expands, and self-perceptions become more defined and stable. Instead of being guided more by a fear of pun ishment, or threat of loss in competition and other "either-
or" categories, behavior now can be guided more and more by conscious altruism, that is, empathy, reflection, accep
tance of ambiguities or "gray areas" (Greenspan, 1997, pp. 236-238). These abilities form a strong foundation for the challenges of early adolescence (about ages 12 to 15 years) when massive physio chemical growth spurts associated with reproductive capacity occur.
During early adolescence, bodily appearance changes noticeably, physical capabilities increase considerably, ab stract cognitive abilities develop further, the greatest amount of vocal transformation occurs, and feelings-emotions are much more intense. These realities bring a considerable array of challenges to self-development. "Friendships are now deeper, those with the opposite sex more problematic....(P)ossible identities become more diverse and the need to define (self is) more pressing...a geek, a jock, a punk, a nerd...popular, attractive, smart?" But if the self development rests on shaky prior foundations, then ado lescents "...will not be able to cope with the powerful feel ings—sexuality, loss of childhood, new kinds of humilia tion—that must be faced" (Greenspan, 1997, p. 105, 106). Middle adolescence (about ages 15 to 18 years) brings substantial stabilization of physical appearance and cogni
tive-emotional-behavioral capabilities and abilities. These
changes, however, are by no means finished. Typically, middle adolescents contend even more intensely with the differing value-emotive tendencies in their peers and be tween their own evolving value-emotive tendencies and those of their parents. They can develop wider interests in such endeavors as "...politics, moral and religious issues, social movements, and the like. Growth of the brain also enables
them to consider future (hypothetical) possibilities and to imag
ine hypothetical worlds: 'What would happen if Jane agreed to be my girl friend?' 'Should I go to a state university or try for a more prestigious school?' 'What would it be like to be a doctor/ a pilot/a teacher..'' as an adult? Considerations of marriage and family may occur as a means of escaping an unpleasant home environment that has not provided the self-development sup port that is needed during prior growing-up years (Greenspan, 1997, p. 106). Late adolescence (about ages 18 to 21 years) brings
the challenges of entering the workforce or leaving home for college or military service. The social environment ex pands again and more serious responsibilities for financial and socioemotional self-support are taken on. Long-term
romantic relationships, marriage, and family may be con sidered or undertaken. The needs for relatedness, compe tence, and autonomy are still present, but must be satisfied by new cognitive-emotional-behavioral abilities. Typically, early adulthood (about 21 to 35 years) brings the establishment of a career and the parenting of children. "This calls on a much more subtle empathy and a greater selflessness than most people have known up to this point. To succeed, a person needs both a strong self definition and the ability to tolerate a range of intense feel ings as dozens of interpersonal constellations form. In the face of competition, resentment, fatigue, frustration, uncer tainty, anger, responsibility, mother or father love, anxiety, and the rest, parents must maintain a position as leaders of their families and also see to the financial and work realities of paying the bills" (Greenspan, 1997, p. 106). With middle adulthood (about 35 to 65 years) and
late adulthood (about 65 years and up) come the increas ing realization that one's own lifespan is passing and will
have an end. As one's own children grow through the levels previously described, leave home, and establish their
own autonomous adulthood, the gradual, years-long dis engagement from the details of their lives brings a need for yet another range of cognitive-emotional-behavioral abili ties. The temptation may be great for parents to satisfy their own past unmet needs by overidentifying with the lives of their children. While memory and physical capa bilities diminish in varying degrees during aging (athletic
abilities and menopause, for instance), "the capacity for judg ment and wisdom may well increase", partly because of ac
cumulated experience and partly because of growth spurts in the frontal lobes of the brain (Greenspan, 1997, p. 107; Greenspan & Pollock, 1990; Thatcher, 1994). "The eyes go, the waistline, much of the physical beauty of youth: the lovely hair that used to make one proud, the smooth skin, the strong muscles. Feelings of rivalry, loss, disappoint ment, and awareness of the shortening of time become more pressing" (Greenspan, 1997, p. 107). There is evidence from psychologists that nearly all young children and most adults have an innate altruistic and optimistic orientation (Kohn, 1990; Schulman, et al., 1993). That innate orientation can become pessimistic and hurtful if life experiences include substantial threats to well
being that prevent constructive mastery of world and self (Greenspan, 1997; Peterson, et al., 1993; Seligman, 1993). Seligman (1990) proposes that people's life experiences can result in a prominence of learned helplessness or a promi nence of learned optimism. The extent to which people have developed implicitly learned helplessness or implicitly learned optimism can be reflected in how they explain life events (Seligman, 1990, pp. 40-53). Explanations of positive or negative life events can convey relative permanence of the events. Are the events a temporary or permanent condition? Permanence
is about time, that is, how long a person perseveres or gives
up in the face of experienced events. Pervasiveness refers to the extent to which a recent event influences future events. Is the influence universal or specific to a single event? Per sonalization refers to the extent to which blame or credit are internalized (self) or externalized (others). An explanatory style that is pessimistic may include such exemplar state ments as, "I'm not any good at dating", or "I'm not attrac tive" or "It was just luck that I....". An explanatory style that is optimistic may include such exemplar statements as, "I'm not any good at dating yet" or "I'm not attractive to Sam" or "I took advantage of an opportunity to...."
Emotional reactions are learned behaviors that begin their development with emotional modeling by parents and
others in response to specific situations. Throughout our lives, the people, places, things, and events that we encoun ter trigger accumulated, automatic, value-emotive behavior packages called habitual emotional behavior. According to Oliver (1993, p. 76), emotional behaviors are "...habits of thought and action cued to begin by a physical sensation" bodyminds,
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(Damasio's somatic marker). Emotional behavior patterns that are not in a person's best interest can be altered by
difficulties with the cognitive, emotional, and/or behavioral
patterns that are learned and used throughout life.
specific learning experiences that are mediated by parent(s) or teacher(s) (Mayer & Salovey, 1997). Conscious aware ness of the old pattern and a targeted alternative reaction precede target practice on new emotion regulation skills (Patterson, 1991; Seligman, 1990; Seligman, et al., 1995).
Summary of Optimal Self Development In a nutshell, Greenspan (1997, p. 108) describes a se quential series of foundational building blocks for optimal self-development:
These themes are extensively substantiated in the neuropsychobiological science literature, for example, Bowlby (1988), Brothers (1997), Carlson and Earls (1997), Csikszentmihalyi (1993), Damasio (1994, 1999), Damasio, et al. (1995), Dawson and Fischer (1994), Edelman (1989), Deci and Ryan (1985), Gollwitzer & Bargh (1996), LeDoux (1996), Panksepp (1998), Porges, et al. (1996), Rolls (1995), Ryan, et
al. (1995), Salovey and Sluyter (1997), Schore (1994), Spitz (1945,1946), Thatcher, et al. (1996), Zahn-Waxler, et al. (1986).
1. the ability to attend: emotional interest in various
sights, sounds, and sensations;
2. the ability to engage: experience pleasant feelings and
Human Verbal and Nonverbal Interactions
emotional warmth in the presence of another person;
3. the ability to be intentional: purposeful behavior that is directed by value-emotive tendencies;
4. the ability to form complex, interactive, intentional patterns: connect one's own emotional signals with those of others during human-to-human interactions;
5. the ability to create images, symbols, and ideas that are invested with affective import: the basis of reasoning and emotional coping;
6. the ability to connect images and symbols: simultaneous awareness of one's own value-emotive orientation while
comprehending the expressions of value-emotive orienta tions by other people.
In 1900, a German man named von Osten purchased
a horse and named him Hans. He taught Hans to count by tapping one of his front hooves. Then, quite surprisingly, Hans learned to add, subtract, multiply, divide, and to solve
problems involving factors and fractions. He could tell time,
use a calendar, and recall musical pitch. Hans learned the alphabet coded in numbers (hoof taps) and developed the ability to answer any question presented orally or written! von Osten exhibited Hans' foot tapping skills before public audiences-for a fee of course. Hans seemed to have total comprehension of the German language. The horse could do what many humans had difficulty doing! Hans became internationally famous.
From Greenspan's review of levels of self-develop ment, there are three central themes: 1. What we call feeling, affective, emotional, and value-emo tive states (behavioral tendencies) are foundationally integrated with all percepts, concepts, and actual behaviors that con stitute self-identity. 2. Respectful, empathic, communicative, human-tohuman relationships are the bedrock of all constructive and productive human endeavor.
3. The experiences that human beings have from the time of their prenatal growth through the first four years of
postbirth life lay the foundation for development of a sig nificantly satisfying, confident, competent, autonomous selfdetermination, or a self-development that poses pitfalls and
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The media
dubbed him "Clever Hans" But there were some very prominent skeptics! So, an investigating committee was formed, made up of profes sors of psychology and physiology, a zoologist, veterinar ians, cavalry officers, and the director of a circus. Hans was asked to respond to questions created by the committee members while von Osten was absent. There was no change in Clever Hans' apparent intelligence and that proved his authenticity. Hans received incredible international press after that. Skepticism continued, however. Another investigat ing commission was formed. A man named Otto Pfungst
was the lead investigator. In 1911, he published a book about his findings (Pfungst, 1965).
In one of the tests, von Osten whispered a number ber into the other ear, and Hans was to add the two num bers and tap the answer-an answer that neither von Osten
ences occurred, the things that were present, and the events that occurred are tagged as well-episodic memory. When memories are unfavorable, we will be less inclined to inter act with that person, place, thing, or event in the future. If
nor the onlookers knew Clever Hans was stymied. He
favorable, then we will be more inclined to interact.
into one of Hans' ears and Pfungst whispered another num
failed many other clever tests as well. Pfungst had observed the nonverbal or other-thanconscious communication that had occurred between Hans and anyone who knew the answer to a question that had been posed to Hans. When a question was asked, onlook ers who knew the answer: 1. assumed an expectant posture and facial expres sion;
Our other-than-conscious impressions are formed by
a high-speed brain system that bypasses our attentional, working memory, and language networks (Bargh, 1988,1994; Bargh, et al., 1989; Cappella, 1991; Damasio, 1994, pp. ISO187; LeDoux, 1996, pp. 200-204; Newlin, 1981). Neuropsychologists refer to this system as the implicit learn
2. make a slight upward movement of their heads.
ing and memory system. Key parts of the brain that pro cess feelings and emotions are prominently involved in that system-the amygdala and the hypothalamus-pituitary com plex. The autonomic nervous system is then engaged and that is where the implicit somatic marker comes from. On the other hand, after you have met people at a social gathering, perhaps someone says to you, "What did you think of Sarah Everywoman?" You may then review your recent working memories and their feeling tags in your
And Hans would stop tapping. Pfungst claimed that
conscious awareness and say, "Oh, I don't know. I guess we didn't hit it off very well," or "Oh, yes! Sarah and I hit it off
2. increased their body tension; and 3. bent their heads slightly forward. Hans paid attention to them, and when he reached
the correct number of hoof-taps, those onlookers would: 1. relax, and
Hans could detect head movements as slight as one-fifth of
a millimeter, and would cease tapping if knowledgeable on
immediately" Your implicit impression has been brought into con
lookers raised an eyebrow or dilated their nostrils. A French
scious awareness and formed into a retrievable episodic-
horse, dubbed "Clever Bertrand," copied what Hans had done-but Bertrand was blind. You guessed it: he read au ditory cues. Pfungst established that Clever Hans did, too.
declarative memory. Impressions that came to conscious awareness as the experience was occurring are routed through a more complex and slower-acting brain system
sions. Accordingly, the impressions that we form of other
that includes attentional, working memory, and language networks. Neuropsychologists refer to this system as the explicit memory and learning system. A key part of the brain systems that create conscious memories includes the hippocampus (which is interfaced with the amygdala, the anterior cingulate cortex, and the orbital area of the pre frontal cortex; see Damasio, 1994, pp. 180-187; LeDoux, 1996, pp. 200-204). In 1972, Dr. Albert Mehrabian, psychologist at the
people-and the impressions that they form of us-are either
University of California at Los Angeles, published a book
favorable or unfavorable (Zaidel & Mehrabian, 1969; Bargh
titled Nonverbal Communication. He reported a large collec tion of research data and estimated that when people de liver and receive spoken communication, about 45% is trans mitted vocally; 55% is transmitted by facial expression, arm hand gestures, and postural arrangements of the body. His breakdown is shown in Table I-8-4.
Clever Humans When we human beings communicate with each other, about 9O°/o of that communicating is outside conscious aware
ness. That 9O°/o produces feeling reactions inside the people who are communicating with each other. As noted in Chap ter 7, feelings are either pleasant or unpleasant, positive or negative.
We refer to those feeling reactions as impres
& Pietromonaco, 1982; Riggio & Friedman, 1986).
Instantly, memories of the people we communicate with are categorized with a favorable or unfavorable value and a pleasant or unpleasant physical sensation-a somatic marker. To varying degrees, the places where the experi
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Table I-8-4. Verbal and Nonverbal Communication That Occur During Spoken Conversation
Nonverbal, Other-Than-Conscious Communication The parts of human beings that process outside con
[Adapted from Mehrabian, 1972, pp. 186, 187]
scious awareness have enormous processing capacity and
GESTURAL
COMMUNICATIONS..................................................................... 55%
[nearly always produced and perceived outside conscious awareness as part of the nonverbal "context" of spoken communication] VOICED
COMMUNICATIONS ........................................................................... 45%
Verbal Content: Denotative, "dictionary meanings" of words...... 7%
[nearly always produced and perceived in conscious awareness as the verbal "text' of spoken communication]
Nonverbal Content: Connotative, "feeling meanings"......................38% [nearly always produced and perceived outside conscious awareness as part of the nonverbal "context" of spoken communication; it is imbedded in variations of vocal pitch, volume, timbre, and durational aspects of speech such as timing-pacing-pausing]
The nervous system's capacity for conscious, attention-
focused, cognitive and behavioral processing is limited to one activity at a time. So, during person-to-person spoken
conversation, the conscious reception and interpretation of incoming verbal communication, and formulation and de
livery of language responses, nearly always occupy con scious cognition and behavioral processing. That is what Mehrabian referred to as the text of spoken communication, and it constituted 7% of the total communication. The prosody of person-to-person spoken conversation
(vocal pitch, volume, timbre, and durational aspects) com municates the connotative or "feeling meanings" of language (paralanguage). According to Mehrabian, these nonverbal aspects of communication constitute about 38% of total com munication behavior and are received and interpreted out side conscious awareness. Speech prosody and all gestural communications are what Mehrabian referred to as the con text of spoken communication. If Mehrabian's observa tions are accurate, then, we are not consciously aware of about 9O% of what we are communicating. That means that about 9O% of our communicating is the result of habitual, implicit communication patterns.
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those parts are significantly developed by birth. Babies have been videotaped moving in synchrony with their parents during spoken parentese (Condon & Sandor, 1974). Parent-child eye gaze patterns, touching, gesturing, and hold
ing are of rich communicative significance. These commu
nicative capabilities are well developed in children before language emerges (Berinieri, et al., 1988; Meltzoff & Gopnik, 1989; Meltzoff & Moore, 1989). In fact, these communica tions can be life and death matters for infants. In London, during World War II, orphaned children who were fed but not touched, held, or talked to very much began to eat less, remain relatively still and expressionless, and began to waste away physically (Spitz, 1945, 1946; Spitz & Wolf, 1946). Even as adults, respectful recognition is often an unrecognized mainstay of personal efficacy. As the nonverbal communications literature indicates, just about everything we human beings do in the presence of others, and just about everything other human beings
do in our presence, are observed through the senses (per ceptual categorizations) and "read" for emotional signifi cance (value-emotive categorizations) and interrelational significance (conceptual categorizations) (DePaulo, 1991; Bernieri & Rosenthal, 1991; Hamann, et al., 1996; Knapp & Hall, 1992). People respond first to other-than-conscious "messages", and sometimes do not respond to the consciousverbal ones at all (Personal communication, David Dob son, Ph.D., psychologist, 1986; Mehrabian, 1981). During
communication, people usually respond more to the pat terned communications delivered by our bodies while we talk, and to the connotative, prosodic, paralinguistic aspects of speech, than to the denotative language we speak (Zaidel & Mehrabian 1969; Ochsner, et al., 1997; O'Sullivan, et al., 1985). As sociologist Marshall McLuhan said, "The me dium is the message" Rapport is a common term for empathic, respectful, and comfortable human communication. Some people might say that there is a feeling of connectedness between the communi cators. On the other hand, some people do not "hit it off" well when they communicate, and there is a feeling of dis connectedness. Some people seem to have immediate rapport
with nearly everyone they meet, while other people fre quently feel disconnected when they attempt to communi cate with other people (Tickle-Degnen & Rosenthal, 1987, 1990). So, what are the connected communicators doing that the disconnected communicators are not doing, and can less effective communicators learn to communicate well? Emotional memory triggers what Davidson has called approach or withdrawal behavior (Davidson, 1994). Pleasant
ness" produces pleasant familiarity feeling states in both children and parents, and between peers and colleagues,
and all such experiences are instantiated in implicit emo tional memory networks. Nonverbal and verbal social in teraction appears to be a key element of cognitive-emo tional-behavioral and brain development (Brothers, 1997). In any casual conversation with a friend, both conversants will match some aspect of their friend's behav
familiarity feelings, in connection with people, places, things, and events tend to produce approach behavior. If you en ter a large room, and at one end of the room are people who are strangers but you know that they are in the same line of work as you, and at the other end are strangers whose work you have had zero acquaintance with, which group would you be most likely to join? There are many principles and skills in establishing respectful, comfortable communication (Burgoon, etal., 1985; Feldman, et al., 1991; Knapp & Hall, 1992). One of the more important principles is: Most people are more emotionally comfortable when they are in safe, pleasantly familiar cir
ior, and never be consciously aware of it. One friend may tilt her head to the left and soon after the other may tilt hers
cumstances as opposed to unfamiliar, potentially unsafe circumstances. When nonverbal communicants emit fa miliar nonverbal gestures and vocalizations, then comfort able, constructive, and empathic communication is much more likely. What do people do when they are communicating
Behavioral mismatching also commonly occurs, that
nonverbally? When people are talking without a pre-written script, they are always communicating nonverbally. Human-to-
human rapport, or emotional "connection" is observable when people interact by matching each other's gestural and vocal patterns to a degree. The scientific term for behavioral matching is interaction synchrony (Bernieri, 1988; Bernieri & Rosenthal, 1991; Knapp & Hall, 1992, pp. 210-217). Matching another's behavior introduces a degree of pleas ant familiarity, favorable engagement, and pleasant-feeling attachment into the nonverbal dialogue. This form of nonverbal communication is rooted in our innate ability for imitation and our early imitative vo
cal and gestural interactions with our parents and others during infancy (Meltzoff, 1990; Meltzoff & Gopnik, 1993; Uzgiris, et al., 1989). This ability becomes increasingly elabo rated through interactions with peers throughout childhood, adolescence, and adulthood. A kind of mutual "like me-
the other way; one may cross her feet, and the other does likewise; one may speak several sentences with a relatively unique pitch inflection, and the other may speak her next sentence with a similar uniqueness; one may incorporate the other's unfamiliar term for an automobile into her own
conversation; one may smile while telling a story and the other smiles immediately without knowing how the story ends. Friendly human beings perform fascinating matching
dances every day, outside conscious awareness.
is, interaction dysynchrony. When the habitual, outsideconscious-awareness, nonverbal behavior patterns of one communicant mismatches the nonverbal patterns of the other person, then a degree of unpleasant emotional disen
gagement is introduced into the nonverbal dialogue. Typi cally, the likelihood of meeting again by choice is dimin ished. Mismatching also occurs when a person is nega tively disposed toward another person. A young woman is being interviewed for a job; a job for which she has excellent training. How might a match ing vs. mismatching dance be performed? The experienced interviewer is in a totally familiar
and comfortable setting. This next interviewee is another in a long line of interviewees. The interviewer is likely to put on her figurative judge's robes. The interviewee, however, is in totally unfamiliar circumstances, and a setting that is laden with potential threat to well being. Habitual threat responses are much more likely. Behavioral mismatching is highly likely. The interviewee enters the room with her arms and hands held close to her body, a slight shoulder slump, a lowered intense face with one fast smile-and-glance at the interviewer's face during the introduc tion, and she sits down quickly, whereas the interviewer stands tall bodyminds,
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with a relaxed body and a smile as she introduces herself. The
interviewer's voice is calm and even, and she speaks in sentences that have closure, but the interviewee's voice has high-pitched inflections
and a relatively pinched voice quality, and she makes a nervous giggle after some answers; the interviewer's arms and hands are fairly steady
and only necessary movement occurs, while the interviewee's arms and hands move in repeated semicircular motions when she talks; the
interviewer's gaze is steady and she frequently looks at the interviewee, while the interviewee frequently looks down or away, and rarely meets the gaze of the interviewer. A first impression of the interviewee is formed in the first few seconds, and it is unfavorable. The remainder of the interview makes it worse.
4. how to breathe in deeply one or more times before meeting the interviewer, in order to counteract the effects of
distress (see Book III, Chapter 8); 5. how to enter the room with a pleasant look on the face, possibly with an expectant smile (Knapp & Hall, 1992, pp. 261-287), look at the interviewer during the introduc tion (Knapp & Hall, 1992, pp. 295-311), and shake hands firmly with hand-web meeting hand-web;
6. to compliment a feature of the interviewer's ap pearance, or a personal item in the room if/when appro
priate, and only if genuine, and accept any refreshment that
is offered and have it prepared the same way as the inter viewer, if applicable; 7. how to match small aspects of the interviewer's physical demeanor, such as tilt of head or smile intensity, or
Unless the interviewer is empathic, will the interviewee's actual job skills receive a qualified assessment? Maybe, but probably not. What could the interviewee have learned ahead of time to improve her communication skills so that her impression would have been more favorable? [These suggestions are based on nonverbal practices in the United States, and may or may not be appropriate in other cul tures.] Before the interview, she could have sought out rel evant information about the company and the job for which
"tone of voice" (never directly imitate behavior, of course, just a "suggestion" of the behavior is all that is necessary);
application was made. If/when appropriate, she could pref ace questions about the company or job with a relevant item of information that she had learned about the com pany or the job, or mention the satisfaction of a current or
What could the interviewer have done or said to im prove the communicative situation? She could have gone outside her office to where the interviewee was waiting, greeted her there with a smile and use of her name with words of welcome, an invitation into the interviewing room, offering a comfortable chair with no desk in between, offer ing water or a beverage, perhaps complimenting her attire,
former employee or customer. She could come to the inter view prepared to describe, in as much detail as is appropri
ate, how her job and people skills will benefit the company, but without presenting the information in a "cheerleader"
manner. In addition, the interviewee could have learned: 1. the common effects of distress on bodyminds and some ways to lower its interference with cognitive and com munications abilities, including voice (Knapp & Hall, 1992, pp. 326-371); 2. how to move, stand, and sit with a comfortably tall body demeanor, and practice it enough times so that it does not appear stiff and "put on" (see Book II, Chapter 4); 3. how to choose apparel that is likely to be consis tent with the expectation of the interviewer and how to
wear it appropriately (Knapp & Hall, 1992, pp. 122-132);
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8. to listen closely to the interviewer's explanations and questions, and when appropriate, incorporate terms used by the interviewer into responses, and perhaps one of the interviewer's arm-hand gestures; 9. to ask thoughtful questions about the company and the job requirements.
and engaging in "small talk" about the interviewee's travel to the interview site or the weather to provide a time for comfort to develop before asking a nonthreatening first in terview question. A teacher is presenting verbal and nonverbal com munications to a group of 25 students. Two students begin a whispered conversation near the back of the room.
Interaction Scenario #1: The teacher stops talking and
becomes still, places fists on hips and stares at the two students with a facial expression of angry disapproval. [Some teachers describe that expression as "giving a student the evil eye", that is, head slightly down with eyes straight ahead, forehead and eyebrows furrowed downward, eyelids narrowed, lips closed, tightened, and slightly protruded.] Then,
with higher vocal volume, the teacher says, "You two are talking when I'm talking! I do not tolerate that in my classroom. That is one of my discipline rules that I wrote on the board at the beginning of the year This is your first warning. The next time, the consequence will be a trip to the principal's office and a call to your parents. When I'm talking, you will be quiet. Do you understand?" After a short staring pause, the teacher then resumes teaching with a "softened" version of the anger look and "tone of voice". Interaction Scenario #2: The teacher stops talking and becomes still, establishes mutual eye contact, raises eyebrows with a pleasant look on the face including a slight smile, nods, broadens the smile, then resumes teaching. In scenario #1, the teacher's stillness and silence broke an ongoing situational pattern, and attention of the two
boys was arrested. The teacher's nonverbal behavior also thoroughly communicated an adversarial mind-set and con trolling, accusative, punitive, disrespect for the human be ings who are called students (see Chapter 9 for more). Emo tional disconnection was widened between the teacher and nearly all of the students, and between the students and the place where the interaction took place, the materials being used, and the events that commonly take place. Protective behaviors are more likely to emerge (withdrawal, immobi lization, counter-threat or counterattack).
In scenario #2, the teacher's stillness and silence also broke an ongoing situational pattern. This teacher's non
verbal behavior communicated respect for the normal hu man beings involved, and indicates that a collaborative mind-set is the everyday norm (see Chapter 9). Clearly, the above scenarios do not include any information about the psychosocial history of the relationship between teacher, students, students' families, the school, and the community in which the school is located. The nonverbal communica tion in scenario #2 might not be effective if the students and-teacher relationship already included emotional dis connection, distrust, and disrespect for the humanity of the
other. Establishment of some degree of mutual empathic respect might be a prerequisite to rapport (see Chapter 9).
The appropriate use of nonverbal communication skills increases the probability that mutually respectful, com fortable interactions can take place. Any set of human be haviors can be used for good or ill (DePaulo, 1991). Be havioral matching can be used in an attempt to selfishly manipulate people into doing what is, or is not, in their best
interest. That is not respectful communication, and often,
the deception will be read by the implicit emotional memo ries of the communicant, and an unfavorable impression will be formed with protective reactions.
The Arts: Their Neuropsycho biological and Social-Emotional Value for Human Beings What are "the arts"? Where did they come from? Are they substantially valuable to human beings? Or do they only provide just-for-fun distraction and entertainment?
And if the arts are important to us, do they rise to the level
of esteem in which languages, mathematics, science, social history, and sports are held? The questions are short and simple. The answers may be as long and complicated as the answers to "What is con sciousness?" They cannot be given in precise detail, yet, and the upcoming paragraphs cannot possibly express in-depth answers. They will suggest a surface.
The Arts As is true of present-day homo sapiens sapiens, pre-language humanoids (homo habilis), perceived novel experiences through their visual, auditory, and somatic (bodily) senses. Their somatic senses included perceptions of reactive physio chemical affective states (feelings and emotions). All such experiences were instantiated into their nervous sys tems as visual, auditory, and somatic memories. Simple referential gestures emerged that "stood for things" that had been previously experienced and instantiated in memory, or the gestures signaled the undertaking of memoried ac tions. Simple referential vocal sound combinations also emerged. Those gestures and vocal sounds now are re ferred to as protolanguage (Brown, 2000; Lieberman, 1998, pp. 84, 85). These referential signals brought into conscious awareness neural "representations" or "internal images" of a person, place, thing, or event that had been experienced previously.
Over the course of about one million years (homo erectus, homo sapiens), the referential vocal sound combinations be came elaborated into increasingly complex symbolic sys tems that now are referred to as languages. These abilities were dependent on: (1) concurrent increases of particular bodyminds,
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neural capacities, particularly in the prefrontal cortex, (2) concurrent development of characteristic laryngeal struc tures and vocal tract shapes, and (3) detailed motor control of them (Deacon, 1997, pp. 321-410; Lieberman, 1991, 1998). These capabilities and abilities considerably increased the
probability of survival. But even before referential vocal signals emerged, early humanoids emitted various types of vocal sounds and noises when they were in various affective states. Some of them are referred to as calls or primal sounds. Various body pos tures and movements, facial expressions, and arm-hand gestures also were displayed during affective states (Dea con, 1997, pp. 376-410; Lieberman, 1991, 1998, pp. 133-151). Lulling a baby to sleep with vocal sounds, rocking motions, and affectionate facial expressions is an example. Whoop ing and yelping with rhythmic movement and gestures af ter successfully killing an animal for food (survival) is an other example. Loud, yelled, or growled sounds occurred after being frustrated in a search for food or shelter. Wail
extensive and intense the physio chemical events become (beyond ground state), the more intense the sensory per ception of an affective-feeling-emotional state. Affective attachment with other human beings (and animals), celebration of accomplishment, frustration-angerrage, and loss of affective attachment (separation, death) are
four feeling-loaded reactions to people-places-things-events. In response to events that extend over a course of time, the intensity of physio chemical affective-feeling states can in crease slowly over longer time periods—friendship with another human being, for instance. Sometimes the inten sity increases at faster and faster rates, and sometimes the increase is abruptly intense. At some point in time, a peak of feeling-intensity occurs, after which intensity subsides slowly or more quickly toward closure in a ground state.
a mate, or a child, or a friend. Each vocal expression co occurred with characteristic postures, gestures, and facial expressions. Even though present-day human beings cannot know
Sometimes, feeling-state episodes subside into a ground state that is more intense than the previous ground state (per haps incomplete or unresolved). Memories of the people, places, things, and events that made up the experiences, along with their feeling-state patterns, are instantiated in the ner vous, endocrine, and immune systems. These ebbs and flows of perceived feeling-state inten sities happen as a result of ebbs and flows in nervous sys tem activation intensities, intensities with which transmitter
how homo habilis humanoids felt during such experiences,
molecules bind to their receptors to change organ func
paleoanatomists and paleoanthropologists have provided evidence that limbic systems were well developed in their brains (Deacon, 1997; Mithen, 1996). So we can assume
tions, and in perceived state changes in the torso. Primarily,
that after those expressive vocal sound-makings, posturings, gesturings, and facial configurations, they often "felt better". As described earlier, affective states in all humanoid beings are created when numerous physio chemical events are cascaded inside bodyminds as a reaction to actual or remembered people, places, things, and events. Right and left limbic system areas (the limbic lobes, the amygdalae, and hippocampal areas in particular), and the orbital areas of the right and left frontal lobes, interact with the hypothalamus-pituitary and the autonomic nervous system. They all influence the endocrine and immune systems to pro duce bodywide physio chemical state changes, especially in the torso (see Chapters 2 through 5, and 7). The interocep tive sensory system can then detect global changes within
ence vast numbers of complex feeling-state patterns that
ing and sobbing were reactions to the death of a parent, or
the torso and report them to the various brain areas that can produce conscious awareness and attention. The more
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these internal processings are reactions and adaptations to the outside world. Over a life-span, human beings experi co-occur with experiential episodes. The visual, auditory,
and somatosensory aspects of the episodes, the feeling-state patterns, and associated actions, are encoded in bodymind memory patterns. When memory recall occurs, summated neural "rep resentations or images" of the people, places, things, and events that were part of the original experience are reacti vated. Sometimes, when memories are retrieved, human beings overtly relive or reenact the experiences in some way. During the reliving or reenacting, a degree of the original physio chemical affective state—sometimes a considerable degree of the original—is reactivated for a period of time,
and then subsides into a ground state afterward. Offen, the people who are reliving and reenacting "feel better" afterward.
Preverbal and early-verbal humanoids recaptured, reinstated, or realized feeling-laden experiences with people,
Some of the bordered, visually perceived contours of a feeling-favored animal, place, thing, person, or event were "memorialized" in drawings on cave walls, creation of decorated tools, an thropomorphic "monuments", ceremonies, and ceremonial meeting places. Over at least a million years, these material media expressions of actual and imagined experiences have evolved into what we now can refer to as the visual arts, drawing, painting, sculpture, and architecture (Chapter 7 has more information). places, things, and events in material media.
Reenactments also involved vocal pitch and volume contours and voice qualities that recaptured something of the original affective-state experiences with people, places, things, and events. Part of early humanoid reenactments included depicting a time-succession of events. As spoken
language became elaborated, these time-successive and af fective-state reenactments developed into oral histories and mythical stories. Affective-state vocal sounds were elabo rated into the prosodic, paralinguistic aspects of spoken lan guage (vocal pitch, volume, duration-timing, and tonal qual ity), and into vocal analogues of the ebb-and-flow con tours of affective-state intensities. Metered, metaphoric spo ken language evolved, and was blended with prosody to create songs. Eventually, other sound sources that were ca pable of sustaining tones and a variety of rhythms were invented as an extension of vocalized affective-state expres sion (musical instruments). Over at least a million years, these earlier event sequences, and sounds-over-time affec tive-state expression patterns, have evolved into what we now can refer to as the auditory arts, music, poetry, and the spoken and written story arts. Rhythmicized physical movement and nonverbal ges tures were part of early humanoid reenactments of feeling laden past experiences with people, places, things, and events. The movements often were exaggerated in the reenactments in order to enhance the intensity of their "feeling meanings". Over at least a million years, these aspects of ritual and ceremony have been elaborated into what we now can re fer to as the somatosensory-kinesthetic arts, mime and dance.
Prelanguage humanoids also relived and reenacted feeling-laden experiences with people, places, things, and
events in rhythmic actions based on heartbeat, walking, and gesturing, and on the vocal pitch and volume contours that were emitted during common affective-state experiences. Metered, rhythmicized, percussive sound sources amplified the rhythmic actions of participants when various types of rituals and ceremonies were created. Events were reenacted as people portrayed gods, other people, or animals, and speech and chanting were used to relive a story and express the feeling reactions of the portrayed people. Over at least a million years, these re-livings and reenactments became elaborated into what we now can refer to as the combina tion arts of theatre, film, opera, and performance art. And after these recapturing, reliving, reenacting expe riences, humanoid beings have often "felt better".
Over the two million years from homo habilis to homo erectus to homo sapiens to homo sapiens sapiens, bodymind pro cessing capacities have increased massively along with vast increases in perceptual, value-emotive, conceptual, and be havioral capabilities. Those capabilities increased concur rently with the invention and elaboration of a vast array of learned abilities. Human inventiveness and creativity have produced vast variety and complexity in intra- and inter-
cultural social relatedness, organization, object-making, and process-making. Two highly complex abilities are the two symbolic systems-languages and mathematics-that human
beings use to denote and describe the bordered elements and episodic phenomena of their experienced world. In the present, the number of culturally produced possible expe riences are so vast that they can overwhelm current human cognitive-emotional-behavioral capabilities (distress, burn out).
Those expanded processing capacities and capabili ties also have made possible the invention and elaboration of ever more complex symbolic modes that human beings
use to connote (re-captivate, relive, reenact) the multitudi nous contours of their memoried affective-state intensities. The comparatively complex, designed, and crafted patterns of the visual, auditory, somatosensory-kinesthetic, and com bination arts are analogues for the dynamic forms of hu man affective-feeling-emotional states. These symbolic modes do not activate physio chemical, feeling-state reac tions to real people in real places, things, and events. They activate a human bodymind's memoried, feeling-state, neu rochemical networks to produce as-if feeling or affective bodyminds,
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states. We human beings respond, therefore, to ensymboled virtual experiences by internally generating a feeling re sponse. When creating or enacting any of the arts, these sym
bolic modes enable an "expressing from inside out" of ac cumulated, ebb-and-flow feeling-state intensities that real life experiences have encoded in memory. These forms of expressive creation have primal roots in human neuropsychobiology. Original expressers call on feeling-state memories that are unique, personal, and often recent in their lives. Many original ensymboled expressions must then be brought into existence by other human beings (perform ers). This secondary form of expressive creation involves interpretations of the originally ensymboled feeling-state in tensities. A common reaction by performers is an empathic captivating or enacting of the originators' ensymboled feeling-state-intensities-through-time. When people other than the originator or the per
physio chemical feeling contours have been activated in
which their intensities have increased, peaked, decreased,
and closed. The nervous, endocrine, and immune systems are all activated during this process (see Chapters 5 and 7; Hall, et al., 1994; Pert, et al., 1989). More often than not, a
well crafted original "expressing out" or a skilled and ex pressive enactment, or an empathic observation and reac tion produces a resolved neuropsychobiological state, that
is, some form of homeostatic ground state that can be de scribed as "feeling better" or "feeling pleasantly whole again".
So, what we now refer to collectively as the arts have neuropsychobiological roots that extend all the way back to preverbal, feeling-based, affective-state experiences. Hu man beings ensymbol those feeling-state experiences into self-expressive designs that are analogues for those memoried contours. When experienced well, they can in duce a re-sensitization of one's empathic self-identity and
social-emotional competence.
former observe and react to the expressed creation, an em
pathic as-if feeling-state is induced by the increase of feel ing-intensity, peak-of-intensity, decrease-of-intensity, and
closure contours of the observed creation. This is a form of virtual symbolic enactment. The more an expressed cre ation taps into universally experienced feeling-state con tours, the more richly human beings will respond to it and, at least eventually, more and more people will empathically respond to it. Original creation of symbolic expression of feeling state intensities can trigger a reflective "working out" of per sonal insights—a perspective-taking—that can result in con
structive "mind-sets", constructive behavior patterns, emo tional equilibrium, and biological and social benefit (Langer, 1951, 1953, 1967, 1972, 1982; Pennebaker, 1990, pp. 12-56; 98-101). Over millennia of time, the early reenacting, recap turing, realizing, and expressing out of as-if virtual feeling experiences have evolved into ever richer levels of varia tion and complexity, while retaining many of the simpler
aspects of earlier times. Increased variation and complexity enabled the symbolic expression of finer subtleties or "nooks and crannies" of feeling-based experiences. How is it that human beings "feel better" after recap
Music All memoried experiences are weblike clusters. Chil dren, for example, have a large cluster of experiences in their individual family settings. Their experiences may be categorized as mother experiences, father experiences, brother-sister experiences, grandparent experiences, neigh borhood experiences, friend experiences, self experiences, and so on. When a family goes on vacation, they leave the
familiarity of home locations and friends while they travel to unfamiliar surroundings where they have unfamiliar experiences. Then they return to the familiar comforts of home with some relief. Another large categorical cluster of experiences occur when they go to school. The people, places, things, and events that they have experienced at home are almost en tirely different from the people, places, things, and events that they experience when they first leave home to go to school. At the end of each school day, they go home. Even tually, the people, places, things, and events of school be come familiar. In a valuable educational setting, many new and unfamiliar experiences will be embedded within that
familiarity. These two major experience clusters overlap in
turing, reliving, and reenacting feeling-state experiences? When "feeling better" happens after writing a poem or go
time, of course. Many macro- and micro-experience clus
ing to a play or singing a song, then memoried "as-if"
ing-states that they induce vary greatly over time.
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ters overlap in time and the intensity of the numerous feel
Life's experiences are laden with multiple affectivefeeling-emotional episodes. Some episodes induce highly intense feeling states, others induce mild feeling states, and there are many intensity gradations in between. Experien tial episodes begin at different times and follow time courses
of varying durations before they dissipate. Multiple epi
sodes are in progress at any one time. Anticipated or ex
pected progressions and unexpected "surprise" turns occur along the way. Familiar experiences are varied in subse quent versions, and most of these perceptual, value-emo tive, conceptual, and behavioral experiences are instanti ated in the nervous system as implicit or explicit memories.
How long a "piece of music" lasts is irrelevant to its core expressive nature. Music is an analogue of experience feeling-intensity time, not clock time, and experience time can be very short to very long. The basic time-course and
feeling-intensity contours of human experiential episodes (rise-peak-recede-resolve) are embedded in the time-course
tonal contours of nearly all Western musics. Because the
time-intensity contours of human feeling-states can display numerous subtle variations, so can the time-tonal intensity contours of the musics. The architectonic levels of music ensymbol the vary ing time-courses and feeling-state intensities of experiential episodes. For example, a larger architectonic level in music is the sonata-allegro form that is commonly used in sym phonic first movements, that is, the exposition, develop ment, and recapitulation sections. A small version of this
with a degree of variation and words that bring the "story" and feeling-course of the song to a familiar feeling-closure. Other musical macro-forms have differing feeling-state dy namics. On an even smaller scale, single musical phrases (even three-pitch motifs) ensymbol aspects of feeling-state dy namics. In simpler musical compositions, increases of feel ing-intensity may be ensymboled when a phrase begins with tonal center pitches and harmonies, then moves to pitches and harmonies that are more distant from the tonal center, and then returns to tonic or dominant pitches and harmonies. An increase in feeling-intensity also may be ensymboled when melodic pitches progressively rise to a peak height, when sustained pitches-harmonies crescendo (those that are near the beginnings of phrases), and when the tempi become faster (accelerandi, for instance) and the rhythms become shorter. The highest melodic pitch, or the harmony that is most unlike the tonal center, may occur at
the peak of expressive feeling-intensity. A decrease in feel ing-intensity may be ensymboled when melodic pitches progressively lower (a falling pattern), or when sustained
pitches or harmonies decrescendo near the ends of phrases, and when the tempi become slower (ritardandi) and rhythms become longer. As a single design of sounds-and-silences-throughtime is crafted by an original expresser (a composer, songwriter, or improviser), it ensymbols a time-dynamic
"moving picture in sound" of one human being's expres
macro-organization in music is widely used in the ABA song
sion of ebb-and-flow feeling-states. The symbolic feeling
form. An 8-measure melody-rhythm-harmony is introduced and then repeated, with a small variation. Then, an 8-mea-
contours were "imagined" in the "as-if" value-emotive neu ral-chemical networks of the expresser. Composers may remember specific people, places, things, and events that they have encountered in their lives, but they are not ana lytically describing their visually perceived appearances or physical movements in tone combinations. They focus on creating sound designs that ensymbol facets of the feeling state intensity contours that have accumulated implicitly in their life-memories. During original composition, after an original frame
sure "bridge" or B section introduces new melodic-rhyth mic-harmonic material, sometimes in a different tonal cen
ter. Finally, the original melody-rhythm-harmony returns
in the original tonal center, but is altered, especially as the song closes. Think of the song "Les berceaux" by Gabriel Faure, or "The Impossible Dream" from the musical play Man of La Mancha. They are both in ABA song form. The initial melody-rhythm-harmony is sounded and then repeated to
establish familiarity with the expressive music. Then a dif ferent, unfamiliar melody-rhythm-harmony is sounded along with words that heighten the feeling-intensity of the music. And finally, the original melody-rhythm-harmony returns
work design enters into their conscious awareness, express ers change their designs and craft them several times. When composers appraise their own designed sounds and silences, their right hemisphere's global, affect-pattern, literal observer complex compares implicitly processed feeling-intensity bodyminds,
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contour memories with the whole sound-through-time designs that have been created so far. This whole-pattern observer determines the extent to which there is a relative match between imagined affect patterns and whole soundsthrough-time designs. This is whole-pattern, big picture editing. The left hemisphere's conscious-verbal complex analyzes and "interprets" what has been created so far, us ing learned-knowledge criteria to evaluate the details of a sounds-through-time design. This is technical editing in the crafting of the time designs. The two "editors" interact with each other, of course. If there is a considerable mismatch between affect
patterns and time-tonal designs, then an immediately no ticeable, unpleasant feeling-of-knowing state is triggered and sensed in the torso, particularly in the organs within the abdomen (see Chapter 7; Bechera, et al., 1997; Mangan, 1993).
The designer may then say, "This just doesn't work," or "The idea is OK, but this version of it is just no good." The design
is then rejected or large-scale redesign begins. If there is a match, but it is not quite a complete match, then a milder
unpleasant feeling-of-knowing state is triggered. The de signer may then say, "Something still doesn't feel right," or "Something itches me about this; where do I need to scratch?"
In both cases, the two hemispheres collaborate in pro ducing edits that move the designs more and more toward matches between implicit feeling-intensity-contour memo ries and the imagined sounds-through-time designs. When
a complete match occurs, then a pleasant feeling-of-knowing state is triggered and felt in the abdomen. The designer may then say, "Yes. That's it" If the designer is asked, "How did you know to make that change?" or "How did you know it was 'right'?", then a common reply might be, "I don't know. I just knew" or "I just have a feel for how it should go", or "It was intuitive" The big picture editor commonly operates outside conscious awareness and communicates through such feeling-states. Increasingly complex sound sources have been in vented over the centuries, along with many customary ways
to combine them. Notational systems were invented so that human beings could share their customary ways of expressing themselves across distances with other people who expressed themselves in a variant way. The Western system started out as a rough indication of the sources of sound, their pitch levels, how they were timed, and how all 170
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of these elements were combined. Currently, the represen
tation of serial and simultaneous patterns of pitches, pat terns of volume variation, and patterns of durational varia tion can be quite complex and new forms of notation have
been and are being invented. Composers of crafted sounds-and-silences-through-
time place their expressive work into the customary nota tional system. Then other people obtain the notated music and begin a process of bringing the ensymboled feeling intensities into expressive life. This process is, in a sense, an attempt to recreate something of the composers' original creation. Without direct knowledge of the composers' feel ing-intensity insights, however, musical performers must deduce as much as possible from the composers' notation of the music, but beyond that, they must bring their own
life-experience insights into an interpretative process. Per formers, too, develop a "feel" for how music needs to be sounded in order to optimally express out its feeling-inten sities. They, too, use pleasant and unpleasant feelings of know ing as guides in such decisions. Over the centuries, mastery of music's expressive com plexities has necessitated an increasing involvement of the conscious-analytic-verbal complex (conscious cognition). The increased complexity requires increased cognitive-analytic engagement in order to create and enact these sym bolic forms. If the cognitive-analytic aspects of music are attended to more frequently and intently than the expres sive human feeling-intensities, then musical performances may become "lifeless" and relatively inexpressive—an ex ercise in control of cognitive-analytic abilities, rather than expressive abilities. When music is true to its roots, cogni tive-analytic abilities only serve to clarify and enhance hu man expressive abilities. Vocal Music Song singing is always musical theatre. So is choral
singing. They are enactments or expressions of significant human feeling-states that are perceived by others visually,
auditorily, and kinesthetically (empathic as-if feeling states). Sometimes songs are embedded in a theatrical story line. Most often, songs "stand alone", outside the context of a macro-story line. Singing stand-alone songs is still musical theatre. A feeling-based point of view is expressed in the words. That point of view rises to amplified significance
when the music, in which the words are embedded, capti
A good place to begin might be to retrace the com-
vates the human feeling-essence of the words and is ex
poser-songwriters' path: start with the words, the lyrics, the text, the poetry and get a feel for the human feeling-stuff that is expressed in the words. Read them silently at first
pressively well crafted. In solo songs, a human being is expressing that feeling-based point of view for one or more
other human beings. In choral music, of course, multiple human beings are expressing a feeling-based point of view for other people. The observers of singing performances can empathically engage with what is being expressed only to the extent that the singers genuinely and convincingly ex press as-if human feelings (Scherer, 1995). When singing human beings credibly express as-if feelings, the feeling stuff is ensymboled by the words and the music, of course, but also by the voice qualities, facial expressions, body pos tures, and arm-hand gestures that are employed by the sing ers. If that kind of nonverbal expressive involvement is minimal or missing, then observers will be less able to en gage empathically with the words and music. With rare exceptions, original compositions of vocal music blend metaphoric language (poetry) and story lines with music. The words are almost always written first. Composers of vocal music (called songwriters in Western popular music) nearly always begin the music-writing pro cess by becoming intimately familiar with the story line poetry, or lyrics. The design of the words-poetry will likely
dictate both the meter(s) and the macro-design of the mu sic, such as verse-chorus, binary, or ABA song form. Explicitly or implicitly, songwriters develop a "sense" for (1) the human feeling-stuff that is being expressed in the
words, (2) which words in each language phrase are the most feeling-charged, (3) a "feel" for the rhythms of the spo ken words, and (4) where the macro- and micro-peaks of expressive "energy" are in each word phrase. They also begin to brainstorm melodic-rhythmic-harmonic possibili ties and to form a conceptual framework of the whole song. Sometimes, very experienced songwriters conceive whole entire songs that seem to "write themselves". The song is then crafted as described earlier. Enter singers. How might skilled, expressive singers bring a song into expressive existence, so that listening and observing human beings are impelled to move their bodies in time to the music or empathically go "inside" and empathically sense the music's human feeling-stuff?
and contemplate their literal and feeling meanings. Then, read them out loud over and over. Read them expressively, as though they were lines in a play. Come as close as pos sible to speaking them the way a real person might say them. How do the word-rhythms "feel" as they are expres sively spoken? Where are the macro- and micro-peaks of expressive "energy" in the words of each phrase? Which words in each language phrase are the most feeling-charged? How might changes of vocal pitch, volume, quality, and timing affect the expressiveness of the words? Experiment with the prosody of the language-the connotative feeling meanings of the words. Then, "get a feel" for how the composer-person inter preted the language by examining the relationship between each word and its corresponding pitch-rhythm-harmony.
How did the songwriter match the expressive melodic "un dulations", rhythmic "tapestries", harmonic "colors", and phrase contours to the word phrases and to the songwriter's sense of the feeling-charged words? Melodic contours in songs and the prosody of spoken language are nonidenti cal twins. The macro-interpretation of a song can begin by ask ing, "Who is the as-if human being that is being portrayed? What is this person like? What has their life been like? What has just happened to that person that made this song's expression spontaneously inevitable?" The words are likely to reveal some answers to these questions. But what they do not reveal can be imagined, as long as it is consistent with what has been revealed. Singers' own life experiences can be primary resources for these amplified biographies. In theatre circles, this is referred to as developing or creating a character. To whom or about whom is the song sung? What is the relationship between the singer's character and that other person (or those other people)? What is the situation in which the song is sung? Does the song, therefore the singer,
address the audience directly (a monologue)? Is the other person present so that the song is addressed to that imagi nary person (part of a dialogue)? Is the song a soliloquy
(the illusion is created that no one else is present and the bodyminds,
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singer-actor is talking-singing to him- or herself)? For ex ample, the song "Embraceable You" by the Gershwins is an
up-tempo celebration of newfound love. If, however, only the refrain were to be sung in a slow tempo and the singer conceived a reversal of the situation—a broken and ended relationship—then the same words-melody-harmony would express a deep poignancy. Singing is musical theatre (enactment).
Among singers, when some part of the words or music "doesn't feel right", then the right hemisphere appraiser trig gers a subtle unpleasant feeling-state change in the body's
torso. Then the big picture editor and the technical editor trade perceptions and generate alternative possibilities that are "tried out" until the appraiser triggers a subtle pleasant feeling-state change in the body's torso: "Mm hm! That feels right."
During conversation, we compose sentences that have multiple referential denotative meanings, but we are not aware of "where the words come from". They come from the vast stores of semantic memories in the brain's left hemi sphere. Massive experiences with words, starting while we were still in the womb, have enabled us to "improvise", in a moment of need, long-lasting strings of meaningful word
port and increase its expressive reason for being, then feeling state intensity contours will be increasingly "brought to life"
by singers in order to connect feelingfully with fellow human
beings. Singers' neuropsychobiological needs for related ness, competence, and autonomy are very likely to be en hanced if a teacher provides: (1) opportunities for singers to learn how to create solutions to analytic and skill chal lenges and how to create expressive interpretations (see Chapter 9), (2) opportunities for singer assessment of per formance, (3) teacher feedback that is constructive (also see Chapter 9), and (4) gestural communications (postural, fa cial, arm-hand) that flow consistently with the expressive import of the music. Before about the age of 9 or 10 years, senior learners (par ents and teachers) can engage, age-appropriately, the voicerelated imitative, exploratory-discovery, self-expressive, and cognitive-emotional-behavioral capabilities of children by: 1. singing child-length and adult-length songs, and playing recordings of children and adults singing songs, for personal pleasure, while going about daily family routines or mundane, nonteaching, classroom business; 2. expressively reading stories and shorter poems aloud for and with children, and when the children can read, lis
combinations. When human beings have had massive ex periences with music and song-singing, we are capable of improvising melodic contours in a moment of need. Jazz and scat singing, are examples.
tening to them attentively as they develop their ability to
Vocal Music Education and Voice Education Meeting the needs for empathic relatedness, con structive competence, and autonomy depends on the na ture of teacher-student interactions. If a teacher always tells singers what to do and when to do it, then the singers will be deprived of opportunities to develop autonomous selfdetermination. If the teacher continually points out mis
lips, and on mid-abdomen during singing, with or without
read expressively; 3. expressively singing many child-length songs for or with children so that they can hear and see what people
do when they sing (placing children's hands on jaw, near
takes, errors, and inadequacies, and presents them with ac
cusative and punitive gestures and "tones of voice", then unpleasant feeling states will occur in singers. Those feel ings will be associated with singing and protective reac tions, and fulfillment of their relatedness, competence, and autonomy needs will be prevented (Chapter 9 has details).
If, on the other hand, the consciously controlled, ana
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comment, can enhance the somatosensory-kinesthetic senses), in order to enhance their internally generated, spon taneous imitation and exploration-discovery of singing abilities; 4. presenting appropriately worded voice exploration discovery goals for children, in the context of speaking singing games and theatrical scenes, followed by questions that facilitate the development of self-perceived kinesthetic and auditory feedback and voice skill vocabulary (see Chap ter 9; Book IV Chapters 1, 2, and 3; Book V, Chapter 6);
5. providing opportunities for children to improvise and write down their own stories, poetry, or theatrical scenes about subjects of their own choosing, and to read them
aloud, act them out, and reproduce them for others to con template;
6. providing opportunities for children to improvise their own songs about subjects of their own choosing (song speech at first), and eventually, to write down their own
poetry-song combinations and, perhaps, include them in theatrical scenes.
exploring unique self-identities and self-borders, socialemotional relationships with other people, and the greater intensity of their feeling-states;
2. examining the human feeling expression that is embedded in songs in order to further deepen the self-ex
pressive quality of their singing; Between the ages of 9 or 10 years to about 12 or 13 years,
3. continuing to provide opportunities to write po
senior learners can engage the voice-related imitative, ex-
ems, scenes, and songs that metaphorically express the feel ing meanings of their own life experiences, and to share them with friends, family, and the public, as appropriate; 4. building expressive voice skills within the context of male and female voice transformation processes (see Book IV Chapters 4 and 5; Book V, Chapters 7 and 8); 5. using gestural communications as visual-kinesthetic metaphors that enhance efficient vocal coordinations so that musical expressiveness can be optimum.
ploratory-discovery, self-expressive, and cognitive-emo
tional-behavioral capabilities of children by: 1. singing more and more complex music that has metaphoric feeling meanings (at about age 9, a song about a butterfly may no longer just be a song about a butterfly, but an expression of one's self, soaring above the world and observing it from a distance), and by examining the human
feeling expression that is embedded in those songs in order to deepen their understanding of human-to-human rela tionships (empathy) and the expressive quality of their sing-
During middle-to-late adolescence, between the ages of
about 15 or 16 years through about 17 to 19 or 20 years, senior
ing;
2. continuing to provide opportunities for children to write poems, scenes, and songs, realizing that they now are
capable of embedding metaphoric feeling meanings into them (taking care to preserve the privacy of very personal or family-event expressions); 3. providing opportunities to share their poems, scenes, and songs, with friends, classmates, family, and the public, when appropriate; 4. continuing to build on or "detail" previously learned expressive voice skills (see Book II and Book V Chapter 2) and begin to supply information about male and female voice transformation before it begins (see Book IV Chap ters 4 and 5; Book V, Chapters 7 and 8); 5. using gestural communications (arrangements of skeleton, arm-hand gestures, facial expressions) as visual kinesthetic metaphors that enhance, and do not inhibit, ef ficient vocal coordinations so that musical expressiveness can be optimum. Between the ages of about 12 or 13 years through about 15 or 16 years, senior learners can engage the voice-related imita tive, exploratory-discovery, self-expressive, and cognitiveemotional-behavioral capabilities of early adolescents by: 1. singing increasingly complex music with metaphoric feeling meanings that relate to their own engagement with
learners can engage the voice-related imitative, exploratory discovery, self-expressive, and cognitive-emotional-behav
ioral capabilities of learners by: 1. singing increasingly complex music that expresses even more subtleties of metaphoric feeling meaning related to their own self-identity development and associated feel ing-states, the growing complexity of their social-emotional
relationships, empathic personal morality, and larger soci
etal issues such as justice and the best interests of human beings; 2. examining with increasing insight the human feel ing expression in songs in order to further deepen the selfexpressive quality of their singing; 3. continuing to provide opportunities to write po ems, scenes, and songs that metaphorically express the feel
ing meanings of their own life experiences, and to self-di rect the rehearsal and performance of them in the presence of friends, family, and the public; 4. building increasingly detailed expressive voice skills within the context of a "settling" of male and female voice transformation processes (see Book IV, Chapters 4 and 5; Book V, Chapters 7 and 8); 5. using gestural communications as visual-kinesthetic metaphors that enhance efficient vocal coordinations so that musical expressiveness can be optimum. bodyminds,
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General Music Education. In home, school, and re ligious settings, when the voice-related imitative, explor atory-discovery, and self-expressive capabilities of children and early adolescents are engaged in learning skilled vocal self-expression, then their neuropsychobiological needs for
empathic relatedness, constructive competence, and self-re liant autonomy can be greatly enhanced. What would happen if all vocal music educators
adopted this long-range goal: At elementary and junior-high/
middle school levels, a minimum of 15% of the music that is sung in classes and public sharings will be composed by members of the classes, and rehearsed and sung or led by the composers? Choral Music Education. In school or religious set tings, engaging the voice-related imitative, exploratory-dis covery, self-expressive capabilities of children and adoles cents in choral group singing can deepen the satisfaction of human neuropsychobiological needs.
What would happen if all choral music educators adopted a long-range goal: At upper elementary, junior-high/ middle school, high school, and college-university levels, a minimum of 15% of the music that is sung in choral performances will be com posed by members of the choir, and rehearsed and conducted by the composers? When preparing music for performance, many cog nitive-emotional-behavioral capabilities are converted into
increasingly detailed abilities. Constructive senior learner and learner interactions engage and sharpen attentional fo cus, linguistic elaboration, conscious cognitive analysis, non verbal communication skills, emotional interpretation, physi cal coordination, and spatiotemporal relationships. They all are part of learning developmentally appropriate, selfexpressive musical and vocal skills. These experiences help fulfill the neuropsychobiological needs for relatedness, com petence, and autonomy (Ryan, et al., 1996). If, however, music is nearly always experienced as a consciously con trolled, analytic, sequential experience, will singers then learn that singing is a consciously controlled, analytic, sequential experience that minimally engages human feeling states? Do we get what we rehearse? (see Chapter 9). The choir is singing "Silent Devotion and Response" from Avodath Hakodesh (Sacred Service) by Ernest Bloch. Thepitches are accurate and in-tune, the rhythms precise, the diction is clear, the composer's dynamic markings are faithfully performed, the singers'
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voices are coordinated with reasonable efficiency, and the music is sung
with authentic style. The singers' bodies are quite still and their faces show intense concentration...but their bodies and faces are emotionally blank. Their bodies do not subtly ebb and flow with the ebb and flow of the musical phrases. Their faces do not show the subtle expressions of deep devotion as they sing, "Oh Lord, may the words of my mouth and the meditations of my heart be acceptable before you." And there is no subtle change in body movement and facial expression when they then sing, 'Adonoy my Rock and Redeemer, Amen." Bloch's music is an elegant expression of a deep, pri mal, human quest for identity in the universe. Might one
conclude that conductor and singers were all doing the best they knew how as they sang Bloch's richly expressive mu sic? And might we wonder how often the human essence
of the biblical text and the ebb-and-flow contours of Bloch's music were visited during the music's preparation?
One-to-One Voice Education. In one-to-one voice education settings, the cognitive-emotional-behavioral ca pabilities of children, adolescents, and adults are engaged very personally. Attention is focused on developing one's own voice. Actually, voice "lessons" are experienced throughout our lives. Our first lessons come from our parents. Out side conscious awareness, we hear their voices (especially mother's) before we are born, and begin imitating their voice use patterns after we are born, both speaking and singing.
Cultural influences often begin with television-cartoon-type characters. All listening to speaking and singing, and all personal speaking and singing (especially when we are fa tigued, distressed, or ill), influence the details of everyone's vocal coordinations in both abilities. Voice lessons also occur every day during schooling experiences. Other-than-conscious influences on vocal co ordinations come from peer-to-peer and teacher-student
interactions and from expanded cultural influences such as sports, popular musics, movies, TV, and idolized adult mod els. Any general music education, choral singing, and speech theatre education that a student encounters also provides voice lessons. The gestural communications that are used
by music, speech, or theatre educators, and choral conduc tors, will influence the relative inefficiency or efficiency of vocal coordinations. Efficient, expressive speaking and sing ing can be learned by students to a remarkable degree of mastery in those educational settings in which teachers have
deep knowledge about voices, their efficient use, and ap
liant autonomy. Most of these processes occur outside our
propriate ways to facilitate learning and voice health. Although one-to-one education in speech voice skills
conscious awareness. Self-expression with our voices is connected to the deepest, most profound sense of "who we are". The neuropsychobiological roots of the arts are richly enmeshed with the feeling-state intensities that have accu mulated in explicit and implicit memory over a rich emo
is relatively rare in grades one through 12, one-to-one voice lessons for singing do occur in some U.S. high schools. For the most part, private singing lessons for children of those
ages are provided by community schools or private-studio teachers and paid for by parents who have the financial
means to do so. Much detailed, one-to-one voice educa tion takes place in the music and theatre departments of colleges and universities. The training of speech and singing teachers also takes place in colleges and universities. In singing, the musics that are acceptable for use in voice study are the "classical" music styles. As a result, only the vocal coordinations that are necessary for singing classical styles are taught and learned. Among most Western singing teachers, the vocal
coordinations that are necessary for Western opera are re garded as the one and only "correct" way to sing. The vocal coordinations that are used for popular styles of music tend to be regarded with deep suspicion or are rejected outright as "ugly" and injurious to voices. Commonly, popular music singers are wary of classically trained singing teachers. Another belief among many singing teachers is that
tional lifetime. The expressive arts are primary means by which human beings can express out, "exercise", and "stay in touch with" our human feeling-states and enhance our social-emotional self-regulation. When our engagement with the arts is connected to those neuropsychobiological roots, their value absolutely matches that of denotative languages and mathematics.
References and Selected Bibliography Basic Sources Bowlby, J. (1988).
A Secure Base: Parent-Child Attachment and Healthy Human
Development. New York: BasicBooks.
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all voice lessons involve learning operatic singing skills. Fundamental voice skills, that produce physically and acous tically efficient foundational voice quality families (see Book II, Chapters 10 through 16), can be learned by children, ado lescents, and adults. How they are learned is crucial (Chapter 9).
Conclusion One major means by which we make sense and gain
mastery of our world and ourselves is through the expres sive sounds we make with our voices. Following birth, and throughout life, our voices are a primary means by which we communicate our needs, wants, thoughts, and feelings with others; and the voices of "significant others" richly af fect our cognitive-emotional-behavioral learning. These early experiences lay foundations for the development of empathic relatedness, constructive competence, and self-re
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chapter 9
human-compatible learning Leon Thurman
arth did not come with word labels attached
E
to its parts.
So, a long time ago human be
and "teacherness" are not bordered, material objects. They only exist when two or more people enact those complex
interactional roles. vocal-sound labels for them. They also began to inventPeople, person, human being(s). Those are the nouns. We exist. labels for themselves, their own parts, and the things that And why is this important? they created from Earth's parts. Nouns are names for things In the summers of 1991 through 1993, six different groups of that have physical, material, bordered existence, like air, water, teacher-people were asked to close their eyes and remember being in a dirt, mountain, rabbit, body, hand, knife, bowl. teachers' lunchroom or lounge-with no student-people present-and to And human living gradually became more and more remember what words they heard themselves or other teachers use as complicated. Eventually, names had to be invented for labels for students. Many word labels were remembered and many of "things" that do not have bordered physical existence. them expressed respectful human care, but the only term that was al Nominalizations are names for complex, multi-patterned, ways spoken in every group was, Animals!", as in "They're just multi-relational, evolving-event realities that do not have animals", spoken with a disparaging tone of voice. borders and cannot be analyzed easily (see Chapter 7 for Upon hearing about that, one very bright seventh-grade-old some details). Many such words drip with interpretative, daughter of a high-ranking state education official, said, "Oh. We value-emotive glue. For example, mind, feeling, emotion, mo have a name for the teachers. We call 'em 'the aliens'' tive, attitude, values, concepts, intelligence, goals, love, hate, discipline, Animals. Aliens. Not human beings who smile and excellence, standards, society, and prejudice are nominalizations. laugh? Who sometimes feel ecstatic, or feel threatened or We cannot hold one of those in our hands, or toss one back hurt and sometimes cry? Who have unpleasant and pleas and forth, or sit on it. ant experience histories? Who have and are developing Other nominalizations label the various complex be many competencies? Who need to express themselves? Who havior patterns or roles that human beings enact during need to be cared about and to "connect" with other human social interactions. Patient, doctor, lawyer, client, customer, em ings began to categorize Earth's parts and invent
ployee, employer, executive, administrator, bureaucrat, politician, legis lator, mechanic, plumber, cop, police inspector, and criminal are ex amples. That's where the words teacher and student come in. According to the above reasoning, we could say that teach
beings? Who are still trying to figure life out (and the list goes on)? Animals seems to imply that the school behavior of children and adolescents is subhuman and not "governed" by human empathy or reason. Aliens seems to imply that teachers are foreign, "the opposition", or "from another planet",
ers do not physically exist, nor do students. "Studentness"
that is, teachers are "disconnected" from students, unfriendly,
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and potentially threatening to well being. [When a police cruiser is seen in auto traffic, how many adults have expe rienced a similar unpleasant disconnection from an author ityfigure?] In most cultures, the words teacher and student have emotion-laden histories. They can signify help solidify, and trigger recall of respect-filled emotional attachments between the human beings who are called teachers and the human beings who are called students. They also can signify, help solidify, and trigger recall of emotional dependence or emo tional disconnection between student-people and teacher people. How? When we encounter people, places, things, and events
that have frequently produced unpleasant feelings in us in the past, some degree of an unpleasant, physio chemical feeling state is quite likely to be reproduced in us (Chapter 7 has more details). In other words, seeing or hearing the person, being in the place, encountering the objects, or reexperienc ing a version of the event are likely to bring unpleasant emotional memories into explicit or implicit working
memory. Typically, unpleasant feeling states result in greater
probability of avoidance, counter control with disrespect
ful communications, and/or some form of behavioral im mobilization. Those reactions are consistent with an innate human propensity for self-protection (see Chapters 2 and 7). When teacher-people attempt to help student-people
fulfill their neuropsychobiological need for competence (see Chapter 8), but they do so in ways that model emotional disconnection and frequently threaten or stifle human needs for well being, relatedness, and self-reliant autonomy, then unpleasant feeling states will occur inside the students. If, as a result, student-people learn to interact with teacher people in a way that frequently threatens the teachers' hu
man needs for competence, well being, and relatedness, then unpleasant feeling states will occur inside the teachers. Then, when students hear the word teacher, the word itself can trig ger unpleasant feelings and some form of avoidance, im mobilization, or counter-threat behaviors. When teachers
hear the word student, the word itself can trigger unpleasant feelings and some form of avoidance, immobilization, or escalated control behaviors. Interpreter mechanisms (see Chapter 7) may overgeneralize those unpleasant experiences into "All students..." or 'All teachers..."
From their school cultures, many teacher-people have implicitly learned to treat student-people as though they are: (1) units on an assembly line (read about Henry Ford and the effects of the industrial revolution) or (2) the frontline officers that are leading battles against an enemy (read about Horace Mann's implementation of Prussian military orga nization as a model for schools). The sunset assumption and part-elephant perception behind the military organization model (terms defined in the Fore Words) is that school administrators are general and execu tive officers, and teachers are the frontline, in-the-trenches, commissioned or noncommissioned officers who instill unquestioning discipline in the student troops and lead them into battle against.... The sunset assumption and part-el ephant perception behind the assembly line model is that entering students are unformed knowing-reasoning-behav-
ing "raw materials". Teachers are the assemblers and build ers of minds and as students progress along the academic curriculum sequence, the class-and-grade conveyor, they are shaped by teachers into predetermined curricular prod ucts called "productive citizens". On the other hand, when we encounter people, places, things, and events that have frequently produced pleasant feelings in us in the past, some degree of a pleasant, physio chemical feeling state is quite likely to be reproduced in us (see Chapter 7). In other words, seeing or hearing the person, being in the place, encountering the objects, or reex periencing a version of the event are likely to trigger the pleasant feeling state. Typically, pleasant feeling states result in greater probability of constructive engagement and re spectful, comfortable communication. Those reactions are consistent with an innate propensity to make sense, gain inventive mastery, seek safety and relatedness with others,
and to experience relative states of well being (see Chapters 2 and 7, 8). If the words teacher and student are used in mu tually constructive, respectful, beneficial relationships, then pleasant feeling states and a higher probability for construc tive engagement will occur whenever either of those words
are heard. As described in Chapter 7, the nominalizations that we wrap around human beings (including ourselves) can make it easier for us to polarize and dehumanize ourselves and treat each other more the way we would treat material objects. Or, the labels that we use can make it easier for us human-compatible
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to be real human beings with each other and treat each other with the respect that is deserved by the most capable creatures in the known universe (cf the beginning of Chap ter 2).
ceptual processing patterns and their behavior patterns? Isn't that what happens to all of us throughout our life-spans? All learning is uniquely constructed within each human
being's bodymind. This point of view is consistent with
So, who is a teacher (Old English: tan = one who
theory and research in the neuropsychobiological sciences
demonstrates knowledge to another)? Would it be accurate to say that a teacher is any human being who educes or
(see Chapters 7, 8) and with the constructivist perspective in education (Brooks & Brooks, 1993; Cobb & Yackel, 1996; Fosnot, 1989, 1996a,b). Can we "do" formal education in a human-friendly way that is consistent with what actually happens inside human beings when we say that we develop (grow up), perceive, remember, feel, learn, behave, build a self-identity, and express ourselves? Can educational experiences be enacted so that whole human beings are acknowledged and respectfully interacted with, and so that lifelong neuropsychobiological needs for relatedness, competence, and autonomy are optimally fulfilled in both students and teachers? Can preschools through high schools, and col leges and universities, be organized in such a way that stu dent-people and teacher-people want to be there every day to accomplish emotionally fulfilling, constructive learning?
helps another human being toward adaptive changes in
their own perceptual, value-emotive, and conceptual pro cessing patterns and, thus, their behavior patterns? Can such changes be labeled learning (Old Saxon: leornian; Old English: learnt = acquisition of knowing who, what, where,
when, why, and how)? Teachers and professors are some times referred to as educators (Latin: e = out; duco = guide, draw) or facilitators of learning (Latin: facilis = move nim bly and with ease). So, teachers are people who draw out and guide learning nimbly and with ease. Would teachers include people who are called mothers, fathers, children, sib lings, grandparents, peers, friends, school teachers, mates, work super visors, professors, doctors, film/television writers and producers, adver tising producers, and, of course, our own selves? Formal learning is a nominalization that signifies deliberately planned, organized, and sequenced experiences that are intended to evoke learning. Such experiences com monly are referred to as a curriculum (Latin literal meaning = circular racetrack; figurative meaning = course of a career). Formal learning commonly occurs in a building called a school (Latin: schola = group of learners). People who have
been trained in complex skills called teaching interact with student-people to actualize the curricular experiences that are intended to result in the formal learning. Informal learn ing is a label for learning that is unplanned or serendipi tous, and takes place outside of a school's planned curricu lum. All of the experiences that people have outside of a curricular setting fall into this category, including social in teractions, most personal preferences, and savvy "street smarts". Which category of learning is most pervasive in
the lives of human beings? Who and what are the most influential teachers? Who is a student (Latin: studere, studens, studium = one who has an eager affection for detailed learning)? Would it
be accurate to say that students are human beings who respond to all of their informal and formal teachers and adaptively change their perceptual, value-emotive, and con 190
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There is an elementary (primary) school in the state of New
Jersey (U.S.A.) where the students can't wait to get in the building in the morning. Some of them arrive before the custodian opens the doors. For them, what they do in a place called a school is interesting and fulfilling. With guidance from a team of teacher-people, the first and second grade students have created a "town". The students elected to name the town Averyville, in honor of the lead teacher. The town has an elected mayor and town council, a monetary currency, a bank, a newspaper, and several "businesses", including a company that pub lishes collections of student stories or poetry. One day, the mayor of Trenton, New Jersey, spoke to the students and gave a complimentary copy of his published book to the mayor of Averyville. The mayor of Averyville then presented the mayor of Trenton a complimentary copy of his recently published book of very short stories. No assembly line or military metaphors influenced the building of that school's community. There are very few walled-off rooms with neat rows of chairs in Averyville. The people who are called students interact with the people who are called teachers as they, together, organize a wide variety of learning experiences, on and off campus, which create a dedicated interest in reading, writing, and math.
The students take the standardized tests that the state gov
ernment requires, and they do as well on the tests as other
students in the state. But... these young people love to go to
3. the imposition of external control over the cogni
school. Their parents are very pleased. But very puzzled.
tive-emotional-behavioral patterns of student-people
[For other examples, read Schools that Work by Wood (1992).]
through the use of (a) threatened and actual punishments
Skilled teachers interact with students in ways that are consistent with the following science-based principles (see Chapters 7 and 8 for evidence). 1. All human beings are vastly capable
and (b) extrinsic rewards (described later).
neuropsychobiological bodyminds (mind and body are not separable). 2. Every human being is formed by a unique array of genetic and epigenetic processes and a unique array of ex periential learnings that evolve into unique human selves 3. What we call feeling, affective, emotional, and value-emo tive states are foundationally interwoven with all cognition (percepts, concepts, memories, and the like) and with social interactions that shape self-identity, emotion regulation or dysregulation, and accumulation of protective and construc
tive behavioral tendencies. 4. Respectful, empathic, communicative, human-tohuman relationships are the bedrock of all constructive, productive, and autonomous human endeavor. That's why the terms teacher, student, mother, father, child, and human being are so important.
Human-Antagonistic Education If I were organizing a kindergarten-through-bac-
calaureate-degree school, and I wanted it to result in suboptimal development of human capabilities into abili ties, then what would it be like? How would it be orga nized and operated? What would the teachers be like, and how would the teacher-people interact with the stu dent-people? Organizational and operational decisions would be based on historical assumptions about the nature of younger human beings and on the culturally transmitted educational practices of the past. Some of those assumptions and prac tices include: 1. the separation of mind from body, with education being devoted to building minds; 2. the disconnection of feeling-affect-emotion processes from cognitive processes; and
Organization and Operation of a HumanAntagonistic School 1. The purpose of the school will be to achieve the highest possible standards of excellence in well defined aca
demic and employment training disciplines, and in social behavior.
2. A hierarchical, top-down, businesslike organizational
structure will be adopted, with a policy-making group at the top (made up mostly of business owners and managers, but no educators), one chief administrator, an administra tive staff, and teachers. Teachers will be regarded as em ployees, parents as the customers, and students as the prod uct that the teachers produce according to policy and cur ricular specifications. 3. The school buildings will be strictly functional and their design and construction will be based on a cost-benefit analysis that favors low costs. They will include stan dard-sized classrooms and hallways, large multipurpose rooms, and a gymnasium, as applicable. All rooms will be self-contained with immovable seats and desks. The design and paint colors of the rooms and hallways will be stan dardized throughout the building, following the low-cost policy. Athletic facilities will be built and programs for the most talented sports athletes will be instituted. 4. Children will be admitted to kindergarten at age
four years and to first grade at age five years. All students will be grouped by chronological age and will be expected
to proceed through all of the school's parcelated subjects over the same time course. The lower achieving students will be weeded out during the primary and middle school years, so that only the highest achieving students will be admitted to the high school, and only the highest achieving high school students will be admitted to the college
5. Disciplinary policies will be formulated by the policy-making group and the administrators. Strict control
will be established over student social behaviors. Teachers will create an emotional distance from the students so that they can better function as the primary enforcers of the
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disciplinary policies. Respectful forms of address for the
teachers (Dr., Mr., Mrs., Miss) will be required from the stu dents. Student compliance with policies will be expected
and social behavior goals will be clearly stated to the stu dents and their parents. Reports of student progress in social discipline will be made to parents along with aca demic grades. 6. Student intellectual and academic behaviors will be formulated by the policy-making group and the adminis trators. Detailed curricula for each school grade and sub ject area will be written and will follow traditional scholas tic fact-knowledge and basic skills models. Curricula will be enacted in a sequential manner and teacher-practice stan dards will be listed. Academic courses will be extremely challenging and excellent academic performance by the stu dents will be expected. 7. The auditory sense will be the predominant sense through which instruction will be carried out, with mini mal attention to the visual and kinesthetic senses. The de
velopment of motor skills, therefore, will be minimized. Vocabulary, spelling, reading, and writing skills will be key
features of the early years. Teacher talk, rote memory, and verbal lectures, with students taking written notes, will be the primary means transmitting knowledge. Each student will interact with the following learning materials: text books, a computer, workbooks, and worksheets. Very few, highly controlled experiences will occur away from the school grounds. Indirect experience of the wider world will be provided by commercially produced educational television and selected CD-ROM programs. Analytic skills will be emphasized through the use of language and math ematics. The arts will be studied analytically and histori cally, and primarily as a means of increasing academic per formance. Performance of art works will emphasize tech nical mastery and historical authenticity. Interconnective, global, and "big picture" perceptions and conceptions will be minimized. The academic learning emphasis will mini mize the learning of alternative thinking, evaluation, social, and judgment skills in favor of a rules-oriented, either-or, right or wrong, black-and-white (very little gray) means of making sense and gaining mastery of the "world". Debate will occur only on "safe", noncontroversial topics. Implicit learning and nonverbal communication skills will not be addressed at all. 192
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8. The primary means of student interest in, and mo tivation to accomplish, academic and social behavior stan
dards will be: (1) repeatedly pointing out mistakes, errors, and failures so that students may avoid them in the future and thereby improve their academic performance, (2) the threat and implementation of punishing consequences when academic performance does not meet high standards, or when social behavior violates disciplinary policies, and (3) extrinsic rewards for high academic performance and com pliant social behavior (awards, special privileges, public recognition, and so forth). Competitive games, organized competitions, and comparative rankings of students will be primary motivating resources for achieving academic ex cellence. The emphasis will be on the highest standards and "being the best". 9. Impersonal, external evaluations and assessments will be administered by the teachers. Teacher-created forcedchoice tests of explicit semantic and declarative memory (see Chapter 7) and sequential analytic reasoning, using the symbolic systems of language and mathematics, will be the predominant means for assessment of academic achieve ment. Summative letter grades (A, B, C, D, F) will be given at
the end of academic terms as an index of academic achieve ment. Teachers will have high standards in their grading practices. Only a very few students will receive the highest grade, a few more will get Bs, most will get Cs, a few will get
Ds, and Fs will be rare. Obscure facts will be included on tests to weed out those who are not deserving of the highest grade. Assessments of academic achievement will be re ported in clear, familiar, and easy-to-understand ways to students, their parents, other learning or training institu tions, and places of employment. Ranking of each student based on grade points and standardized tests will be the
ultimate means of assessment. 10. Faculty teaching practices will be threat-oriented. Teacher communications with students will be adversarial, coercive, accusative, and punitive so that students will com ply with the academic and social behavior goals of the in stitution. Informal advice to younger teachers regarding social discipline will be, "Crack down hard and let up slow", and, "Never smile before Christmas." A teacher guidebook for classroom management will be provided.
Teacher Guidelines for Maintaining Student Discipline Setting limits on student behavior and maintaining
student discipline are absolute prerequisites for school or der and academic achievement Effective teachers are not friends or "buddies" with their students. You are there to teach and they are there to comply with the rules of good discipline and to learn academic knowledge and skills. Al ways follow the school's disciplinary policies and always establish yourself as the absolute disciplinarian in your classes. Consistently use an adversarial language of coer
cion and control (see Table I-9-1) to obtain and maintain student discipline. Communicate to the learners how they must behave in your class. Always be serious in your facial expressions and body language, speak with a strong voice of authority, and expect immediate compliance with your rules. Make a list of rules for prohibited classroom behav ior (minimum of three) that you expect your students to follow in your classes. Beside each rule, state a logical but punitive consequence that will be imposed on any student
who violates that rule. After your rules have been approved by the principal, present them to your classes and explain each rule and its punitive consequences. Be strong and consistent in your enforcement of the rules.
Teacher Guidelines for How to Set Academic Goals in Class In setting academic goals, you also use an adversarial language of coercion, control, and dependency (see Table I-9-1). Follow the school's curriculum and communicate
to the students what they must learn in order to get the best grade possible in your courses. Never involve the students in the process of selecting goals to be accomplished. That's your job. They are not experienced enough to participate in such decisions. Always be serious in your facial expres sions and body language, and speak your academic goals with a strong voice of authority. Teacher Guidelines for Giving Academic and Behavioral Feedback in Class When giving teacher feedback to students, use a lan guage of dependency and a language of accusative judg ment (see Table I-9-2). Almost never allow learners to per ceive and express their own observations and feedback. The primary purpose of teacher feedback is to point out student
Table I-9-1. An Adversarial Language of Coercion, Control, and Dependency A teacher's language of coercion and control.
Don't... You need to...
You must... You've got to... Why don't you... Why can't you... You really should... You have to... You ought to... You'd better... Sing it right... Sing correctly... Sing properly... Try to... Try hard/harder... Work harder... Keep.../Hold.../Maintain.../Retain... A teacher's language of dependence.
I want to... I want you to... I need you to... Do this for me:... Give me... Sing for me... If I were you, I'd... A teacher's language of praise and reward for manipulating and controlling student behavior.
"I like the way Sheena is sitting quietly in her chair!' "I can tell that Misha is ready to learn. He is quiet and paying attention", "Good for you, basses. Nearly all of you were sitting up straight all the way through that piece!' "Good for the altos! Not one of them talked after I stopped your singing!' "Did you see how Horace walked onto the stage just the way you're supposed to?" "If you all behave well today, I'll show a short movie at the end of class." "Unless you start working harder, I will cancel our Friday perfor mance at the Middle School!' "Sing well today and I'll give everyone an A" for today's work!' Controlling talk that will communicate the need to achieve high standards of excellence in performance and behavior.
"How many times do I have to tell you?! You must make the vowel 'speak' on the rhythmic impulse! You need to pay attention to me. Do it again and don't be late!" "Troy, you'd better shut up and start singing or you're going to get an F in this class!' "I'm just not going to put up with all this talking. You people are old enough that you ought to know better. Why don't you act your age?" "Everyone in this choir will be at that concert or I will personally see to it that you are transferred to general music class!' I want you to sing the first phrase again, and this time I need you to make a slower-paced crescendo!' "That is the sound I want!'
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Table I-9-2. A Teacher's Language of Dependendency and of Accusative Judgement You can't... You could have... You know better than to... You should have.../You shouldn't have... You ought to have.../You ought not to have... [You messages such as "You got behind the beat" or "You're singing sharp"] That was good/That was bad Not bad (a negative compliment?) That's the right way to.../That's the wrong way to... You sang that correctly/You sang that incorrectly That was the proper way to sing/You're not singing that properly That was better/That was worse That's not acceptable That was dumb/stupid/smart That was excellent/perfect/wonderful I like the way you... "I like the way you sang that song so well for me!' "Clarissa, you used your yelling voice in that song again. That is not the correct way to sing!' "You're late on that entrance, again! How many times do I have to tell you?! "You could have sung that better!' "You can't make the music work when your tempo is too slow!' "Sopranos, you're singing sharp again!' "No, no, no! Tenors, your tone is too tense and your diction is sloppy!' "John, your phrasing does not show a credible interpretation of the music!'
mistakes and errors so they can improve their academic and behavioral performance. Deliver your verbal feedback in a serious, matter-of-fact tone of voice. Add more inten sity to your voice when mistakes are repeated to convey that inadequacy and "falling short" will not be tolerated. Table I-9-2 is a list of suggested feedback words and phrases.
Praise should be given minimally and only when it
has been earned through hard work. It can be used to enhance compliance with curricular and behavioral goals. Three types of praise can be used: 1. Praise that provides teacher approval of academic and social behavior by students. Students need this form of teacher feedback so that they know how well they are
performing in your class. It also rewards compliance with teachers' wishes. Examples: "I like the way Tom moves with the music when he sings" "I like it when you behave in class." "Thank you for doing what I asked you to do."
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2. Praise that compliments success. Examples: "Very good!" "That's great!" "Excellent!" "That was a lot better."
"Wonderful!" "Good job." "That's just perfect!". 3. Praise that focuses on students' good qualities or their appropriate behavior. Examples: "Chase, you are so smart!" "Look at the way Alice is sitting quietly in her chair." "What a good voice you have, Sandra!" "That was intelli gent! Good boy!" [The above section of this chapter is a description of a kindergarten-through-baccalaureate-college school that is intended to result in suboptimal, human-antagonistic educa tion. A comparison of this school's organization with the human bodymind processing, self development, and verbal/nonverbal communication skills that were presented in Chapters 2 through 8, plus the following sections of this chapter, reveals the antagonisms.]
Human-Compatible Education Several groups of parents and educators are asked to reflect on what they hope their children-students will be like after they have left their direct influence. Do they de scribe people who are excellent at scholastic pursuits? Do parents want their grown-up children to always, for the rest of their lives, do what they are told without question?
Do educators want to prepare their students to be excellent at answering right-wrong-television-game-show type ques
tions, especially when they interview for employment or
raise their own children? No. Parents and teachers both describe people who are lifelong learners, have a strong self-identity, get along
with other people, communicate well, are creatively con structive and socially responsible (Kohn, 1996, pp. 60-77). A prominent model for parents and educators, however, is the adversarial controller and the dispenser of rewards for compliant behavior. A common goal of education is to instill the ability to give expected right answers to written test questions about academic disciplines and avoid "gray
area" life-questions. This chapter presents a point of view about family
and school learning that is intended to be compatible with the human neuropsychobiological processes that result in skilled, emotionally competent, self-reliant, self-expressive,
and socially empathic human beings. The point of view is based on an analysis of findings from the neuropsychobiological sciences. It proposes that families and communities of human beings who respect each other as unique human beings, (1) connect emotionally with each other and help each other when help is needed, (2) express agreements and differences confidently without threat of rejection, (3) come to terms with differences and resolve problems together, and (4) learn from each other. In a fam
figuring out how to do this! Those that can't possibly help, be quiet"
You pick up a dart, face the target, place your feet, and assume an initial stance-a dynamic balance and alignment of your body (vestibular and visual senses). Your sensory attention becomes focused on the target and on your shoul der-arm-hand sensations. You raise the dart in front of
you and point it toward the target. Then, you make several aiming motions with your throwing arm-hand while sev
referred to as learners. Schools may be referred to as com munity learning centers (Jennings, 1993). Within a community of learners, learning experiences are tailored to: 1. the tiers and levels of the various cognitive-emo tional-behavioral capabilities of unique learners as those ca pabilities "come on-line" in the nervous system (Fischer & Rose, 1994, 1996), including innate temperament propensi ties (Arcus, 1994; Kagen, 1994);
eral calculations, projections, plans, and anticipations ap pear to be simultaneously formulated (preparatory set, see Chapter 8 and Fuster). You visually calculate the distance to the bull's-eye and plan an hypothetical trajectory. Kinesthetically, you calculate the weight of the dart and the de gree of firmness with which it needs to be held (parietal and temporal association cortices). You project the amount of thrust-force that will be needed to propel it to the bull'seye, the degree of arch that will be needed to account for gravity, and plan the dynamic, bodywide motor coordina tions that will be needed to perform the whole act (supple mentary and premotor cortices and subcortical motor se quencing areas). The limbic-frontal areas are "tuned" into an anticipatory set of possible mastery of this skill. All of
2. the extent to which various capabilities already have been converted into abilities (see Chapters 7 and 8); and 3. the optimum development of on-line capabilities into abilities by both learners and senior learners.
this is a kind of pathfinding behavior, and nearly all of these pathfinding details occur outside of conscious aware ness. Then you let the dart fly (primary motor cortices, sub
ily or community of real human beings, various people will perform leadership or facilitator roles and will learn many skills and a great deal about themselves and other
people in the process. Leaders may be referred to as senior
learners. Those who are not in leadership roles may be
Optimal Support for Learning: Mistakes, Errors, and Failure Do Not Exist, Never Have, Never Will Imagine playing a game of darts.
On a wall, there is a target with outside borders and successively smaller circles on it that end with the smallest
circle, the target's bull's-eye. You have chosen to attempt landing a dart inside the bull's-eye, or as close as possible to it. As you get ready to throw your first dart, an array of
areas within your left and right prefrontal cortices begin to activate and then entrain the possible neural networks that may be needed to carry out this task, and also to inhibit neural networks that certainly will not be needed (Fuster, 1997, pp. 3-5, 209-227). It is as though these prefrontal areas say to the rest of the brain, Any of you networks that
may be able to help with this task, light up and let's start
cortical motor areas, and selected motor neuron networks of the brainstem, spinal cord, and peripheral nervous sys tem). During the dart throw, and after it landed, everything
that actually happened during the event are formed in im mediate bodymind working memory (selected sensory neu ron networks of the peripheral nervous system, spinal cord, brainstem, and sensorimotor, parietal association, and pre frontal cortices). A huge percentage of the event's details are formed in implicit memory, outside of conscious aware
ness, and a "sense" of what happened is in conscious aware ness. Immediate memories are quickly reviewed, most of them implicitly. The actual dynamic balance and alignment
shifts that your body performed before and during the event
are compared to the planned shifts. The dart's actual trajec tory is compared with the planned, ideal trajectory in the
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visual, visual association, and visual-frontal areas. The ac tual kinesthetic and visual events (augmented by auditory reception of the sounds of the dart being thrown, traveling,
highly intricate webs of new abilities that become a vast
array of habitual perceptual, value-emotive, conceptual, and behavioral patterns. Typically, habitual, automatic patterns
and hitting the target) are compared to the anticipated ki
are enacted by neural networks outside the prefrontal cor
nesthetic and visual sensations. Based on past history, the limbic-frontal areas compare the anticipatory set of pos sible mastery of this skill to the degree of actual success and create a "feeling tag" for the event.
tex, especially by subcortical networks such as the two
If you had beginner's luck, you may have hit the bull's-
eye immediately, but will you hit it the next time, or the next, or...? So, you missed the whole target and hit the wall. The people around you laugh and make snide remarks about your dart-throwing ability and you are embarrassed. You have several decision options. You can decide that God or nature gave you a defective dart throwing gene, so that you have no "talent" for dart throwing, and you can choose to
amygdalae, cerebellum, basal ganglia, brainstem, and so on (Jog, et al., 1999). The details of habitual patterns are acti vated outside conscious awareness. In habitual, automatic patterns, the prefrontal cortex activates only to "turn on" complex subcortical routines when needed. For instance, raise one of your arms so that it extends away from your body. If you did so, about 150 muscles in your body had to contract in particular sequences and with different degrees of intensity. Did you consciously control the sequences and intensities for each muscle? Of course not. After you decoded the movement-describing
give up dart throwing for the rest of your life and there is
words above, areas within your prefrontal cortices activated
no use trying. Or, you can pick up another dart, go through the same pathfinding process, throw it, feedback yourself, then throw another and another and another, and so on. After X num
and "decided" whether or not to do the moves. If the deci sion was a go, then other frontal areas activated the sub cortical automatic movement patterns for that task and your arm went up.
ber of dart-throwings and varied missings of the bull's-eye,
If we become aware that one or some of our habitual cognitive-emotional-behavioral patterns are not in our best interest (the first step in change processes), then we can de cide to alter them. How? We bring new targets and bull'seyes into conscious awareness, directly experience them, con trast them with the old pattern, and pathfind for a new
you notice that the accuracy of your dart throwing is in creasing. That means that (1) your prefrontal cortices have narrowed down which networks are needed for accurate dart throwing, and (2) inhibitory neuron groups within your dart throwing networks have strengthened their inhibition of muscle groups that are unnecessary for this task and were interfering with it (Fuster, 1997, pp. 3-5, 209-227). But at the same time, synaptic connectivity within the necessary
neural networks were strengthened (long-term potentiation, see Buchel, et al., 1999). BRAINS LEARN BY TAKING TARGET PRACTICE, and BODYMINDS HAVE TO MISS BULL’S-EYES IN ORDER TO FIND THEM. Our bodyminds engage in pathfinding and target practice behaviors throughout our lives as we have experiences and evolve our perceptual, value-emotive, con ceptual, and behavioral abilities. That's how we learned to walk and to talk. We began developing those abilities even before we were born (see Book IV, Chapter 1) and our ca
template pattern (Jog, et al., 1999). Then, we take target prac tice and observe the increasing benefits of our improving ability (process described in Chapter 7). The synaptic con nectivity of the neuron groups that activate the new skill elements will gradually become stronger (long-term poten tiation; see Chapter 3). The unhelpful synaptic patterns in
the neural networks will begin to be inhibited from firing (inhibitory control in the prefrontal cortices) and their syn aptic connectivity gradually will become weaker (long-term depression). Building or altering complex physio chemical networks
pabilities for learning them expanded during genetically trig
takes time. A "critical mass" of neuronal networking must be formed by target practice experiences. The learning tends to be slow at first, but then it tends to "blossom". Desired
gered bodymind growth cycles (see Chapter 8). During many episodes of target practice over our life-spans, we evolve
novel abilities, and changes in habitual abilities, evolve in geometric plateaus rather than in slowly progressing arith metic sequences. Instead of a slow, laborious learning pro
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gression like 1,2,5,4,5,6,7,8,9,10, interesting conscious learn ing is more like 1, 2, 5, 5, 8,13, 21, 34, 55, 89, 144. Notice that the geometric progression begins slowly at first (arithmeti
cally). A stunning implication of "brains learn by taking tar get practice" is that, when people are learning new patterns of thinking, feeling, or behaving, or are altering habitual
patterns, THERE IS NO SUCH THING AS MISTAKES, ER RORS, AND FAILURE. They do not exist. Those nominalizations represent concepts that human being in
terpreters "made up" millennia ago and are universally used today. The essential consequence of the concepts mistake, error, and failure is that they enable us human beings re hearse over and over again how inadequate we are. Nothing could be further from the truth (see Chapter 2)! Human capabilities for learning are vast, beyond conscious comprehension. Even though there are changes in the ease with which we learn some things over our life-span, our capabilities are enormous. If that conceptual reframing about mistakes startles you, you might say, "Now, that's going too far. If you're trying to sing a particular melody and you miss two of the pitches, that's two errors or mistakes. A mistake is not doing what you are supposed to do. Music teachers and conduc tors have to learn how to hear pitch errors and other mu sical mistakes so that learners can be told what they've done wrong. How else will learner mistakes and errors be cor rected? If we allow them to continue to make music wrong, then we fail them." Strong argument. In the spirit of respectful debate, consider the following alternative point of view. What we label as a mistake or an error is just a brain missing a go at a bull's-eye. We human beings now know enough about
bodyminds to realize that when targeted bull's-eyes are missed, the brain is just taking target practice on an ability, and it must miss bull's-eyes in order to figure out how to get to them consistently. In addition, complex abilities are
activated by billions of neurons and trillions of patterned
synaptic connections. Will every single one of them acti vate in exactly the same patterned way every time they are
"called on"? Perhaps acceptance and awe-filled wonder about our human nature can include a celebration of "imperfec
tions" as well as massive capability?
There are two ways that human beings learn novel skills and cognitive-emotional processes: (1) observe other people who enact their versions of the skills and then imi tate and explore them implicitly and explicitly on one's own, and (2) obtain guidance from senior learners who evoke
conscious awareness of goals and point learners toward pathways to those goals. When changing well established habitual skills, conscious awareness of the difference be tween the habitual processes and the alternative processes is necessary. Target-practicing brains are helped, therefore, when they have a clear "sense" of the outside limits of the target, and a clear sense of "where" the bull's-eye is. But brains will learn constructively only when the people who own them feel safe, and the pleasure of personal mastery or personal self-expression is likely. When learners do not have a sense of "where targets and their bull's-eyes are", and they are told that they made a mistake or error, or they did it wrong, incorrectly, im
properly, or badly, then a threat appraisal is inevitable, along with an unpleasant feeling-state and memory tag. A self imposed sense of inadequacy or incompetence may then be filed away in memory, or a vague sense of unfairness may be felt. When learners do have a sense of where targets and their bull's-eyes are, and some ways to get there, they usually perceive very quickly when a bull's-eye has not been hit. Do they then need an outside person to help them rehearse how inadequate or incompetent their performance was? "You sang that rhythm wrong", "You made two pitch errors", "You're singing sharp", "Your tone is breathy", and so on. Episodic memories are formed with sensory, tempo ral, and feeling-state contexts. Any aspect of an episodic memory can trigger recall of the whole memory, including the feeling state(s) that occurred during the original experi ence (see Chapter 7). If the general orientation of episodes share the same or similar sensory and feeling-state con texts, then neural linking of those memories will produce generalization of, and habituation to, the experiences. For
example, learning experiences in a school setting will in clude people, place, thing, sights, sounds, sensations, and daily time-frame contexts. If the accumulated feeling-state contexts for learning experiences are more frequently un pleasant than pleasant, then preparatory or anticipatory sets
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in the prefrontal cortices will have learned an unpleasant feeling bias (see Chapter 8). The words that people say during life's episodes are
auditory elements of episodic memories. If certain words
are used frequently during similar experiential episodes, and the words have participated in producing unpleasant feel ing states, then, eventually, just saying those words can produce a degree of the feeling state that was triggered dur ing earlier episodic experiences. For most music perfor mance and music education majors in colleges and univer sities, hearing just one word will illustrate this principle— JURY. During childhood, if parents, teachers, other adults, and peers frequently use such evaluation words as bad, wrong, incorrect, improper, not right, mistake, error, not good enough, and failure, and those words: 1. are spoken with disapproving nonverbal prosody
fer to trigger constructive reactions rather than protective ones, then we can choose alternative words that perform the same
semantic function but do not have historical emotional baggage attached. Such words and phrases as accurate, inac curate, getting closer to the bull's-eye, missed the bull's-eye, just outside the bull's-eye, just inside the bull's-eye but not in the middle yet, and bull's-eye! are much less likely to have such a history, but they can if used in an accusatory way. Bull's-eyes that lead to pleasant mastery may be of vary ing sizes, and their size can be increased or decreased de pending on various circumstances. When learning a com pletely novel skill, bull's-eyes can almost be the same size
as the whole target because any attempt at the bull's-eye goal will be progress, (see Figure I-9-1). Pathfinder expe
riences can help brains develop a sense of what the outside
limits of life's targets are and where the bull's-eyes are. If parents do not allow infant crawling, but frequently stand
and gestural communications; 2. trigger unpleasant feeling states that are threatening
their child up and move their legs in a walking fashion beginning at the age of four months, will pleasant mastery
to the human needs for relatedness, autonomy, and safe well being; and 3. become part of a conceptual self-identity that doubts personal competence...
of walking be enhanced?
...then those words are likely to trigger protective re
actions of avoidance, withdrawal, demobilization, or counter-threat in any episodic context throughout life (Bugental, et al., 1970; Higgins, 1996). In common terms, those words become laden with hurtful emotional baggage. Words are just combinations of noises and tones. They take on semantic and feeling meaning only because of a history of contextual use. Those evaluation words tend to trigger protective reactions only when there is a history of use in contexts of relative threat. If we know that these words are likely to have such a history, and we would pre
Figure I-9-1:
Targets with different-sized bullseyes for learners with different
background experiences.
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Perfectionists begin with the target on the right.
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Bull's-eyes that enhance mastery are not the size of
pinpoints. Only perfectionists have learned to make their targets that way (see Figure I-9-1). Pinpoint-sized bull'seyes ensure that mistakes and failing during the exploration of mastery are likely in the extreme, and very unpleasant feelings and anxiety are almost guaranteed after repeated rehearsals of inadequacy. When these orientations are present in parenting, schooling, or voice education, they will almost always contribute to an emotional disconnec
tion between people, places, things, and events.
The most helpful pathfinders can be mastered by learn ers within a few trials. They enable the learners' bodyminds to focus conscious attention solely on a single bull's-eye. The parts of human beings that process conscious aware ness have limited processing capacity compared to the parts that process outside conscious awareness. Over several at tempts to accomplish the bull's-eye (target practice), focus ing on one bull's-eye makes it possible for brains to evolve desired inhibitory and excitatory combinations in the neu ral networks that initiate the desired categorizations and coordinations. Initial attempts need to be simple and fairly slow to enable the conscious processes to consider many movement possibilities and receive a wide array of sensory feedback.
For example, before singing a simple pitch pattern,
suppose learners are asked to notice sensations in their neck throat areas while they imitate a mezzo-forte vocal sound making pattern like /shhhhhhh+uhhhhhhhhhh/. Suppose they then are guided through an experience in which they make that pattern with intentional excess effort in their neck
throat area (neuromuscular inefficiency), and then make the
same sound at the same volume with as little effort as pos sible (neuromuscular efficiency). Suppose they then are asked to invite that same "easy" neck-throat sensation to happen when they say "shhhhh+uhhhh+ffle cards" (shuffle). When they have experienced and "bull's-eyed" that skill, suppose they are asked to invite that same "easy" sensation to hap pen when they sing the 5-4-3-2-1 pitches of a major scale,
comfortable pitch range, mezzo-forte, same words, with the first three pitches on the /uh/vowel. A senior learner can then ask questions such as, "Did you notice differences in your neck-throat sensations as you progressed from sound-making to speech-making to singing?" "Did you notice any differences in the sound of your voice?" "Do them again and observe. Use the feed back" "How close can you come to making the sung pat
tern just as easy as the sound-making pattern? Do them
again and again. Slow progress may happen at first, and wonder how soon the surprise of a plateau may happen."
[More voice skill pathfinding patterns may be found in most chapters of Book II, and in Book V, Chapters 2 and 5.] After the learner has made various discoveries, then a senior learner can provide science-based information about
vocal efficiency that confirms the learner's discoveries and demonstrates a connection between the new skill and voice
health and longevity (reduction of vocal fatigue rates and vocal fold impact and shearing forces; see Book III, Chapter 1). After sufficient opportunities to take target practice on that new skill, a template coordination becomes estab lished in memory (see Chapter 7 for more details). When senior learners: (1) coordinate a learning expe rience so that conscious attention is guided to a target and its bull's-eye, and (2) ask questions that engage the pattern detecting capabilities of learners' brains toward sensing the bull's-eye and using their self-perceived feedback abilities, then repeated target practice can elaborate early template coordinations into more and more complex musical or speech settings. Feedback also is used for deciding when to
change the size of bull's-eyes or when to take on new tar gets. In this way, goal-setting, feedback, and assessment by
both senior learner and learner are inherently integrated
into the learning process (more details later). “Learning Styles”: Unique CognitiveEmotional-Behavioral Learning Patterns The genetically inherited capabilities of each human
being have unique variations, and the unique abilities that each human being develops spring from the unique, multiply-
webbed experiences that they undergo over a life-span. Consequently, each human being has a unique array of perceptual, value-emotive, conceptual, and behavioral abili ties. Some cognitive neuroscientists and educational theo rists have proposed that, over their lifespans, all human beings evolve unique learning-mode profiles. These pro files have been labeled cognitive styles or learning styles (Dunn, et al., 1982, 1989; Dunn & Dunn, 1992a,b; Galaburda, et al., 1990). Because of advantaged genetic-epigenetic capabilities, or unique features of their life-experiences, or both, some people perceive their world more frequently through one or two of their senses than the other(s) (Dilts, 1983, pp. 1623; Dilts, et al., 1980, pp. 60-88; Galin & Ornstein, 1974; Kinsbourne, 1972; Kocel, et al., 1972; Oliver, 1993, pp. 131144). A more prominently used sensory mode, therefore, will be processed through a richer array of neural networks, and will be more globally mapped to value-emotive, con ceptual, and sensorimotor networks.
Prominent visual processors perceive life's people, places, things, and events in richer visual detail than promi
nent auditory or kinesthetic processors do. They frequently
"think" in "mental pictures" and "see pictures in their heads" and talk about them. They will be more attracted by the spatial and color composition of a place or thing than to
the sounds that are present or any bodily sensations that might occur. They will more readily form and remember value-emotive and conceptual relationships when they are
in the presence of spatial-visual representations of people, places, things, and events. They also will talk about their world with more visual language, such as "I see where you're coming from" or "The shadows that those purple moun tains make at sunset are just elegant, aren't they?". When
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conversing, visual processors frequently use their arms-
hands-fingers to "draw pictures" of what they are talking about. Their eyes will look upward more frequently than downward or straight-ahead-left-right
guage, such as "I feel where you're coming from" or "Let's hike over to that mountain tomorrow and we can camp out along the way" When conversing, kinesthetic proces
sors may stretch their hands-arms-shoulders-legs or rub
Prominent auditory processors perceive life's people,
their legs-arms-hands-fingers, or they may display a "weigh
places, things, and events in richer aural detail than promi
is initially processed through the auditory sense, and audiation is its "governor", primary auditory processors are
ing" gesture with up-down movements of their palms-up hands, but the movements will not be timed with their spo ken words. Their eyes will look downward to the right more frequently than upward or straight-ahead-left-right.
almost always very skilled in their native language and they
All human beings who have normal neuroanatomy,
"think" in words, of course. If they have had relevant past experiences, they also will be more responsive to the tonal patterns and voice qualities of speech, and to music. They will be more attracted by the sound characteristics of a place or thing than to the scenes that are present or any bodily
neurophysiology, and biochemistry have two global con ceptual capabilities. One can be referred to as an analytic,
nent visual or kinesthetic processors do. Because language
sensations that might occur. They will more readily form
and remember value-emotive and conceptual relationships in the presence of detailed linguistic representations of people, places, things, and events. They also will talk about their world with more auditory language, such as "I hear where you're coming from" or "The echoes that those mountains create are just fascinating, aren't they?". When conversing, auditory processors frequently time their arm-hand-finger gestures with the accented syllables of their words or move a hand onto or about their mouth, chin, jaw, or ears. Their
eyes will look straight-ahead-left-right or down to the left more frequently than upward or down to the right. Be
cause language is a predominant means of social discourse, and because it is the predominant symbolic mode in school ing experiences, more people in Western cultures are promi nent auditory processors compared to the other two sen sory modes. Prominent kinesthetic processors perceive life's people, places, things, and events in richer detail through physical sensations than prominent visual or auditory pro cessors do. They frequently "think" in terms of "doing some thing" and "mental movement", along with associated sen sations. They will be more attracted by the interoceptive
and proprioceptive sensations of a place, thing, or event than to visual scenes or the sounds that are present. They will more readily form and remember value-emotive and conceptual relationships when they physically interact with the people, places, things, and events of their world. They also will talk about their world with more kinesthetic lan
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sequentially branched, logically interpretative, detail ori ented, verbal explanatory capability. This global concep tual capability is associated mostly with left hemisphere pro cessing and underpins each person's "interpreter mecha nism" (see Chapter 7). People who use this capability fre quently are likely to develop and enjoy an ability to (1) analyze experienced phenomena into its "component parts", and (2) use denotative language and mathematics symbol systems. When engaged with music, they like to analyze its component parts and history, and to attend to the details of music-making techniques. Prototype concepts and conceptual frameworks are correlated "bigger picture" categories that are subdivisible into many conceptual category levels or component con cepts (see Chapter 7). Nouns and nominalizations provide linguistic "frames of reference" for prototype, conceptual framework, and component concepts. For example, music performance is a prototype concept. Conceptual framework categories that are related to music performance could be pitch, time, volume, tone quality, articulation, phrasing, and style. Each of those conceptual framework categories can be sub divided into more detailed component concepts such as intonation, rhythm, pianissimo, breathy, vowels, crescendo, jazz, rock 'n' roll, "classical", and so forth. Cascades of progressively more detailed component concept levels exist.
Another global conceptual capability of normal human beings is an integrative, whole pattern, global, clusterbranched, feeling-based, nonverbal, literal observation capability. This capability is associated mostly with right hemisphere processing and underpins each person's "literal observer mechanism" (see Chapter 7). People who use this
capability frequently are likely to develop and enjoy an
ability to (1) take in whole perceptual, value-emotive, con
ceptual, behavioral experiences that have a beginning, a development, and a closure, but do so with minimal or no analysis, (2) use connotative, metaphoric, and story lan guage, and (3) express global feeling states through the sym bolic modes of one or more of the arts. When engaged with music, they respond to global tone and rhythm pat terns that are symbolically expressive of feeling-intensity increases, peaks, decreases, and closures. They are not likely to enjoy analyzing music's component parts and history, or attending to the details of music-making techniques
unless they are a means for increasing the expressive value
of music. In people whose corpus callosums have been severed
for medical reasons, so that neuronal interaction between their right and left hemispheres is almost nil, these two con
ceptual capability-ability clusters can be observed rather clearly (Chapter 7 has details). In people with intact brains,
the two capability-ability clusters interact with each other. One may activate more prominently than the other in vary ing degrees. Both of the capabilities are experience-expectant
(see Chapter 8). Neural capacities for converting these innate capabili ties into abilities are increased as the progressive tiers and levels of genetically triggered brain growth patterns occur, especially in the frontal lobes (see Chapter 8). Right hemi sphere processing capabilities tend to be more developed at birth than left hemisphere capabilities (Chiron, et al., 1997; Spreen, et al., 1995, pp. 75, 84). But the conversion of those capabilities into actual abilities will occur only to the extent that experiences with people, places, things, and events in stantiate them into complex, electro-physio chemical, neuropsychobiological networks. Conversion of these emerging capabilities into abilities, therefore, is experience dependent. Optimal support for development of both capabilities
into abilities would result in people who would tend to enjoy: (1) taking in whole perceptual, value-emotive, con ceptual, behavioral experiences, consciously analyzing their component parts, and then reexperiencing the whole phe nomenon with even greater mastery and satisfaction, and (2) using denotative-language symbol systems, mathemati
cal symbols, and connotative-paralinguistic and metaphoric language symbols, and the symbolic modes called the arts.
"Temperamental constructs are defined, ideally, by inher ited coherences of physiological and psychological processes that emerge early in development....(M)embership in a tem
peramental category simply implies a slight initial bias that favors certain affects and actions....(T)he physiology merely affects the probabilities that certain states and behaviors will occur in particular rearing environments (Kagen, 1994,
p. 35; italics added). Kagen (1994) has assembled neuropsychobiological evidence for two genetically inher ited, but modifiable, human temperament types, (1) inhib ited type and (2) uninhibited type. Physiological and behav ioral characteristics of infant research subjects were used to define these two genetic propensities (Kagen, 1994, pp. 170189). Evidence for differential activation sensitivities in their amygdalae and the sympathetic division of their autonomic nervous systems were correlated with well defined behav ioral profiles. The basolateral and central nuclei of the amygdalae have extensive effects on feeling states and emo tional behavior. They have direct access to the hypotha lamic and brainstem areas that are primary activators of the autonomic nervous system (emotional motor system; see Chapter 7). Four months postbirth and two years postbirth were
regarded as landmark ages for comparing the subjects' early temperament characteristics with later childhood and ado
lescent behavioral profiles. Physiological and behavioral profiles did change as genetically induced brain growth tiers and levels occurred (Fischer & Rose, 1994, 1996) but were modifiable by life experiences (Kagen, 1994, pp. 265-266). At four months, infants were classified as the inhibited tem perament type when they displayed high reactivity or irri tability upon encountering unfamiliar stimulations. Frequent flexing and extending of limbs, movement spasticity, arch ing of back, and crying were part of the high reactivity be havioral profile. The basolateral and central areas of their
amygdalae were highly excitable and sympathetic nervous system tone was high (anatomy is reviewed in Chapters 3 and 7). Only Caucasian children happened to be subjects
in the studies on which these findings were based, and about 2O% of them were classified as inhibited types. At two years, children who retained these characteristics were observed to be shy with strangers, timid when challenged to interact or perform, tense in their musculature, and fearful. By the
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age of two years, only about 10% to 15% of the two-yearold subjects retained the inhibited characteristics (Kagen, 1994, p. 265). Infants who were classified as the uninhibited tem perament type displayed low reactivity when they encoun tered unfamiliar stimulations, that is, low levels of motor activity and minimal irritability. The basolateral and cen tral areas of their amygdalae were minimally excitable and sympathetic nervous system tone was low. At two years, children who retained these characteristics were observed to be sociable with strangers, bold when challenged to in teract or perform, relaxed in their musculature, and fear lessly outgoing. About 4O% of Caucasian two-year-olds
retained the uninhibited profile (Kagen, 1994, p. 261). Unin hibited children who learn emotional self-regulation skills from consistent and human-compatible parent modeling and parent-child interaction (see Chapter 8) are likely to become successful leaders in the life-careers that they choose (Kagen, 1994, p. 240, 252). If, instead, uninhibited preschool children live in environments where disrespectful language and aggressive or criminal behavior are common, and who have no opportunity to learn how to restrain any yelling, disrespectful, aggressive, property destroying tendencies that they may have, may be candidates for becoming "...chroni
cally asocial or delinquent adolescents" The inhibited and uninhibited temperament types are most accurately understood as dispositions or proclivities that are subject to genetic and learned variations. For ex ample, some four-month-old children have more excitable central amygdala areas but minimally excitable basolateral areas, and display frequent crying but relatively minimal motor activity. Other children have more excitable basolateral areas but minimally excitable central amygdala areas, and display frequent motor activity but minimal cry
ing. These genetic characteristics vary in degrees, but the life-experiences of children can increase or decrease the de grees of excitability in their nervous systems and, thus, their behavioral profiles. For example, the "conscience" or "moral reasoning" characteristics of children who retained inhibited charac teristics at two years, and were evaluated again at 8-10 years, differed according to the disciplinary style of their mothers (Kochanska, 1991). The children of mothers who had de manded compliance and obedience during the raising of
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their inhibited two-year-olds, revealed uncertainty in their sense of right and wrong. The children of mothers who had used reasoning during the raising of their inhibited two-
year-olds, revealed a clear sense of right and wrong. Unin hibited children appeared to be relatively unaffected by ei ther of the two types of mother-child interactions. Arcus (1994) noted an elevated tendency toward fearfulness in highreactive (inhibited) one-year-olds whose mothers imposed strict compliance and obedience, while low-reactive oneyear-olds were not fearful. An inhibited child might display at age ten only one of the many features that are potential derivatives of the inhibited type, such as shyness with strangers, timidity to ward physical challenge, excessive worry over school grades, preoccupation with the health of a parent, minimal sponta neous affect, a phobia of animals, a tense musculature, or a guarded style of interaction. The last two features are the most common in older children who had been inhibited at age two but were no longer exceedingly shy or fearful." (Kagen, 1994, p. 266)
Kagen relates "tense musculature" to laryngeal func tion by tracing the neural pathways from the amygdalae to the anterior cingulate cortex, and from both of them to the
central gray area of the brainstem (periaqueductal gray; see Chapter 3, brainstem section). These neuron groups project
to the nucleus ambiguus of the medulla oblongata from which sympathetic neurons are projected into the tenth cra nial nerve (the vagus). Two branches of the vagus inner vate the larynx (see Chapter 3; Table I-7-1, Chapter 7; Book II, Chapter 7). Within these neural routings are neuron net works that initiate distress cries in inhibited infants. Unin hibited children tend to talk frequently, boldly, and often loudly. The implication is that people with inhibited tem
perament characteristics may display inhibited vocal capa bilities such as soft spoken-ness, limited pitch and volume ranges, and pressed-edgy voice qualities when attempting to produce higher vocal volume (see Book II, Chapter 10). Bastian has developed vocal "underdoer" and "overdoer" voice disorder syndromes that are related to inhibited and
uninhibited temperaments and behavioral profiles (see Book III, Chapters 1 and 11; U. Scherer, et al., 1980). An unpleasant emotional temperament type has been proposed that may be related to greater reactivity in certain areas of the right frontal lobe (Cloninger, et al., 1993;
Davidson, 1994a,b; Denham, 1998, p. 164). Perceived threats
elty to people and animals, fighting, and display of weap
to well being trigger built-in protective bodymind reactions (summarized in Chapter 2). When under threat, well docu
ons in threatening contexts (Spreen, et al., 1995, p. 515;
mented physio chemical states occur inside our bodies that are quite different from the states that are triggered by safe sense-making and mastery. Threat produces focused atten tion and heightened "energy" level, and produces feeling states
that may range from minimally to intensely unpleasant. Protective behavioral reactions then follow. These experi ences also form implicit and explicit bodymind memories (somatic markers), but they decrease the probability that human beings will choose to reexperience the people, places, things, and events that were part of the original experience. When threatening experiences occur frequently, they tend
to point most people toward (1) anxiety, (2) emotional sup pression (the autonomic nervous system's "vagal brake" is engaged; see Chapter 8), (3) "burnout" (depression), (4) tense bodies, and (5) a reluctance to deliberately encounter new experiences and learnings, except for new ways to protect oneself. These are conditions that support optimal learn ing of protective ability patterns. The threat-benefit ap praisal characteristics of inhibited temperament children will be quite sensitive to threatening interactions with other people. When we human beings make sense and gain mas tery in a world that is predominantly threatening to per
sonal well being, we are more likely to display behaviors that can range from: passive, reticent, withdrawn, helpless, disin terested, untrusting, discouraged, and dependent; to tense, anxious, afraid, immobilized, and frozen; to uncooperative, disruptive, disre spectful, imposing, and counter-controlling; to resistant, belligerent, rebellious, smart-mouthed, manipulative, and cynical; to angry, coun terattacking, and violent. These are learned protective ability patterns (see Chapters 2, 7, and 8 for more details). When we human beings frequently behave in these ways, we are said to have either a vulnerable or a hardened self-identity, low self-esteem, and to be self-focused, self-conscious, self denying, self-defeating, defensive, antisocial, or destructive. Inhibited temperament children will tend toward immobi lization or withdrawal. Uninhibited temperament children will tend toward counter-threat and counter control. Psy
chologists label children as having serious conduct disorders when they have persistent problems with stealing, running away, lying, fire-setting, truancy, property violations, cru
Rasmussen, et al., 1990; Swaab, 1989; Tucker, 1990). A pleasant emotional temperament type also has been proposed that may be related to greater reactivity in certain areas of the left frontal lobe (Denham, 1998, p. 164). When we human beings experience predominantly famil iar and safe surroundings, our inborn tendency will be to explore those surroundings, expressively interact with other people, and imitate (try out) their behaviors in order to make sense and gain mastery of our world and of ourselves in it (see Chapter 8). When those explorations have re sulted in frequent, nonthreatening perceptual and concep tual categorizations, we commonly experience a range of pleasant feeling states. Those states point our attentional and motor systems toward the development of self-mas tery behaviors. These are conditions that support optimal learning of constructive ability patterns (see Chapters 2, 7, and 8 for more details). Those patterns can be described as: productive, cooperative, purposeful, alert, attention-focused, com petent, involved, emotionally connected, respectful, empathic, expres sively communicative, humorous, divergent thinking, creative, inno vative, resourceful, self-starting. During constructive learning experiences, bodyminds form implicit and explicit bodymind memories (somatic markers) that increase the probability that we will choose to reexperiences the people, places, things, and events that were part of the original experience. When we act in con structive ways most of the time, we are said to have a strong self-identity, high self-esteem, self-confidence, self-reliance, and self-realization. Such experiences increase the likeli hood that we will: (1) risk experiences with unfamiliar people, places, things, and events, (2) seek new experiences
and new learnings, and (3) overcome challenges creatively.
Vigilance by parents and senior learners in continually pro viding optimal support for learning is important. Even when
optimal abilities have been learned, if suboptimal condi tions for learning occur or reoccur, previously learned abili ties may revert to a more functional level (Fischer & Rose, 1996). Some educators use learning style classification sys tems that have been developed by educators or psycholo gists. Some of the systems emphasize cognitive processing and do not explicitly include feeling-state influences on human-compatible
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human learning (emotional self-regulation abilities, for in
The Meyers-Briggs personality type dimensions are
stance). One labeling system by which learners may be classified, Gregorc's Mind Styles™, uses the polar descriptive
four pairs of categorically opposite terms. A continuum is formed between them: Extravert-Introvert, Sensor-Intui
terms concrete and abstract, combined with sequential and ran
tive, Thinker-Feeler, and Judger-Perceiver.
dom, to categorize people according to which cognitive ca-
selected items on a questionnaire about their personality ten
pabilities-abilities they use most frequently (Gregorc, 1982).
dencies. Based on their answers, a numerical score is calcu
People are categorized, therefore, as Concrete-Sequential (CS),
lated and they are labeled according to the four continua. Voice and education researchers are assessing whether or
Concrete-Random (CR), Abstract-Sequential (AS), and Ab stract-Random (AR).
Concrete characterizes people who conceive their
world in a more literal, actual, analytic, categorical, repre sentational, convergent, unambiguous, and either-or man ner and behave accordingly. They learn more readily when they first have direct experiences of their world and then add labels, rather than just hearing a linguistically presented conceptual framework about the world. Abstract charac terizes people who conceive their world in a more interpre tative, global, metaphoric, hypothetical, intuitive, ambigu ous, divergent, and alternative-possibilities manner and behave accordingly. They learn more readily when they first experience a whole conceptual framework about their world and then directly experience it. Sequential characterizes people who interact with their world in a more serial, orderly, regularized, predictable, planned, controlled manner and frequently use serially or dered symbolic systems in their interactions (denotative lan guage and mathematics). Presumably, these people have comparatively less global mapping between prefrontal ar eas and the rest of the brain. Random characterizes people who interact with their world in a more interrelational, mul tiply-branched, network-like, cross-categorical, irregular, un predictable, spontaneous manner and frequently use multi ply-associated symbol systems and modes in their interac tions (metaphoric language, the arts). Presumably, these people have comparatively extensive global mapping be tween prefrontal areas and the rest of the brain. The Meyers-Briggs personality type classification system is used by some psychologists and educators to categorize the cog nitive-emotional learning styles of human beings (Meyers, 1987; Meyers, et al., 1993; Meyers & Kirby, 1994; Provost & Anchors, 1987 ). It emerged from the earlier 20th century work of Carl Jung, a dissenting student of Sigmund Freud (see Chapter 1).
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People answer
not these personality dimensions are related to efficient or inefficient voice use (Andrews & Schmidt, 1995; Schmidt, et al., 1999). Extravert (E) people experience more personal satis faction when they interact with other people as a "public person". Introvert (I) people experience more personal sat isfaction when they are alone and indulging in the "inner
world of thoughts and ideas" as a "private person". Sensor (S) people are more comfortable when they attend to facts, details, and the literal meanings of words. They are sensible people who develop beliefs from direct experience and are tuned in to the here-and-now. They would rather use a skill that they know well, and they can use such skills repeatedly without boredom. Intuitive (N) people are more comfortable when they attend to connected relationships, implications, "big pictures", and the underly ing meanings of words. They are imaginative and creative people who trust their "gut instinct" and imagine how the here-and-now will affect future events. They may become bored with a new skill after they have mastered it. Thinker (T) people are described as logical and ana lytical and are persuaded into action by logical argument. They make decisions rationally and being truthful is more important to them than being tactful (even if someone's feelings are hurt). They regard being tough as a greater personal compliment than being tender. Feeler (F) people
are described as sensitive and empathic and are persuaded into action more by an emotional appeal. They make deci sions by assessing how they feel about the circumstances or how a decision will affect other people. Being tactful is more important to them than always being absolutely truthful (even if that results in telling occasional "white lies"). They regard being tender as a greater personal compliment than being tough.
Judger (J) people usually make decisions quickly eas
goal setting with feedback are the most common forms of
ily and confidently and prefer to have issues settled and decided. Being in control of most situations is very impor tant for them. They are very conscious of time, are always punctual, and generally are very organized. They prefer to get work or chores done before relaxing. Perceiver (P) people usually are anxious or unsure about the decisions they face and prefer to delay making decisions while op tions are left open in case unexpected opportunities arise. They are comfortable letting other people "call the shots" and do not feel that they have to be in control of all situa tions. They frequently are late for everyday occasions and find that time frequently slips away from them during com
implicit and explicit learning between human parents and
mon activities. Keeping the details of personal life orga nized is very challenging for them and they can often find
compelling reasons to put a task off until a later time. When senior learners attune themselves to learners'
cognitive-emotional-behavioral patterns and dispositions, as briefly described above, they can (1) more readily estab lish respectful rapport with individual learners by using the principle of matching in nonverbal communication (inter actional synchrony, see Chapter 8), (2) more effectively help learners develop personal competencies and self-reliant autonomy, and (3) enhance the development of a comfort able, interactive, collaborative community among all learn
ers. Educational Goals, Standards, and Learning Experiences In order to survive, societies of people evolve many interdependent activities. These activities are given word labels such as parenting, hunting, farming, building, repairing, history-keeping, philosophizing, collective decision-making, policing, doctoring, nursing, conversing, reading, writing, music-making, and teaching. In order to participate in the various activities, people convert a variety of perceptual, value-emotive, con ceptual, and behavioral capabilities into the abilities that are necessary for social participation. More experienced people help the less experienced people learn these abilities. Teaching-learning processes have always occurred among mammals, including homo habilis, homo erectus, homo
sapiens, and homo sapiens sapiens. Parent-offspring interac tions are the oldest and most pervasive processes through which teaching-learning take place. Modeling and conscious
children. The non-parent tutor-apprentice relationship was an early form of teaching-learning. The wise-person-guide (Latin: educator = teacher who draws out), interacting with multiple disciples (Latin:
discipulus = follower who learns), has been practiced in many cultures. Socrates posed questions and then guided subse quent dialogue with more questions. In Western cultures, his way of teaching Plato and his other students is still re ferred to as the Socratic method. In an outlying area of Ath ens, Plato taught in a place called akademia, where people gathered to interact and debate. In the Roman Empire, a wise man with a unique point of view, and his followers, were referred to as a schola. Today we still use such expres sions as "the behaviorist school of psychology". Before printing made books available for mass read ing in Western societies, books and education were restricted to male royalty and males with official standing in the Ro man Church. The training of church officials and royalty, therefore, resulted in the telling or lecturing method while
students passively listened. With the rise of the scientific method, mass printing, the reduction of Roman Church re
strictions, and more democratic forms of government came adversarial debate and increased delineation of bodies of knowledge and practice. Defined knowledge-ability clus ters, such as mathematics, languages, and physics, came to be referred to as disciplines. Academies and schools, oper ated by churches and governments, came to be established and are still organized around the various academic disci plines. Adversarial debate has grown into high-stakes, re search-publish-prestige competition among scientists and academicians. In most of the world's cultures and subcultures, schools are the primary social organizations by which children ex pand their symbolic abilities and learn their culture's prac tices and mores. School experiences often are categorized as curricular activities and extracurricular activities. Among educational theo rists, the curricular disciplines are sometimes referred to as knowledge content domains, such as history, language(s), mathematics, music, and so on. In order to participate in the activities of a content domain, many subsets of percep tual, value-emotive, conceptual, and behavioral abilities must human-compatible
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be mastered. Standard educational practice is to organize curricula so that the disciplines or content domains are com partmentalized and decontextualized from non-school, real life experiences. In other words, they are experienced as still-water swimming pools of human experience that are walled off from the great flowing river of real life. Within the United States, recent political dialogue about education has used such expressions as, "Educational stan dards in our schools are not high enough" or "We need
human beings will interact differently with the people, places, things, and events of their world after they have undergone learning experiences. Content and achievement standards, however, do not
world class standards in our schools and we need to hold schools and teachers accountable for making sure that stu dents meet or exceed them." Recent political dialogue about school accountability has contributed to the adoption of new nominalizations. One recent nominalization is con tent standard, and it is a substitute for an academic curricu lum goal, objective, or outcome (see Consortium of National Arts Education Associations, National Standards for Arts Edu cation, 1994). Content standards are large-scope, bigger-picture written goals for converting capabilities into abilities within content domains (knowledge-ability clusters; see Table
is determined, or criteria by which "basic accuracy" of pitch,
I-9-3 for an example). Within a content domain, an achievement standard is a substitute nominalization for instructional goal, objective, or outcome. Achievement standards once were referred to as behavioral objectives. They are written goals that describe knowledge-ability clusters that learners are expected to achieve within a specified time frame (see Table I-9-3 for an example). They also circumscribe a general direction for the planning and initiation of learning experiences by se nior learners. An example would be, At the conclusion of today's learning experience(s), learners will have increased their ability to sing consecutive pitches with legato soundflow, and thus with greater vocal efficiency".
specify what senior learners and learners will actually do to
fulfill the standard, nor do they specify how the senior learn ers and learners will interact with each other in specific learn ing experiences. For example, in Table I-9-3, there is no specification of criteria by which "varied-ness" of repertoire rhythm, and word enunciation is determined, or what spe
cific songs will be experienced, or how the senior learner will arrange the learning experiences and interact with the learners as they fulfill the standard. These are the truly crucial aspects of educating human beings. By contrast,
there is evidence that "performance standards" tend to trig
ger more intense coercive control behaviors in teachers (Deci, et al., 1982; Kamii, et al., 1994). Currently, standards are inextricably tied to assump
tions of mind-body duality and the existence of separable cognitive, psychomotor, and affective mental processes. They also are tied to the pervasively cognitive academic disci pline concept. The result is that final-product academic curriculum goals and standards are given great attention in
political circles, and those blinders prevent people with passionate hearts from doing all of what really needs to be done in the education of human beings. Instead of focusing solely on academic content do mains, what about focusing on the human beings that are being educated? When human-compatible learning goals
and learning experiences are being considered, the follow ing questions are a good place to start (adapted from Kohn, 1996, pp. xv, 10): 1. What do human beings need in order to flourish,
tional goal statements are almost always outgrowths of "mind-sets" that are imbued with the biases of cultural his tory and the past experiences of the goal-makers. Typically, content and achievement standards are written before learn
to become curious, communicative, creative, productive, life long learners, and to be altruistic toward their fellow hu man beings, constructively competent, and socially respon sible participants in a democratic society over their life span? 2. How can teacher-people help their fellow human
ing experiences occur and are an attempt to describe how
beings meet those needs?
perceptual, value-emotive, conceptual, and behavioral abili ties are intended to be different in learners, after one-to-many learning experiences. They are an attempt to predict how
Answering those questions requires citizens, educa tors, and elected decision-makers to go considerably be
Educational goals and standards. A goal is a de scription of a desired or intended state of affairs. Educa
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yond the well known knowledge-ability clusters that are
called academic disciplines. Chapters 7 and 8, and the re mainder of this chapter, present a bigger picture from which
answers to the above questions may derive. How are written educational goals (content and achievement standards) transformed into the goals that are actually spoken and undertaken by senior learners when they coordinate learning experiences with learners? The skeletal bones that hold knowledge-ability clusters together are re ferred to as conceptual frameworks-broad, word-labeled, conceptual categories and related fundamental abilities (see Chapter 7). The details that are held together in a knowl edge-ability framework are the word-labeled component concepts and ability refinements. Educational goals can be formulated to take advan tage of the ways that bodyminds internally categorize ex perience, so one type of goal that senior learners can speak out loud is a goal-set. Most goal-sets focus attention on one conceptual and/or skill category within a larger frame
work of related categories. Think of the ribcage as one element of a conceptual framework, and each of the ribs, their muscles, nerves, and so on, as component concepts (see Table I-9-3; following page). "Let's get our expressive phrasing down in the Dawson piece," would be an example of a goal-set. Spoken goal-sets also can help learners' pre
frontal cortices bring related sensorimotor, episodic, semantic,
and emotional memory items into working memory and inhibit possible competing memories. Senior learners and learners use increasingly detailed pinpoint goals (component concepts, ability refinements) to elaborate the component concepts and ability refinements of a goal-set. Usually, pinpoint goals are spoken to learners after they have had a global exploratory experience, and initial feedback has occurred. For example, the first verse of "There is a Balm in Gilead", arranged by William Dawson, is sung by a SATB choir, after which the conductor says, "Is there something we can do differently that would make the
Table I-9-3. Examples of Written Content Standards, Achievement Standards, Goal-Sets, and Pinpoint Goals Content Standard (written music curriculum goal): Learners will be able to expressively sing a varied repertoire of songs with basic accuracy ofpitches, rhythms, word enunciation, and musical style.
Achievement Standard (written learning goal): By the conclusion of today's learning experiences, learners will have increased their ability to use varied crescendi and decrescendi to sing musical phrases more expressively Goal-set (spoken to define a range of learning-experience goals):
"What do singers actually do when they sing expressively?" Pinpoint Goal (spoken to define a specific learning experience goal): "I'm going to sing that phrase two different ways, [demonstration modeling] "Now, you sing the phrase both ways and notice how they feel to you!' [singing] Which one strikes you as being the most expres sive?" [interactions] Pinpoint goals within the goal-set that include learners in the goal-setting process: "I'm going to speak the words of the next musical phrase six different ways. Each time, after I speak the words, you speak them the way I speak them, and lets see if we can learn something about expressive
singing!' [Senior learner speaks the same phrase from the folksong "Down By
the Sally Gardens": "She bade me take life easy...!' It is spoken leisurely six times by the senior learner, followed by the learner, with about a 5-second pause between each pair for reflection. The first time accentuates the first word only, the next time the second word only, and so on! "Did anything happen inside you as we emphasized the different words?" [responses and interactions! "So, some of the words had more feeling meaning to you than the other words?" [responses! If you had to choose one word that had the most feeling meaning, which one would it be your personal choice?" [interactions! How was your word more meaningful to you than the other words? Any ideas?" [all responses respected, senior learner genuinely wants to observe how the singers respond! "Just out of curiosity, how many of you preferred the first word? ... Second word? ..!' [and so on; plurality favors "easy"! "I'm going to sing that phrase two different ways, [one phrase is sung with no phrasing dynamics and the other phrase is sung with a steady, subtle crescendo that peaks at the accented syllable of "easy", followed by a subtle decrescendo to the end of the phrase! "Did you hear a difference between the two phrases?" [responses and interactions! "You sing the phrase both ways, just for the fun of it!' [they sing! "How was that?" "Now, how could we sing the next phrase,...!'
music even more expressive than it was?" [that's the goal
feedback] "This time, sing with that steady breathflow and
set; several learner responses occur, including "seemed like we were landing on each note rather than flowing them
steady soundflow, but sing a separate /loo/ for each eighth
together"; the conductor selects that as the next pinpoint
goal] "Just to find out what happens, sing the first phrase with a steady breathflow and a continuous-flow /z/ sound, like this: [demonstrates]." [experience happens followed by
note of time, so that you would sing two /loo/s during each quarter note, and four of them during each half note,
like this: [demonstrates]. Got it?" [experience happens fol
lowed by feedback] "Now, how close can you come to singing that phrase with its words, and continue that same human-compatible
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steady breathflow-into-soundflow expression?" (see Table
As leaders of learning experiences, senior learners estab
lish social conditions that learners interpret as physically
I-9-3) Goal-sets are most useful with less experienced learn
and emotionally safe. They also prepare a setting that op
ers so that conceptual frameworks and template coordina tions can be clearly established. Subsequent component
timizes attention focus and has minimal or no attention distractors. They channel learners toward intrinsically reward ing, interesting, adventurous, and challenging learning ex periences so that expectation of same is consistently present.
concepts and abilities can then be experienced and catego rized (making sense and gaining mastery). Pinpoint goals, then, would be selected that would relate only to the fo cused goal-set. After somewhat extensive detailing of mul
Learning experiences are created that establish emotionally
ponent details of several fleshed-out skeletal parts. After
connected human relationships and provide many oppor tunities for development of respectful verbal and nonver bal communication skills, competence, and self-reliance (Andersen & Andersen, 1982). As a result of the senior learner and learner interac
"Balm in Gilead" has been rehearsed in detail and is sung
tions presented in Table I-9-3, the learners verbally described
without using printed scores, its conceptual and motor "body" will be prominently in place and automatic. When the learners in Table I-9-3 heard the senior learner's spoken accentuations, and the vocal volume dif ferences in the two different sung versions, internal percep tual categorizations occurred. Deciding which word in the phrase had the most feeling meaning and evaluating which
results of their perceptual, value-emotive, and conceptual
tiple conceptual framework "bones", a more "fleshed-out body" develops. Scattered pinpoint goals, unrelated to a goal-set, can be used to "put finishing touches" on the com
phrase was the most expressive were predominantly inter
nal value-emotive experiences. Internal conceptual categoriza tions occurred when the senior learner's spoken words were encoded into (1) denotative language meanings and (2) connotative (prosodic) feeling meanings. Conceptual cat egorizations also occurred when (3) the musical phrases were compared and differences between them were discrimi nated. All three internal processes were elaborated during discussions that were initiated by senior learner questions. Did the perceptual, value-emotive, and conceptual processes always occur in a 1 - 2 - 3 discrete succession or did they occur nearly simultaneously? Did any learners sense the operations of their nervous and endocrine systems when the categorizing occurred? Learning experiences. Learning occurs when hu man beings change (adapt) their explicit or implicit patterns
categorizations, and then sang the phrase two different ways. Their adaptive changes in spoken language, singing, and paralinguistic communications were behavioral expressions of their internal processings. In formal and informal educational situations, senior learners lead learners through at least three types of implicit and explicit learning experiences. Imitative learning expe riences take advantage of the innate human capability for observing the behavior of other people and then "trying out" that behavior (spoken language, singing, facial expres sions, complex social-emotional behaviors, and so forth). Exploratory-discovery learning experiences take advan tage of the innate human capability for exploring surround
ings to make sense of them (detect patterns, categorize them,
of:
correlate them) and gain mastery of "the world" and of self in it (convert perceptual, value-emotive, conceptual, and be havioral capabilities into productive abilities (see Chapter 8). Explicit goal-focused learning experiences typically emerge as a result of imitative and exploratory-discovery experiences (searching for the missing ball so that further pleasure can be experienced when rolling it back and forth on the floor with dad, figuring out how something works, inventing a game, telling a story, solving a problem posed
1. perceptual, value-emotive, and conceptual catego rization of their world, and
by two seemingly different perceptions, and so on). Both exploratory-discovery and explicit goal-focused
2. behavioral interaction with the people, places, things,
learning experiences can be: (1) internally initiated and sus tained, (2) externally initiated and sustained by one or more other people [parent(s), teacher(s), peer(s)], or (3) collaboratively initiated and sustained. They also can be
and events that are encountered.
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externally coerced in many subtle and obvious ways. In any
contexts such as noncompetitive but interactive games, solv
case, the degree to which a learner sustains involvement
ing a problem that is related to something they are already interested in, building a set for a play, appreciating the feel
with a learning experience will be determined by the physio chemical feeling states and the value-emotive cat
egorizations that occur inside individual learners. This prin
ciple applies equally to self-initiated and other-initiated learn ing experiences.
Developmental capabilities and learning experi ences. Learning experiences can be arranged by senior learn ers so that they mesh well with the emerging developmen
tal capabilities of learners and with their already developed abilities. For instance, in order for learning experiences to be of optimal benefit during later childhood, Greenspan
ings of other people, and so forth. They are capable of vastly extending their: 1. perceptual, value-emotive, and conceptual catego
rization abilities; 2. analytic, sequentially branched, logically interpre tative, detail oriented, verbal explanatory abilities (includ ing semantic vocabulary, syntactic sequencing, hypothesiz ing, logical interpretation, and number operations such as addition, subtraction, division, multiplication, fractions, and so on); 3. integrative, whole pattern, global, cluster-branched,
(1997; see Chapter 8) identified four global abilities that chil dren can master by the age of about four years postbirth.
feeling-based, nonverbal, literal observation abilities (en abling literal linguistic description, detecting big picture per
These abilities are the foundations upon which future opti mum learning are built. Without them, optimum learning is
ceptual, value-emotive, conceptual, and behavioral patterns
likely to be diminished in some way. They are: 1. the ability to categorize more and more details of the experienced world with the visual, auditory, and kines thetic senses (all heavily influenced by feeling states); 2. the ability to regulate attention (heavily influenced by feeling states); 3. the ability to develop and maintain strong human
relationships (heavily influenced by feeling states); and 4. the ability to communicate increasingly complex
ideas verbally and nonverbally to other people, and to ap preciate some of the basic interrelatedness of those ideas (heavily influenced by feeling states).
in other people, places, things, events); 4. evaluative and decision-making abilities, and pro jection of future consequences; 5. self-expression abilities in language(s) and the arts; 6. emotional self-regulation and self-direction abili ties;
7. respectful and courteous social communication abili ties;
8. finer-tuned motor abilities; 9. sense of humor abilities; and.... Later childhood learning experiences can be oriented toward, "What is it like to do what a writer of history does?" or "What is it like to do what a scientist does?" or "What is
The representational tier of frontal lobe regulatory ca pabilities comes on-line from 4 years through about 10 or 11 years (see Chapter 8 and Fischer & Rose, 1994, 1996). During this time learners can become more adept at: (1) figuring out sequential ordering such as time lines, (2) figur
it like to do what a singer does?" or "What is it like to do what an actor does?" or "What is it like to do what a re
ing out relatively clear cause and effect relationships, (3)
warding intrinsic attachment to the activities.
repeated practice of skills (as long as elements of novelty are frequently introduced and the experiences lead to in trinsic and self-mastery rewards), and (4) either-or choices with minimal "gray areas". They will be able to perform these abilities with greater emotional connection if the con
Integrated Thematic Instruction© (Kovalik, 1997) is one model for arranging learning experiences that make pos
spectful, caring person does?" These experiences would be intended to help children try out different human activities and optimize the chances that they will experience a re
sible the development of all the abilities listed above, in
age-chronological, K-6 graded schools. Eventually, arranged learning experiences can take the form of (1) learner-created
crete experiences are embedded within global experiential
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proposals for learning projects, and (2) collaborative for mulation of understandings regarding the tasks involved in
completing the projects.
As the abstract tier of frontal lobe regulatory capabili
ties come on-line, usually beginning at about age 12, learn ers become capable of developing more complex concep
tual and behavioral abilities with much greater elaboration and breadth (see Chapter 8). At this age, their analytic, sequen tially branched, logically interpretative, detail oriented, verbal explana tory capabilities and their integrative, whole pattern, global, clusterbranched, feeling-based, nonverbal, literal observation capabilities be gin detailed expansion all the way through late adolescence and into early adulthood. Problem-solving, alternative thinking (sometimes called critical thinking), and possibility thinking are embedded in the method of science. Evolution of those abilities involves having a wide based knowledge store and refined observational, compara tive-evaluative, wondering, planning, estimating, expecting,
and projecting abilities. Purposeful, constructive action typi cally results, followed by additional observations, evalua tions, and so on. These processes include intricate combi nations of higher order perceptual, value-emotive, and con ceptual recategorizations (Damasio, et al., 1995; Edelman, 1989, pp. 54-57). They lead to sharpened sensory-inputseeking and pattern detection processes that lead to
bodymind behavioral changes and the self-building plea sures of exploration, discovery, and mastery. Integrated The matic Instruction© has been adapted to mesh with these blos soming adolescent capabilities (Olsen, 1993; Ross & Olsen,
under the guidance of a teacher. The other group just learned the skill. No candy was ever given. After the children in both groups had suc cessfully learned the skill, they went to a free-play area and researchers observed how frequently the children from the two groups used the skill spontaneously. A high percentage of the no-candy children used the skill frequently. The children who received the candy seldom used it (based on research reported in Ross, 1975). The researchers suggested that the candy group did not use the skill as often because the reason for using it was
to get the candy reward, and no candy reward was avail able during free-play. The learning of the skill was encoded in memory with the pleasant feeling states that were trig gered by the sweet taste and the elevated arousal that was produced by ingesting a high concentration of sucrose and
fat. The other group used the skill more often, they sug gested, because performing the skill was rewarding in and of itself (intrinsic reward; see Csikszentmihalyi, 1975;
Gottfried, 1986). The learning of the skill was related to
constructive self-mastery in a safe, supportive social set ting. The internally generated pleasant feeling states were encoded with the memory of learning and performing the skill. Usually, human beings want or choose to engage in an activity when (1) the activity was experienced before (or
one like it), and (2) there was something about the activity that attracted and then sustained their engagement with it, and (3) doing the activity resulted in aroused pleasant feel ing-states in their bodyminds. In other words, the pleasant
feelings of the experience alone became the reward for en
Intrinsic/Extrinsic reward and interest What hap pens when human beings want to engage in an activity;
gaging in the experience. That is intrinsic reward. Along with the pleasant feeling-states, the people, places, things, and events of the experience were encoded in memory. So, intrinsic reward feeling-states are experienced in the body when human beings make sense of and master their "world", and themselves in it. Examples of intrinsic reward would be singing any song and experiencing the human emotions that it expresses, singing songs with other people, singing your own made-up song for the first time, or final mastery
when they freely choose it?
of a new skill that enables music to be sung even more
Two groups of children were engaged in learning how to per form a skill that could easily be integrated into play activities. The learning experience necessitated attention to the details of the skill. One group was given candy each time they finished attempting the skill
expressively than before, or creating an engaging interpre tation of a song without help from anyone.
1995). With the advent of reproductive capability and surges of transmitter molecule production that intensify emotional affiliations with the opposite sex, emotional self-regulation
in social settings becomes extremely challenging, and espe cially so if parent-child relatedness is impaired and there is no empathic, non-judgmental adult guide.
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When people are then provided an opportunity to en
gage in the activity again, they are highly likely to want to
do so or choose to do so (Newby & Alter, 1989; Zuckerman, et al., 1978). Psychologists refer to the wanting and the choos ing as an internal locus of causality (see Chapter 8). When people continue their attention to, and their engagement with, an intrinsically rewarding experience over time, they
are said to have intrinsic interest in it. The feelings that individual human beings have when an ability is mastered, or the feelings that groups of people have when they par ticipate with others in the planning, design, creation, and performance of an experience, are sometimes referred to as ownership, pride of ownership, or pride of achievement. Required (coerced) participation in an activity-coercion-is an external locus of causality. So is the granting of external, non-intrinsic rewards. Extrinsic reward refers to pleasant feeling reactions that people have when they receive a reward that has its own value (the sweet taste of the candy in the above story), but it has no connection with the pleasant feeling-states that may be generated by an ex perience itself. In fact, extrinsic rewards tend to distract receivers away from noticing the intrinsic reward feeling states. Examples of extrinsic reward would be singing a made-up song for the first time, after which a teacher gives praise and places a smiley-face sticker on the student's hand, or mastery of a new skill in order to complete a required assignment and get a good grade, or singing a song to get a high rating in a singing contest. The pleasant feeling reactions that derive from extrin sic reward also increase the probability that people will choose to repeat that experience, but only as long as they continue to receive, or anticipate receiving, more extrinsic rewards. Sustained engagement with an experience in an ticipation of receiving an extrinsic reward is referred to as extrinsic interest. Typically, when the extrinsic rewards no longer occur, participation in the experience diminishes and
eventually ends. Also, even after intrinsic interest has been established, frequent presentation of extrinsic rewards tends to di minish the beneficial effects of intrinsic reward and intrinsic inter est. A well known chain of pizza restaurants devised a marketing
program that intended to increase children's interest in reading books. Children who could document that they had read a certain number of books within a calendar month would be rewarded with a free pizza party Many children participated enthusiastically Much favorable publicity and many compliments were given to the company
The results? More children read more books. Successful pro gram? For marketing, yes. For reading? Well, a very large majority of the children sought out shorter and shorter books, and books with a minimal amount of thoughtful, reflective, expressive content. When the program ended, the frequency with which the participating children read books returned to near preprogram levels. Research studies have provided strong evidence that extrinsic rewards frequently: 1. increase the quantity and speed of performance tasks, temporarily, IF the tasks are relatively simple and easy to perform (Jenkins, 1986; Kohn, 1993a, pp. 43, 44, 124; Schwartz, 1982); 2. decrease the quality and creativity of those perfor mance tasks that require sustained attention, analysis, and creative problem solving or creative self-expression (Amabile,
1979, 1982; Amabile, et al., 1986; Condry, 1977; Loveland & Olley, 1972); 3. decrease cooperativeness and generosity in the people who are carrying out performance tasks, compared to those who received no extrinsic rewards at all (Fabes, et al., 1989; Grusec, 1991; Kohn, 1990, pp. 202-203); 4. rupture human-to-human relatedness when they are dispensed by people who use them to (a) exert superior control over rewardees, (b) single out favored rewardees so that peer relationships are ruptured (favoritism, unequal treatment, competitive rivalries) (Bachrach, et al., 1984, p. 23; Kohn, 1993a, pp. 54-59, 1992, chapters 6 and 7);
5. interfere with a sense of security, development of collaborative communication skills, and constructive group community (Zeldow, 1976); 6. are used to induce compliance that meets the im
mediate preferences of parent(s), caregiver(s), teacher(s), workplace supervisor(s) and distract them away from the
actual, more subtle, "deeper reasons" behind inattention, emotional disconnection, and suboptimal learning and per formance (Kohn, 1993a, pp. 59-62); 7. delimit learner attention to environmental contexts and focus attention on tasks that will bring more extrinsic rewards, and thus discourage risk-taking (Kohn, 1993a, pp. 62-67; Schwartz, 1982); 8. are used to manipulate other people into tempo rary compliant behavior, and often have the same or simi
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lar effect as punishment, especially when they are promised in advance of an experience and then withheld (Kohn, 1993a, pp. 50-54)
interest? Novel, unexpected, or surprising experiences trig ger physio chemical arousal, conscious attention, and memory formation, and they commonly lead to adaptive
9. diminish or eliminate intrinsic interest in, and emo
learning (Pribram, 1998). A novelty effect occurs (1) when
tional connection with, activities that are candidates for longer-term interest and emotional connection (Birch, et al.,
human beings experience people, places, things, and events for the first time (new patterns to detect), (2) when pleasant
1984; Deci, 1971; Kohn, 1993a, pp. 68-95; Lepper, 1983, pp. 308, 309; Lepper, et al., 1973, 1975; Ryan & Stiller, 1991). Two singing students go to separate practice rooms. After about 15 minutes, one student leaves, hears the other student repeating pitch patterns, song phrases, and songs and says to a passing fellow student, "I just don't get it. That guy stays in that practice room every night and sings for an hour. I am bored to tears after 15 or 20 minutes and can't stand it any more. How does he do it?" Perhaps the bored student has experienced practice room singing as a coerced requirement that he has to fulfill in order to please his teacher and get a good grade in ap plied voice so he can get into a good graduate school. Per haps the "dedicated" student has experienced practice room singing as a time to be fascinated with subtle masteries of efficient voice skills so that (1) more amount of vocal sound leaves his vocal tract with less effort during stronger sing
familiarity is established first, and then the experience is repeated but some of its elements are rearranged, or (3) when an experience is repeated, but in a different context. If in
ing, (2) a greater consistency of voice quality occurs in his upper pitch range, (3) soft singing becomes clear while re taining appropriate fullness or breadth of tone quality, and (4)
all of these skills are used in the expressive phrasing of "Die Mainacht" by Brahms and "Lebe wohl" by Wolf. In one singer, the locus of causality for singing was
internal. The rewards were intrinsic, that is, pleasant feeling states were experienced when he mastered subtle skills. Those skills increased the probability that he would sing songs more expressively than he had before with resultant gut felt feelings and goosebumps. In the other singer, the locus of causality for singing was external to his self and had been imposed by others. The rewards for singing were extrinsic, that is, not connected to personal voice skill mas tery and self-expressive music making (read Punished by Re wards by Alfie Kohn, 1993). Optimizing sustained engagement with learning
experiences. When guiding learners through learning ex periences, how can senior learners use their goal-setting and
guiding language to optimize the probability of intrinsic
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trinsic reward occurs, then a desire to repeat it again will be likely. What is experienced and how the learning experience is sequenced will be important, of course, but what if an interesting experience is introduced with these words: "I
want you to be quiet while I tell you what to do next. You three kids
have to go to that side of the room. The rest ofyou...Don't talk! You've got to be quiet!...The rest of you have to stay here. You have to hum 'Michael Row the Boat Ashore'....You'd better zip it shut, Sam! I mean it.... You keep on repeating it until the game is over. Each of you three
have to sing with the voice qualities that I whisper in your ear. You hummers, then, must guess which three voice qualities they are singing with. Sing correctly, but try hard to really sing out for me. Hummers ready? Three, four, sing!" Did you notice a feeling reaction in yourself as you read those words? Pleasant? Unpleasant? Compare that introduction of the experience with the one that follows (certain prior experiences are assumed). "This is a game called, 'Name That Voice Quality'. Let's review: What are the basic voice qualities called? [answers: breathy, clear and mel low, pressed-edgy overdark, overbright, and balanced] Are voice quali ties always only one of those? [answer: some of them can be mixed] OK, to begin playing this game, three singers are on this side of the room. They will sing a song with those voice qualities, and the rest of you get to say what you think the qualities are. Who wants to sing? All right, you three this time, and another three singers can sing the next time we play the game. Now, everybody else? We'll hum 'Michael Row the Boat Ashore' softly, and each time you come to the end of the song, start over at the beginning, and keep repeating it 'til all three singers have sung. Got it? Who wants to start us hummers? OK Fred, start us. [humming starts] Now, close your eyes. Here's how we play. One after the other, these three singers are going to sing one verse of 'Michael'. They will pick one or more of the six voice qualities and sing one whole verse with it. Afterwards, how close can you come to naming the voice qualities that they used. Continue humming softly and listen closely.
First singer, start singing when the hummed melody starts over'.' Notice differences in the "feeling meanings" that are embedded in the two languages? Table I-9-4 compares com mon adversarial goal-setting language with an alternative language.
Table I-9-4. Comparing an Adversarial Language of External Coercion, Control, and Dependency with a Language of Respectful Collaboration, Exploration, and Discovery Try/Try hard/Try harder... Work harder to...
I want you to... Don't... You need to...
You must... You've got to... Why don't you... Why can't you... You really should... You have to... You ought to... This is the sound I want... If I were you, I'd... You'd better...
Give it a go. Let's explore the... Let's experiment with... How close can you come to... Observe... Notice whether or not... What would happen if...
Give me... Sing for me...
Imagine... I wonder how soon you will be able to... You may be surprised at how soon... Notice what happens when... Listen to what happens when... Listen closely to your voice when... See what happens when... Feel what happens when... Pay Attention to.../Focus on... We can.../Our goal is to... Invite your voice to come out and play. What does the music need in order to.... Voices can do that if they... Can you sing this in such a way that... What is the human "feeling-stuff' in this
Sing it right...
piece? How can we sing this to bring out its
Sing correctly...
expressive...? How can you say these lines to bring
I want to... I want you to... I need you to... Do this for me:...
Sing properly... Maintain/Retain/Keep/Hold
out...? Play out the details...
Continue to...
'As I see it, my job is to help you become even more skilled and expressive human beings than you already are!' As I see it, one of your jobs is to help me become an even more skilled teacher than I already am!' [to a singer] "If you were an actor, and these were lines that your character speaks, how would you say them to express out their feeling meanings?" "If the thought of doing vocal exercises brings unpleasant feelings to your gut related to boring, repetitious work, then you are forbidden to ever do vocal exercises again for the rest of your life. IF, however, you would like to discover new possibilities in your voice and develop even more refined expressive skills, well then, there just may be some sound patterns or pitch patterns or musical phrase-letts to help you begin the adventure. And you can do those whenever you like!' "How many ways can we sing this phrase? Any suggestions? [trials] Did any of those ways 'get to you' more than the others?" "(Sopranos, Altos, Tenors, Basses) how could you sing that phrase so that the section's tone quality matches even more closely the feelings being expressed?"
Competitive situations and extrinsic/intrinsic reward. A group of boys were in training to become performing members of a
boychoir. One of the skills they were studying was sight-singing. Their
regular teacher used a competitive sight-singing game to help them
elaborate their skills. Two teams of boys competed while one boy kept score on a chalkboard. Each boy had a book of patterned numbers that represented pitches on a musical scale (1-2-3-2-l-3-l,for example). The teacher would designate a pitch pattern to be read and a member of team 1 would attempt it. If he made no errors, his team was awarded one point. If he made even one mistake, a boy from team 2 would attempt the pattern. If he made no errors, team 2 was awarded the point, but if he did make an error, the attempt reverted back to the next boy on team 1. The boys who earned points were cheered only by teammates. When notes were missed, the other team would deride the boy who made the mistake. Some boys were better at this game than others, partly because of differences in prior experiences with pitch dis crimination and production, and prior associations between pitches and musical notation. On the way to the room where they met, nearly all of the boys would plead with the teacher to let them be the scorekeeper that day. Hmmmm. One day, the regular teacher was ill, and an assistant substi tuted. On the way to the room, the boys clamored to be appointed scorekeeper. The assistant said, "We won't need a scorekeeper today. We're going to do something different." A series of pitch patterns were placed on the chalkboard, but these patterns were deliberately sequenced from easy to progressively more challenging, and there were elements in the simpler ones that prepared singers for the more challenging ones. All of the boys sang the first few easy ones together. Then the senior learner asked dffferent boys to sing the simpler ones alone, espe cially including the boys who had a history of low success. After each boy sang, that boy was asked whether or not he had sung the pattern accurately. If he said, No", then he was asked to give it another go. Eventually, the boys were asked to sing the more challenging patterns with the same format of singing the pattern until all of the pitches were accurate. If a pattern was sung inaccurately, the boy was asked to sing earlier patterns that tutored him for the pattern that he had missed, and then he was asked to sing the original pattern again. All of the boys got a turn. The more experienced boys were able to sing more of the patterns before they sang an inaccurate pitch or two. The less experienced boys sang more patterns accurately than they had before. Soon into the process, the boys started cheering for each other, especially for the boys who struggled and finally got it. Hmmmm.
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A rather large body of research has been carried out on how competitive situations affect human learning and
performance. Deci & Ryan (1985), Johnson & Johnson (1989), and Kohn (1992) have written reviews of the re search. Overwhelmingly, the results show that the process of converting perceptual, value-emotive, conceptual, and be
havioral capabilities into abilities is impeded by competitive
situations. Measures of skilled performance, creative qual ity, intrapersonal self-identity, and interpersonal relatedness
also are diminished by competition (Amabile, 1982; Ames, 1978,1979,1981; Austin, 1990; Barnett, etal., 1979; Baumeister, 1984; Boggiano, et al., 1991; Bonime, 1986; Butler, 1988; Campbell, 1974; Clifford, 1972; Combs, 1957; Crockenberg,
etal., 1976; Deci, etal., 1981; Dunn & Goldman, 1966; Johnson & Johnson, 1991; Lerch & Rubensal, 1983; Nicholls, 1989; Pepitone, 1980; Spence & Helmreich, 1983; Tjosvold, et al., 1984; Vallerand, et al., 1986; Whittemore, 1924; Wilder & Shapiro, 1989; Wolpaw, et al., 1991; Workie, 1974). Competition has been described as constructive or destructive (Culbertson, 1985). In competitive situations, the object is for one person to do something better than
another person, or for a group of people to cooperate to gether to do something better than another group of people. When competitors focus predominantly on personal and
group ability development, and its intrinsic rewards, and the better-than-you outcome of the competition is of pass ing importance, then competition can be described as con structive. But when competitors focus on the better-than-you or winning outcome of the competition, then competition can become increasingly destructive. In nearly all competi
Western societal practices and structures commonly
operate with a competitive essence. Some systems of justice are organized to intentionally place human beings in adversarial relationships that are said to optimize truth finding. Adversarial relationships are common between manager/administrator human beings and employee hu
man beings, and between teachers and students. Competitive sports are widely popular in Western cultures. Some sports players find that the intrinsic gratifi cation that occurs by just playing their game and becoming
more and more skilled as a player is enough to richly sus tain their interest during long hours of hard work. For
some sports athletes, however, the extrinsic rewards of ap plause, winning, trophies, awards, notoriety, scholarships, special privileges, large amounts of money, purchasing power for material things, and celebrity status are the prime incentives for hard work. War is the ultimate competition between groups of human beings. People and their cultures, are killed (Grossman, 1995; Sipes, 1973). Sports and war metaphors become very common in the language of cultures where wars have occurred frequently and where competition is a foundation of human-to-human and group-to-group in teraction (Sherry, 1995; Thornburg, 1995). War metaphors in sports are extremely common (battle, fight, warrior, and so forth), and they occur regularly in many societal enter prises. We form task forces, create a hierarchical chain of command, assemble the troops, develop new weapons in the fight against..., become soldiers in the fight against..., fight
tive situations, numerical points are awarded for certain
a culture war or a war on drugs, draw the battle lines, fight the good fight, develop attack ads, defeat our enemies, kill the competition, and even write killer resumes.
accomplishments, and whoever accumulates the most points
Non-sports competitive situations, with high-profile
wins the competition (extrinsic reward). The person or group who wins is regarded as better than the opponent person or group. Human relationships, therefore, are placed in an adversarial, me-against-you, us-against-them context. Those contexts have the potential for becoming a better-than-you, put-them-down-by-putting-ourselves-up, we're-numberone, win-at-all-cost behavior pattern. Human beings are
extrinsic rewards, abound in schools. Some physical edu cation curricula are based on playing competitive games rather than helping human beings develop their consider
then categorized and interacted with as winners, losers, in group , out-group, good, bad, good enough, not good enough, popular, unpopular, cool, uncool, and so on.
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able physical coordination capabilities into a large array of abilities. Tests and other academic production (written pa pers) are graded on a variety of numerical point systems or on subjective judgments that are then converted into course letter grades that are then converted into a cumulative grade point system by which competitive academic rankings are determined.
Visual and performing arts contests are sometimes driven by subjective ratings that are received from human judges in a competition to determine who paints or sings at superior, excellent, average, or poor grades of skill. Why sing? "So we can get a superior at the contest." Would that
in the right and left visual cortices, only certain neuron groups process border features, others only process colors,
campfire and said: "Let's invent something to do, so that we
and others process tracked movement, and so on. At the same time, neuron groups within the right and left amygdalae initiate an evaluation of the significance of the sensory ex periences. This process is referred to as experiential differ entiation (Tononi & Edelman, 1998).
can do it in front of other people who then tell us who does it better than somebody else. Hey, what about making
tures and significance evaluations are "reassembled" in the
pitched and rhythmic sounds with our voices? We could
association areas of the right and left parietal, temporal and
call it making vocal music"? Did that meeting take place? Some people appear to thrive in competitive situa tions, seek them out, and derive pleasure from the intense arousal that they induce. Typically, their experiential his tory is laden with optimal support for the development of
frontal lobes. In these areas, a number of cortical convergence zones activate concurrently and coherently to form neural
competitive abilities. Many people interpret competitive situations as threatening to their well being and react with
pocampal areas create an integrated index for the repre sented experiences (Damasio, 1989; Helmuth, 1999; Schacter, 1996, p. 87; Teyler & DiScenna, 1986). Typically, the linked neuron networks that produce an integrated representation of an experience become in stantiated in a bodymind's nervous system and is likely to become linked to activation of the endocrine and immune systems as well. Instantiation (Latin: instantia = immediate presence) means that correlated electro-physio-chemical activation patterns have been generated within a bodymind, and once these patterns have been generated, they exhibit some degree of longevity. Synaptogenesis and long-term potentiation (LTP) are two electro-physio-chemical instantiation processes (re viewed in Chapter 3). Synaptogenesis and LTP include the initiation of such processes as: (1) growth of new teloden-
imply that prehistoric human beings gathered around a
one or more learned protective behaviors (withdraw, im mobilize, counter-threat, counterattack). Regardless of a person's prior history, optimal, "in-the-zone" displays of ability are commonly inhibited by competitive situations. The sympathetic division of the autonomic nervous system
(ANS) prepares the body's neuromuscular systems to es cape sources of threat or stand and fight them. If the con sequences of either reaction to a threatening situation are even more threatening than remaining in the threat's pres ence, then muscle tone will intensify and inhibit attempts to display learned abilities (see Chapters 2 and 7). The so-
called "mental" aspects of competitive games refers to at
tempts to overcome protective sympathetic ANS effects. This reality affects amateur and professional sports athletes as well as "vocal athletes". Were the arts invented so that we can determine who does them better than someone else? Or so we can find out who can overcome competitive threat effects better when singing? Explicit/Implicit memory and learning. As noted in Chapter 6, when sensory experiences occur, particular features of the external and/or internal environments stimu late particular neuron groups within the visual, auditory,
and somatosensory networks that are specialized for pro cessing only certain details of those features. For example,
After differentiation, the separated environmental fea
"representations" of whole perceived experiences (see Chapter 7; Damasio, 1990,1998; Damasio & Damasio, 1994; Schacter, 1996, p. 55). This process is referred to as experiential inte gration (Tononi & Edelman, 1998). The right and left hip
dria and terminal boutons, (2) growth of new dendrites and
dendrite spines in neurons of the activated networks, (3) formation of new synapses, (4) increased turgidity of cell walls, myelin, and synaptic connection tissues, (5) increased production of transmitter and modulatory molecules within the neurons of the networks, and (6) increased propensity for reactivation when triggered in the future. So, the greater the intensity of electro-physio-chemical activation during an initial experience, the greater the synaptogenesis and the stronger the LTP. Psychologists refer to the concurrent and coherent
activation of multiple neural networks ("representations" of human-compatible
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an experience), and the induction of LTP in them, as inte
grative memory encoding. Encoding is a constructive pro cess in the brain. Precise accuracy in the encoding of every aspect of perceptual experiences is relatively rare, so that encoding inaccuracies are somewhat common. Integrative learning refers to a memoried adaptation to interactions with the people, places, things, and events that are encountered. [Memory of deep green grass and the sound of the wind in the Austrian Alps is not a learned adaptation.] The degree of strength in the LTP encoding of memo
ries (indelibility, longevity) is referred to by psychologists
as memory consolidation. If the intensity of initial encod ing was minimal, then consolidation longevity will be rela tively short, after which they will dissipate. If the intensity
of their induction was moderate, then their consolidation
longevity is likely to remain in a relatively stable state for a moderate period of time. If the intensity of their induction was high, then their consolidation longevity is likely to re
main in a relatively stable state for a long period of time. When an encoded experience is repeated with some or many variations, or the experience is internally reviewed, more of the differentiated details are likely to become instantiated into the integrated neural representation of the experience. Thus, synaptogenesis and LTP are proliferated within the representation's networks. Psychologists refer to this pro cess as elaborative memory encoding. Increased elaborative encoding results in stronger consolidation.
right inferior prefrontal cortex activates more intensely when whole-pattern knowledge becomes engaged during elabo rative encoding (whole faces and the sounds of melodic contours and whole musical compositions, for example). If you attend a social gathering and are introduced to someone that you have never met before, and you hear their name and see them and then immediately resume a previous conversation with the introducer, little or no elabo
rative encoding will have occurred. Very likely, you will not be able to recall their name within a minute or so. If the introducer mentions the stranger's home town, their occu pation, and an activity that is mutually interesting, and then the previous conversation is resumed, a degree of elabora tive encoding will have taken place. There is a greater like lihood that you will remember the stranger's name for the duration of the gathering. If, however, you ask the stranger questions about their occupation and the mutually inter
esting activity, and the two of you converse for three or four minutes before the earlier conversation is resumed, then deeper elaborative encoding will have taken place. More than likely, you will be able to recall that person's name for the next several days if presented with appropriate cues. Further contact with that person will increase the depth of
processing effect, also referred to as levels of processing effect (Craik & Lockhart, 1972; Kapur, et al., 1994; Schacter, 1996, pp. 43-46). The extent to which pleasant or unpleasant affective-
Elaborately encoded memories are assembled when
emotional-feeling states are generated during an experience
experiences are repeated over time and experiential details
is the most pervasive influence on attentional focus, memory encoding and consolidation, and on memoried learning.
are commonly brought into conscious awareness (Gardiner & Java, 1993). As more and more details of the people, places, things, and events are experienced and become in stantiated in the relevant neural networks, then those de tails commonly become associated, interconnected, and contextualized with previously instantiated memories and learnings (global mapping of multiple neuron groups and networks, see Chapters 3 and 7). In other words, neural representation of current integrated experiences become in tegrated with other integrated network representations. For example, the left inferior prefrontal cortex activates intensely when semantic and categorical knowledge associations be come engaged during elaborative encoding (Demb, et al., 1995; Kapur, et al., 1994; Schacter, 1996, pp. 52-56). The
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When experiences are interpreted as literally or potentially threatening to safety and well being, physicochemical
changes will occur in the body that are referred to as un pleasant feeling states. These states serve as somatic mark
ers for our memoried experiences (see Chapters 2 and 7 for
reviews). When experiences are interpreted as literally or potentially beneficial to safety and constructive well being, physicochemical changes will occur in the body that are referred to as pleasant feeling states. These sensed bodily states, and the neuroendocrine processes that induced them, will be instantiated (co-encoded) in the nervous system along with the perceptual, conceptual, and behavioral events that occurred at the same time. The basolateral nuclei of the
right and left amygdalae are key processors of affective states. Their reentrant connections with the hippocampal areas, several brainstem nuclei, areas of the neocortex, and so on, serve as feeling-state modulators of memory encoding and consolidation. In other words, they evaluate the relative importance of an experience, and can intensify either un pleasant or pleasant emotional memory "tags".
An undergraduate music major and theatre minor was pas sionate about singing and acting. In his junior year, he took his one required math course and experienced such "useless" assignments as solving problems in number bases other than 10. Over four years, he made A's in nearly all of his music classes. He made a Din the math class. Intense or indelible memory consolidation occurs when: 1. elaborative encoding is optimally extensive and occurs in pleasantly constructive situations; and/or 2. an experience is of high value-emotive importance to the experiencing person (Abel, et al., 1995; Cahill, et al.,
1996; Schacter, 1996, pp. 44-46, 81-83).
Spotty was a friendly dog. When I was five years old and in first grade, he used to walk with me to school. Kids would pet him outside the school's front door. I can still see the principal of my school holding Spotty up by his ears with one hand, while he used a paddle in his other hand to beat him, so he would stop lingering outside the door. I can still hear the whacks and Spotty's yelps of pain. At the age of 59, myface still expresses my distress when I recall that event. I was standing inside the red-brick school's front doors. They were painted brown. The principal wore a blue suit that day, and I'll never forget his face. His name was Roy Smith. When an experience, or part of an experience, engages high-intensity feeling states or is interpreted to be unusu ally novel or highly distinctive, an unusually high discharge peak can be recorded in electroencephalographic (EEG) sig nals. The peak is referred to as an event-related potential (ERP) and it occurs about 300 milliseconds after exposure to the experience. It is referred to, therefore, as a P300 EEG spike. When P300 ERPs occur in relevant neural networks during memory encoding, the encoding is more strongly consolidated and recall can occur much more readily (Fabiani & Donchin, 1995). So, the higher the intensity of
Table I-9-5. Ideas for Elaborative Encoding and Memory Consolidation of Theatre Scripts and/or Vocal-Choral Singing 1.
Read script/text/lyrics aloud several times with a variety of expres
sive nuances. What is the person like who is saying these lines or singing this song? To whom or about whom are the lines or lyrics being spoken or sung? 4. What is the situation in which lines/songs are being spoken/sungplace, things, context? 5. Create internal visualization of people, scenes, objects, events. 6. Is this scene/song a monologue, a dialogue, or a soliloquy? 7. What human "experience-stuff' is being expressed in this scene/song? 8. What is the essential "feeling sense" of this scene/song? 9. Create word metaphors for the feeling sense of the song (courage, uncertainty, anguish). 10. Which words in each phrase are the most feeling charged? (See Table 2. 3.
1-9-14. 11. How can the sounds of the words be used to paint a picture of their feeling meaning? 12. What choices did the composer make about the feeling meaning of the text/lyrics, and what is in the music that reveals the composer's choices? 13. How can the words be spoken or the music be sung so that the expressive energy of the feeling-charged words/music will be expressed? 14. Create metaphoric gestures for efficient vocal skills, timing, phrasing, voice qualities [both visual and kinesthetic senses are included in the elaborative encoding.
intense the sensory and attentional processes will be acti
vated, the more indelibly and detailed both the memory and the learning will be instantiated in the nervous system, and the fewer repetitions will be necessary to produce the instantiation (see Chapters 2 and 7). A relatively high de gree of elaborative encoding is likely to be automatic dur ing high-intensity feeling states, and only one high intensity value-emotive experience can produce indelible, lifelong, explicit-implicit episodic memory and learning. In 1967, I was selected as a member of the Cleveland Orches
tra Chamber Chorus for its final performance with conductor Robert Shaw, before he went to the Atlanta Symphony. The rehearsals of
Bach's Mass in B-Minor were loaded with many self-expressive moments and rich learning. From the perspective of my back riser row, right side, fourth-from-the-end chair, I still can see Mr. Shaw's phenomenally expressive, perspiration-streaked face during the final performance in Severance Hall. And I can still hear Bach's incredibly expressive music, sung with incredible expressiveness, and I indelibly remember my deeply transcendent feelings. During the contralto's sing
pleasant or unpleasant value-emotive processing, the more
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ing of the Agnus Dei (to me, the most beautiful music ever written), I thought to myself, "I can die now Because if there's a heaven, it can't possibly be any better than this." When single, mild-intensity, value-emotive experiences occur, then sensory, attentional, and working memory pro
conscious awareness) and some will be encoded as implicit
memories and learnings (not in conscious awareness; Graf & Gallie, 1992). During experiences that produce explicit learning and memory, the bodymind systems that produce implicit learning and memory are activated simultaneously
cesses do not encode detailed, long-term memories. Re
(explanations in Chapter 7). In other words, when bodymind
peated mild-intensity value-emotive learning experiences, however, will produce an accumulation of implicit/proce-
perceptual, value-emotive, conceptual, and behavioral abili ties are engaged enough times in nearly the same ways, both explicit and implicit memory-learning are consolidated. Implicit memory for learned conceptual-semantic relation
dural memories for salient features of the repeated experi ences and their pleasant-unpleasant somatic markers. With each repeat, more details can be elaboratively encoded.
Repeated mild-intensity pleasant feeling states increase the probability that experiencers will (1) continue their degree of sensory, attentional, and working memory engagement with
an experience, and (2) choose to have the experience again. Mildintensity unpleasant feeling states increase the probability that experiencers will diminish their degree of sensory, attentional, and working memory engagement, and choose not to have
the experience again. A skilled high school band rehearsed an unfamiliar musical selection, conducted by a conductor who was unfamiliar to them. As part of an experiment, this conductor disapproved of as many mis takes as he could perceive, and never approved anything that the band performed well. The next day, another unfamiliar conductor rehearsed the band in an unfamiliar musical selection that was prejudged to be of the same technical difficulty as the previous rehearsal's selection. This conductor only approved of what the students did well as their performance improved. The judged performance level reached in 33 minutes with 100% disapproval, was reached in 19 minutes with 100% approval (cited in Murray, 1975). So, what we remember and learn is mostly determined
by: • the intensity of the pleasant-unpleasant feeling states that occur in our bodies during an experience (somatic mark ers);
• the number of times we engage in similar experiences with mild pleasant-unpleasant feeling-state intensities; • the extent to which we explore and discover the branched details of an experience; and • the extent to which we connect an experience with various related perceptual and conceptual associations (deeper elaborative encoding, see Tables I-9-5, 7, and 8). During memory encoding, some experiential features will be encoded as explicit memories and learnings (in
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ships, physical sensations, and motor coordinations is a singular capability-ability in all human beings whose rel
evant neural processes are intact.
For example, when a person's eventual goal is explicit memory of a list, a poem, lines in a play, or the pitches-
rhythms-words of a selection of vocal music, considerable memory consolidation occurs while viewing, reviewing, and repeating the object of memorization. When any of those items (or a segment of same) are spoken or sung aloud, say,
three consecutive times (1) in a constructive, intrinsically pleasant-feeling situation with focused attention, and (2)
associated visual, auditory, and/or kinesthetic experiences have been imagined, but (3) without consciously attempting to memorize anything, a considerable amount of implicit memory will have been instantiated in the prefrontal cortex's work ing memory areas. So, this consolidation occurs implicitly before conscious awareness of "memorization" has occurred, especially if some degree of elaborative encoding has oc curred along with the reviewing and repeating (Noice & Noice, 1996). After speaking the lines out loud or singing the song several times, speak or sing without looking at the words or music, and observe how much was retained. One caution: A threat response can be produced in a person if they are coerced to perform an ability that they are not
consciously aware has been learned (see story at end of this section). The collegefestival choir and its conductor (Axel Theimer, DMA,
St. John's University, Collegeville, Minnesota) rehearsed for two days. A concert was performed in the evening of the second day. On the first day, the concert's opening a cappella selection was rehearsed. The pitches for the opening harmony were given and the selection was sung its entirety. Then, the conductor addressed the first goal for rehearsing the music, told them to begin singing the opening phrase, and just cued them to begin. Several of the singers hurriedly raised their hands
to ask for the pitch, but it was too late. The choir had already started singing, and they were exactly in key After several such events, the conductor brought to the singers' attention the fact that no pitches had been given before any of their rehearsal trials, except at the very beginning of the rehearsal of that piece. Yet they had always sung the music in the key in which it was written. He described implicit (procedural) memory for them. He explained that when we have similar experiences repeatedly, memories are formed and abilities are learned outside of our conscious awareness. Even when there is no deliberate attempt to consciously "memorize" the music that we sing, we are still learning the music implicitly. We then know "how to do things", but we don't con sciously know that we know how to do them. All of the singers had rehearsed the selection a number of times (elaborative encoding), and nearly all of them had learned to be habitually dependent on receiv ing their pitch before beginning to sing. He explained that, sometimes, part of the dependence is the implicit threat of singing the "wrong pitch", thus "making a mistake" and being shown to be "inadequate". Several hours before the concert, the opening selection was re hearsed for about 10 minutes. At the conclusion of the final rehearsal, the singers were dismissed for dinner and pre-concert preparation. Sev eral hours later, at the concert, neither the singers nor the host choir conductors knew what the guest conductor planned to do. The choir walked in, then the conductor. Both received enthusiastic applause. No pitch for the concert's first a cappella selection was given backstage or on-stage. The conductor turned to the choir, steadied his arms, and cued the choir to begin singing. They did. After three hours. Right in key. The stronger the instantiated LTP is instantiated within representational neural networks, there is an increased prob ability that the networks will partially or substantially reac tivate when some aspect of the initiating experience is en countered again. This reactivation is referred to by psy chologists as memory retrieval. Reactivation can be cued by similar external events or by internal processing of as sociated memories. During encoding, when various ele ments of an experience are instantiated with some depth, those elements can serve as cues for retrieval of the whole memory or some degree of it. "...(T)he specific manner in which we encode an event determines what retrieval cues will later help us remember it" (Schacter, 1996, p. 114) Explicit memory of an unfamiliar person who is met briefly at the beginning of a reception line of thirty-five
unfamiliar people may be retained for seconds at the most
(immediate explicit memory), unless the experience of that person is elaborated in some way. People who park their car at work each day in a different location within a large
parking garage, will consciously attend to visually perceived features of that location so that, about 8 or 9 hours later, they can retrieve a memory of where they parked their car.
Relatively brief elaboration consolidates recent explicit
memories (short-term) that can last about one day. Long term explicit memories can be available to working memory
in time periods of hours to months. Long-lasting memo ries can be retrieved over a lifetime (see Chapter 7). With increased elaborative encoding, additional situ ational cues for retrieval of memory and learning are em bedded in the neural representations of experiences. This process is referred to as the encoding specificity principle or cue-dependent memory retrieval (Kapur, et al., 1995; Schacter, 1996, pp. 60-64; Tulving & Thompson, 1973). State
dependent memories can only be retrieved, or more com pletely retrieved, when the physicochemical state of the body is nearly the same as when the original experience occurred (Eich, 1989). When an element of knowledge that was pre viously learned, or part of a prior experience is mentioned to a person and they then recall the whole experience, then the memory is said to have been primed (Schacter, 1996, pp. 166-169). Ten and 14-month-old infants were shown a puppet and had a very pleasant experience when learning how to use it. Their behavior with the puppet was examined several months later and on a few occasions, at several-months-long intervals, over a 50-month span (just over four years). During this time, their language abilities devel oped and infantile amnesia occurred. The children were about five years old at their last examination. The researchers observed almost no verbally expressed recall of prior episodes with the puppet. Yet, when compared with children who had never seen the puppet, these children clearly showed more interest in it and used it more familiarly. The researchers concluded that the toy primed implicit memories of the puppet and its use (Myers, et al., 1994). Associative retrieval occurs when a memory has been encoded with associated sensory perceptions, conceptualsemantic information, and/or feeling states. These associa tions cue the hippocampal index to perform retrievals more readily. Hearing a particular song cues a memory of a past
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human relationship and its feeling states, for example. Effortful or strategic retrieval is a slow "trying to remem ber" process that involves areas of the prefrontal cortex, particularly in the right frontal lobe (Moscovitch, 1994).
During episodic memory retrieval, specific areas in the right prefrontal cortex are more activated than the same areas of left prefrontal cortex (Tulving, et al., 1994). These searches of our "memory banks" can be referred to as transderivational searches.
are memory squashers and can be frustration boosters. In music rehearsals, unexpectedly stopping the music in the middle of phrases interrupts both implicit and explicit memory encoding and retrieval, increases unpleasant feel ing states, and diminishes the accuracy of future retrievals. The longer the time span between newly attended experience(s), the fewer details remain in recent memory,
and the more experiential repetition will be needed to achieve reliable, detailed long-term consolidation, unless high inten
Memories that have been elaborated with semantic
sity feeling states occurred with the experiences. For ex
associations can be retrieved more readily when they are encoded within relatively clear conceptual framework cat egories. Component concept subcategories can be more strongly consolidated because of the framework associa tions (Damasio, 1990; Knowlton & Squire, 1993; Lakoff, 1987). Early instantiation of relatively clear framework categories prevent confusion when later brain growth cycles come on
ample, when school choral singers are learning unfamiliar music in daily one-hour school periods, and the singers then go to a science or history class, their recent working
memory functions do not have very much time to consoli date the stimulated long-term potentiation processing into
longer-term memory for future detailed retrieval. Intrinsic reward and interest, constructive productivity, pleasant feel
line and formerly separated categories are seen to actually
ing states, and clear use of goal-sets and related pinpoint goals
overlap with other formerly separated categories. For ex ample, clearly distinguishing the vocal fold shortener-length-
are some of the conditions that optimize memory consoli dation and retrieval. Blocked practice learning experiences involve repeat edly taking conscious target practice on the same complex ability (see Chapter 7). Blocked practice results in faster acquisition and stabilization of an ability and is appropri ate when acquiring and stabilizing (1) new perceptual, value-
ener functions makes it easier to understand their overlap ping, synergistic influences on pitch and on the voice quali ties known as vocal registers (see Book II, Chapters 7 through 11). While memory encoding is a constructive process in
the brain, memory retrieval is a reconstructive process (see Chapter 7; Damasio, 1989; Damasio & Damasio, 1994; Schacter, 1996, p. 66). When a memory is reconstructed, some of the neuron groups within the memory's neural networks are not likely to activate in the same way they activated during encoding. Some features of the memory, therefore, may be incomplete or missing. Subsequent re trievals may then include distortions (Schacter, et al., 1995). Memory research indicates that when people have an
experience and then immediately become refocused onto one or more other experiences, or the experience was inter rupted, then detailed retrieval of the original experience is diminished (Keppel, 1984). If high intensity feeling states occurred during the original experience, recall may be im proved. So, the more distractions there are in an experien tial process, the more repetitions will be necessary to create reliable, detailed memory encoding and retrieval. In school settings, loud bell ringing to signal the end of class periods, and non-emergency public address system announcements,
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emotive, conceptual, and neuromuscular coordination abili
ties, or (2) altering habitual abilities. Appropriate use of goal-sets and related pinpoint goals facilitate establishment and consolidation of conceptual frameworks component con cepts, and elaboration of complex skills. Goal-sets and pin point goals take advantage of the fact that, when learning
novel abilities, or altering habitual skills, conscious bodymind processing can be successful only when one activity is un dertaken at one time. Random practice learning experiences involve mix ing the abilities that are repeated. Random practice results
in increased retention of complex abilities and in and trans fer of abilities to a variety of contexts. Scattered pinpoint goals are useful during random practice. With increased repetition of complex physical coor dination abilities, their operation is increasingly transferred
to subcortical routines in the brain and greater speed and automaticity appear when the abilities are engaged. They are then examples of procedural memory and learning. Does
"practice make perfect"? What about "repeated target practice makes abilities more permanent" (habitual)?
6. interruptions of attention-tracking during whole experiences or defined experience chunks;
In summary, enhanced reliability of detailed memories can
7. shifts of attention to other experiences or memories
be accomplished by providing: 1. intrinsically interesting, intriguing, delighting, en
before consolidation has occurred; 8. insufficient number of repetitions of learning expe
gaging, desirable learning experiences;
riences and little or no elaborative encoding so that memory consolidation is sporadic or is "hard work".
2. "first experiences" that occur in constructive situa
tions that are likely to induce focused attention and pleas ant-feeling physio chemical states, and are presented as de sirable self-mastery adventures that are just beyond the current abilities of the learners; 3. whole experiences, or defined experience chunks, during which there are no interruptions (almost always experience music in whole phrases, periods, sections, or compositions); 4. minimal or no shifts of attention to other experi ences or memories while a goal-set is underway (sustained attention with no distractions); 5. higher intensities of pleasant-feeling or unpleasantfeeling bodymind states and attentional focus; 6. an appropriate number of repetitions of learning experiences during which deeper and deeper elaborative
encoding for memory consolidation occurs (see Tables I-9-
3, 5, 7, and 8) and future interconnections with other similar experiences are prepared (transfer of learning).
Diminished remember-ability can be accomplished by arranging: 1. experiences that have little or no intrinsic reward or cannot be related to pleasant past memory and learning;
2. externally imposed, forced-choice experiences in which the rememberer has no "ownership"; 3. threat-laden situations that are likely to induce un
pleasant-feeling physio chemical states and protective be haviors; 4. "first experiences" that are presented to learners as conscious "hard work", with deadline pressures and mini mal expectation of intrinsic reward: 5. minimal or confused conceptual frameworks into which component concepts seem not to fit, thus diminish ing the elaboration of perceptual, value-emotive, concep tual, and behavioral abilities:
Feedback and Assessment Integrated Within Learning Experiences During active learning experiences, each bodymind tracks and evaluates (explicitly and implicitly) (1) external
events that occur both during and after each experience
(visual, aural, and tactile exteroception of the event and its consequences), and (2) the bodily internal events that oc cur at the same time (visceral interoception and kinesthetic proprioception; see Chapter 3). Both the internal and exter nal events are thus "fed back" to a bodymind's physio chemical networks that produced the sensory en gagement and behavioral action in the first place. These
fed-back external and internal events have come to be termed feedback.
External feedback (exteroceptive senses) is perceived from external sources such as borders of a car in relation to painted lines on a road, acoustic reverberations when sing ing in an enclosed space (or minimizing of same), or where a dart landed in relation to the circles on a target. Nonver
bal or verbal reaction to a behavioral event by another person (or by groups of people) counts as external feed back. During the development of voice skills, any post vocalization analysis, presented by another person or group is an example of external feedback (a teacher or an audi
ence, for example). In learning situations that include large
proportions of external evaluation, learners can become de pendent on it and never fully develop their own indepen dent evaluative capabilities (more later).
Knowledge of results (Bilodeau, et al., 1959) is a term that is used in research on goal-oriented motor movement. It is external feedback that provides information about the extent to which a person has accomplished or has deviated from a particular physical coordination goal. Did the dart
land further from or closer to the target's bull's-eye, inside the bull's-eye, in the middle of the bull's-eye? When knowl edge of the results of a physical coordination is clearly ap human-compatible
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parent (hitting or missing a basketball free throw, pitch is
sustained or not sustained), then knowledge of perfor mance (Young, 1988) can be provided about wrist action by a coach, or about vocal breathflow and soundflow by a voice educator. Internal feedback is processed within each bodymind so that the interoceptive and/or proprioceptive senses are activated. Internal feedback occurs during an unfolding event or by reviewing memory of the event after it has
concluded. Much internal feedback is processed outside conscious awareness. Examples of internal feedback dur ing the development of voice skills would be: 1. vibratory sensations of one's own voice during speaking or singing; 2. kinesthetic sensations of one's own vocal coordi nations during speaking or singing; 3. interoceptive visceral sensations that occur because of pleasant-to-unpleasant physio chemical feeling-states; and 4. post-vocalization self-analysis or sense-making of auditory and kinesthetic feedback of one's own voice after speaking or singing, including feeling states.
Proprioceptive or kinesthetic feedback results when
muscles-tendons contract and release or are stretched. Some proprioceptive sensation can be reported to conscious
awareness, but much is not, especially in the larynx (see Book II, Chapter 7). Proprioceptive feedback that is not reported to conscious awareness is used to guide ongoing and future physical coordinations. Interoceptive sensations include tactile feedback, that is, epithelial or skin surfaces
are moved in some way, such as touch or vibrations. Pain feedback (nociception) is another form of internal feed back. When neuro-physiochemical state changes occur
within the body's torso, interoceptive sensations produce value-emotive feedback. These state changes are called feelings, feeling states, affective states, or emotions. Physio chemical state changes in the torso's viscera are detected by sensory nerves (mostly branches of the vagus nerve) and are trans mitted initially to the brainstem and limbic areas of the brain (see Chapter 3). Subtle changes in the viscera may or may not be transmitted to the higher-order cortical areas that process conscious attention. Billions of elements of internal and external feedback are summated within the nervous system and are available 222 bodymind & voice
to those neural networks that guide action and reaction. Thus, perceptual, value-emotive, conceptual, and behavioral categorizations and recategorizations have begun and are instantiated at very high speed into immediate working memory, recent memory, and possibly, long-term memory (see Chapter 7). As a guide for ongoing and future action, feedback is most valuable when it is available during or soon after a learning experience. After an experience, much of "what happened" can be explicitly accessed and appraised
in such conceptual continuum terms as wide-narrow, highlow, close-distant, curved-straight, thick-thin, bright-dark, loud-soft, heavy-light, rough-smooth, same-different, accurate-inaccurate, famil iar-unfamiliar, pleasant-unpleasant, simple-complex, and so forth. The capability for sensitivity to subtle internal feeling states, and their associations with people, places, things, and events in the external world, can be converted into many beneficial abilities. Collectively, they can be referred to as a social-emotional capability-ability cluster. The devel opment of these abilities, however, is experience-dependent (see Chapter 8). Higher-order language areas might label value-emotive criteria-not-met feedback signals as unfa miliar, uneasy, incomplete, inaccurate, uninteresting, puzzling, doesn't feel quite right, unsatisfying, negative impression, apprehensive, poten tially threatening to well being, or that person is not "connected" with me, or not attracted to me. Higher-order language areas might label criteria-met feedback signals as familiar, com plete, accurate, successful, interesting, satisfying, fulfilling, positive impression, potentially beneficial to well being, or that person is connected with me or is attracted to me (Chapter 8). The ability to attend to one's own pleasant-unpleas ant feelings and use them as feedback that guides action is a prime element of autonomous self-identity (Gardner's term: intrapersonal intelligence). Internal "feelings of knowing", intu ition, hunches, "feels right" or does not, are examples. The ability to "sense what another person is feeling", or "know what another person is going through" can be used as feed back that guides human-to-human interaction (Brothers, 1995, 1997, pp. 49-62). Those abilities are referred to as empathy, and empathy is a primary foundation for the development of social-emotional self-regulation
(Gardner's term: interpersonal intelligence). The goal of effective senior learners is to help learners increase and refine their self-perceived feedback. Self-per ceived feedback only occurs when (1) a learner's attentional
processes are engaged and focused on a learning experi ence, (2) when unscripted sense-making, pattern detection,
and self-mastery are at hand, and (3) when intrinsic reward and interest are most likely to occur. Senior learners can
assist learners in the development of their self-perceived feedback in at least three ways: 1. ask constructively worded questions about what happened;
2. repeat a learner's response to questions, or summa rize it, often in the form of a question; 3. describe their own perceptions of what the learner(s) did, in order to provide a model of constructive feedback vocabulary that learners may use for the self-perceived feed
back that they can provide for themselves and other people.
Constructive questions. Constructively worded ques tions can engage bodymind attention and a learner's sense making, pattern detection, and self-mastery of perceptual,
value-emotive, conceptual, and behavioral abilities. Analysis of teacher-student interaction by Amidon & Hunter (1967), Bellack, et al. (1966), Flanders (1970), and Hough (1970) in dicated that when teachers used such "indirect verbal be haviors" as asking questions, accepting and using student ideas, encouraging student efforts, and accepting student feelings, then (1) student responses and involvement in creased, (2) students rated those teachers as more desirable to have as a teacher, and (3) rated them as more effective in "motivation" and "fairness". When teachers used such "di rect verbal behaviors" as lecturing, giving directions or com mands, giving criticism or corrective feedback, and justify ing their authority over students, then student responses
person, a place, a thing, a word or phrase, a fact, or a contextualized time-course event (episodic memory). Closed questions generate memory retrieval. Open questions also generate memory retrieval, but they also en gage conceptual processes in a "figuring out" of deeper, more defined understandings and possible solutions to problems, and so on. These processes are commonly referred to as critical thinking. When assisting learners in the development of their own self-perceived feedback abilities, Langness suggests beginning with imitative or exploratory learning experiences
and general, open, nonspecific questions first. As goal-fo cused learning experiences occur, then gradually more spe cific questions may be valuable to learners (Personal com munication, Anna Langness, Ph.D., Boulder Valley Public Schools, Boulder, Colorado; see also Langness, 1992; Tenenberg, 1988; and Langness' Chapter 6 in Book V). For example, an exploratory learning experience has
just concluded, or part of one, and a teacher asks, "Did you notice a difference that time?" or "How did you do that?" or "What did you do to make that /t/ sound?" or Are there moments in this song that are most special to you?" or "What did you like about how you sang this piece of mu sic?" or "Is there anything you would like to do differently to make the music even more expressive?" Follow-up ques tions that elicit more detailed observations might be, "What did your tongue do when you made the 'Bugs Bunny' sound?" or "What happens to your breathflow when you make a /t/ sound?" or "Was the open-feel in your throat
motivation and fairness. Amidon and Hunter (1970) distinguished two types of questions in teacher-student interaction. Broader or open questions elicit internal observing, comparing, correlating, estimating, evaluating, refining, alternative reasoning, con
closer to the bull's-eye, about the same, or further away?" or "In this phrase, is there a particular word that is the most feeling-charged word to you?" When a goal-set has been announced before a series of learning experiences, then perceptual, value-emotive, con ceptual, and behavioral attention is focused on a circum scribed range of experience. Feedback questions, therefore, would be about phenomena that were prescribed by the goal-set (see Table I-9-7). For example, after a basic orien
templation, and imagining. Open questions send bodyminds
tation to vocal registers has been experienced and a learn
on brainwide transderivational searches for immediate, re cent, or long-term memory patterns to analyze and sym
ing experience is focused on observations of register transi tions, an open feedback question might be, "How did your
bolize (see Chapter 7). Narrower, or closed questions elicit
register transition go that time?" A narrower, more specific,
retrieval of specific information such as recognition of a
or closed question might be, "What register are we starting
and involvement decreased and students rated those teach
ers as undesirable to have as a teacher, and as ineffective in
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That was closer to the bull's-eye that time. Do it again, (assumes a goal is clearly understood)
Table I-9-6. Examples of a Language of Collaborative Assessment, Self-Reliance, and Mutual Respect Questions that facilitate self-perceived feedback: How did that seem to you? Did you notice a difference that time? Was that closer to the bull's-eye, about the same, or further away? How did you do that? How did that feel? How did that sound? How did that look? Did that seem breathy, pressed-edgy, or firm-clear-mellow-warm to you? Did you hear more of a Ten-Foot-Giant sound, a Bugs Bunny sound, or balanced resonance? What happened when...? Did you see/hear/feel a difference when you...? What changed when you...? Did you feel what I felt?
What did your throat feel like when you sang that time? (answer) Now do (suggest different approach to voice use). (sing same passage) "Did you notice a difference?" "How would you describe the difference?" "What did your throat feel like that time?" "Was there a difference in the sound of your voice?" "Was there a difference in the feel of your voice?"
Feedback that describes what a senior learner observed when learners have missed a bull's-eye and may not have the vocabulary to describe sounds and sensations of their own voices (includes some "I" messages and some goal statements): The old "reach up and squeeze" habit got in there again that time. Did you feel it? That sounded a little pressed-edgy to me. Did you notice it by any chance? I heard some inaccurate pitches/rhythms that time, (avoids wrong, bad, and incorrect)
I heard the rhythm being just behind the beat. Vowels "speak" on the rhythm? Check it. I saw some ceiling breathing that time. Check your body and let your midsection breathe you. I noticed repeated surges of sound in that phrase. How close can you come to "steady-flow singing"? The music didn't really move me that time. What can we do to make it more expressive? I heard some pitches going flat in the bass section. Did you hear that basses? What can we do?
That was just inside the bull's-eye that time. What can you do to move it more to the middle? Bull's-eye!!
Your upper register is getting stronger. Your lower register is lightening more and more as you go higher in pitch. Your upper/lower register transition is very well blended now. That flute/falsetto register of yours is just soaring. There were a lot more accurate pitches that time. You started singing, noticed that your larynx pulled up, stopped, and changed it right away. Yes! I heard a smoother, more flowing musical phrase. That was a goosebump experience.
Senior learner questions can be worded in such a way that a "right answer" is given to learners so that their percep tual, memory, and learning processes are not engaged at all. For example, whether a learner sensed overly effortful voice use when singing high pitches or not, the following ques tion gives them the right answer: "Did you notice that your throat was tight when you sang those high notes?" or "Did you hear the pressed-edgy quality in the tenor section that
time?" Those kinds of questions deny learners an opportu nity for self-perceived feedback, stop curiosity, and elicit "right-answer" and "please the teacher" orientations. They
deliver the senior learner's perceptions and implicit goals without engaging the pattern-detecting and sense-making
capabilities of learners. In truly human-compatible education settings, feed back is not a means by which senior learners can demon strate their own mastery of knowledge-ability clusters. Feed back is an opportunity to help learners develop their ability for self-perceived feedback, and multiple-variable, criteria-
based judgments. Senior learners demonstrate competence as teacher-guides when we become less and less necessary as a source of feedback. That means that the learners are becoming competent and self-reliant, that is, more and more
accurate as observers and more and more adept at gather [References to pitch inaccuracies tend to focus attention on conscious control of pitch, and frequently result in unnecessary larynx muscle involvement. The most common contributors to out-of-tune singing are (1) inefficient vocal coordinations that sometimes are induced by intense bodymind concentration over time, (2) underconditioning of larynx muscles and vocal fold tissues, (3) dehydrated or swollen vocal folds, (4) general bodymind fatigue, and (5) emotional disengagement from singing.]
Feedback that describes what a senior learner observed when learners have gotten closer to a bull's-eye or hit it (learners are gaining mastery or being competent), or feedback that celebrates emerging competence:
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ing feedback for themselves. Those are lifetime skills.
Repeating or summarizing a learner's response to a question. Repeating or summarizing learners' responses gives them an opportunity to consider refinements of their observations and skills or to branch them into more de
tails. A senior learner may ask, "What did you do to make that /t/ sound?" and a learner may respond, "My tongue goes to the roof of my mouth" Senior learner: "Your tongue
goes to the roof of your mouth..?" Learner: "Well, it's the tip of my tongue...and it touches just above my front teeth" Praise versus description as feedback.
Senior learn
ers lead learners either through (1) novel cognitive-emo
tional-behavioral patterns, or (2) an alteration of habitual cognitive-emotional-behavioral patterns. When learners are not experienced enough to respond accurately to questions about new patterns, or when they have an underdeveloped vocabulary, then descriptive or informational feedback from senior learners can be valuable as a model for learners' own eventual self-perceived feedback (Pittman, et al., 1980). Praise feedback can be worded in ways that: (1) enhance learner dependence on external, non-self sources for feed back about personal competence, (2) appear positive but actually compliment incomplete competence as though it was full competence, (3) provide no useful feedback infor mation, and (4) create embarrassment and a degree of iso lation among learners (see Table I-9-2 for examples). Teacher-approval praise has the appearance of posi tivity, but it reinforces the importance of pleasing the teacher or conductor. In other words, obtaining the approving judg ment of others may become more important than gaining personal competence. Examples: "I like the way you opened your mouth more that time" "I heard good things in your singing today" "You sang the way I want you to sing" "That's
the sound I want". This type of praise may increase depen dence on others for self-identity rather than increasing one's
own autonomous competence. The result may be a person who passively follows directions very well, but waits to find out what others think before they venture a guess about their own degree of mastery. The learner who asks, "Did I do that right?" or "Is that what you want?" may not yet have learned how to perceive and use feedback for themselves.
Apprehension may be an emotional characteristic of those learners, and a hesitant orientation may prevail in learning and expressive situations. The determination of self-reli ance and self-identity, therefore, may be inhibited by a steady diet of this type of praise. Gratuitous, unwarranted praise is emotionally posi tive, appears to be constructive, and is delivered by senior learners whose "hearts are in the right place". Typically, this type of praise is considerably overstated and often is used
in a context where learner skill has improved, but has not
Examples: "Good job", "Yes", "Good", "That was better", "That's correct singing", "Very good!", "That's great!", "Excellent!", "Wonderful!", "That's just perfect!". This
yet been mastered.
type of praise provides no accurate or helpful information about what learners did to produce the praise. More than likely, it is not related to goal-set or pinpoint goals. In group settings, it also approves the behaviors of all learners as though everyone did exactly the same "wonderful" be havior. Lack of mastery, therefore, is described as mastery for some learners. One result may be that learners will continue to repeat the same less-than-skilled behavior pat tern in the future under similar circumstances and conceive of the behavior as being competent. This way of praising is
sometimes used habitually, and eventually may become a distracting mannerism or an empty compliment that may
be perceived as fake by learners. Those interpretations may generate an uneasy feeling about the teacher's competence and credibility. Two exceptions: (1) If one pinpoint goal has been clearly stated, has been tried, and was achieved very well, then "Yes!" or "Bull's-eye!" will clearly infer mutual recogni tion that the goal was accomplished. (2) Sometimes, ex
pressions like "Yes!", or "Oh, my! That moved me," are cel ebrations of achievement, or of goose-bump expressive
moments during a rehearsal or performance. Nonverbal feedback can be even more powerful, such as, the auto matic, spontaneous facial expression(s) that occur when expressive moments are experienced, or stillness followed by an affirmative nodding of the head. That contextual feedback is a celebration of mutually shared moments and enhances a sense of bonded community. Special status praise appears to support self-esteem and confidence, but it may have the opposite effect on some learners. This type of praise draws attention to personal qualities of one learner or a subgroup of learners, rather than to a description of specific competencies ("You are so smart!" "What a good voice you have!" "You sing better than any of my other students!" "The tenors sang better than any of the other sections today!"). The praise of one learner or subgroup of learners can imply a negative evaluation of the unpraised learner(s). Compliments are uncomfortable for many people and embarrassing for some. Sometimes, the
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unpraised learners may take on a facial and vocal expres sion of derision that can have a "depressing" effect on the
praised person. So, being singled out for praise in front of peers can actually put the praised person's self-confidence at risk. Even resentment toward the praise-giver can occur.
On the other hand, some learners may develop a sense of obligation or even an obsession to be praiseworthy
Manipulative, controlling praise is a form of control by extrinsic reward (see examples in Table I-9-1). It is intended to induce obedience to, and compliance or conformity with, a school's or a teacher's imposed rules or expectations. It reinforces an adversarial, external locus of cognitive-emo tional-behavioral causality rather than helping learners de velop a collaborative internal locus of cognitive-emotionalbehavioral causality (see earlier section and Chapter 8). Implicit, constructive praise is just a description of what a senior learner heard or saw or felt as one human being to another. Senior learners hold up a verbal and nonverbal
mirror so that learners may "see a reflection of themselves
in it" (see Tables I-9-5 and 6 for examples). According to Bennett (1988), constructive praise confirms and substanti ates the competence, increasing skill, and constructive self identity of learners. Examples: "Every sound of every word came out clearly. Yes!", "Your ears and voices are really cooperating today", or "When you opened your mouth more on those so-called high notes, I/we heard your voice re
lease even more sound than before. How did it seem to you?" [Examples of a language of collaborative assess ment, self-reliance, and mutual respect are found in Table
I-9-6.1 This kind of praise gives (1) constructive information, (2) accurate vocabulary and knowledge of performance to learners in order to help them make sense of their world and gain mastery of it, and (3) serves as a model to the learners of how to express their own self-perceived feed back. It confirms the reality that the learner did the sense making and is gaining in mastery. It implies that the teacher
Table I-9-7. Comparison of Two Goal Setting and Two Feedback Languages used by Two Choral Conductors During Rehearsal Learning Experiences In rehearsal, a chorus begins singing a musical selection in which the first word is "Down". The following scenarios represent verbal and some nonverbal communica tions that could be used by two different conductors, and some possible choir responses. Scenario #1: Thats not acceptable. You're starting late. Now do it again and start the music right on time. [They sing it and the entrance improves but still is not together.] [spoken in an irritated tone of voice] No, no. You're still not right on time. Your/d/s are all over the place. Now look, when my conducting hand hits its lowest point, thats when all of your /d/s should sound precisely together. Now watch me and do it. [They try it again but the entrance is more uneven than the time before.] [increased irritation] You're not concentrating enough. This is simple and easy. Just do it. [After three more trials, the entrance is precise. Actually, the less skilled singers dropped out and did not sing their /d/s. The first word is now exaggerated in volume and the initiation of the music's "expressive flow" is distorted. Also, the vocal tone quality has become more pressededgy and overbright (see Book II, Chapters 10 and 12).] Scenario #2: When the singing starts, I hear a kind of tattered entrance. There are about 10 /d/ sounds instead of one. [This language describes what the conductor heard and establishes the bull's-eye of a target] Just for the fun of it, sing the pitches you have on the word 'Down" and really make the entrance sloppy on purpose. I mean big time. [Establishes the outside limits of the target and introduces alerting, focused attention, and pleasant-feeling humor.] Now, on purpose, can you make your entrance just a little off-time, but not very much? [Establishes competence to get closer to the bull'seye.] This time, lightly tap the fingers of one hand on the back of your other hand like this. [Model how to do that while modeling the tempo of the music at the same time.] Join me. [Do that for about 5 to 10 seconds.] Now, do four taps in a row, and on the fifth one say the word "Down", [do that] When would be the most helpful time to start breathing before saying the word? [explorations, observations, judgments, conclusions] Tap and breathe and sing the first chord on "Down", [do that] "Was the /d/ on time?" [Repeat that several times for memory consolidation. This process establishes a template coordination (see Chapter 7) that uses the visual,
auditory, and kinesthetic senses for more extensive memory consolida tion. That template memory can be used to guide timing coordinations in increasingly complex future singing situations.] Now, let's sing the whole first phrase. This is the big moment! Without tapping your hands, how close can we come to starting the music right together? I'll start my conducting pattern; you start singing as though all of you were one person, [do that] How close was it? Do you think you can get even closer? [In subsequent not-together and together entrances, singers could be asked, "How was that first entrance?" or "Would you like to do that first entrance again?" or "Was the first entrance together or not as together as it could be?"]
did not teach that to the learner from the teacher's pre
detected patterns and/or masteries, but that the senior learner's greater experience was used to arrange circum stances in such a way that sense-making and mastery by the
learner was likely. In learners, that type of feedback activates the pleasant-feeling processes of the brain so that teacher approval praise is superfluous and unnecessary.
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Pointing out learner mistakes, errors, and failures has been a fundamental staple of teaching-learning situations for millennia of time. On a spelling test of ten words, eight are spelled accurately and two are spelled inaccurately. Next
to which words do teachers place a read mark? "You are not paying attention" or "You are singing under the pitch" are examples of you-messages that have the emotional flavor of an accusation of inadequacy (see Table I-9-2). Each pointed-out mistake triggers an unpleasant feeling state in
mouthed remarks that criticize what the teacher is doing,
compare them unfavorably to a favored teacher, withhold cooperation, frequently interrupt with meaningless ques tions or comments, and so on. Remember the story of Bret trying to get on his rock ing horse (Chapter 8)? What do you suppose would have
the bodymind that becomes a memoried somatic marker for the person, place, thing, or event that was part of the
happened inside Bret, and to his rocking horse behavior, if
experience. Each such marker may be referred to as an emotional ouch (Seminar study with Eric Oliver, M.A., Psy chologist, MetaSystems, Ltd., Canton, Michigan). Who in terprets whether or not an emotional ouch has been deliv ered, the receiver or the deliverer?
his father had moved his leg over the horse for him? When human beings autonomously master a skill, a pleasant-feel ing physio chemical state occurs and is sensed in the bodymind. That state is intrinsic reward and is instantiated in memory with any person, place, thing, event that was
What is the likely effect on emotional memory and learning when a teacher focuses mostly on pointing out
part of the experience. It becomes a memoried somatic marker for those associations (see Chapter 7). When mas tery of a skill has been observed and acknowledged, ver bally or nonverbally, by someone with whom valued re latedness has been established, then the intensity of pleasant feeling states may become amplified. Verbal acknowledg ment could take the form of a description of a learner's mastery, not inaccurate or overstated praise. Each such somatic marker may be referred to as an emotional lift, or an emotional float. The affective result of many such events between senior learners and learners is the accumulation of two-way respectful emotional connec tion and attachment. Other constructive behavior patterns also accumulate, including social-emotional self-regulation, strong self-identity (intrapersonal intelligence), empathic relatedness with other human beings (interpersonal intelligence), and intrin sic interest in shared experiences. Usually, a single emotional lift or float produces relatively minimal feeling intensity. As
what is "wrong" even if the justification is to help the chil dren learn? More often than not, teacher or conductor feed back that is presented as "good-bad", "right-wrong" "cor rect-incorrect", or "proper-improper" produces emotional ouches, and over time, a degree of emotional desensitiza
tion. The affective result of many such emotional ouches, delivered by teachers, is that students rehearse over and over again how inadequate they are and emotional dis tancing between student and teacher grows. Emotional
ouches result in avoidance of potential ouches, some degree of immobilization when they are possible, and a tendency toward ouching-back or counter-ouching (see Chapters 2 and 7). They also enhance protective reactions that inhibit bodyminds from carrying out their innate drives to make constructive sense and gain constructive mastery. A popu lar student avoidance strategy is to only give right answers to teachers, and to keep quiet if a right answer is not known with certainty. ing intensity. As more ouches are delivered, however, the
lifts accumulate over time, however, emotional connection with people, places, things, and events becomes more in tense. The probability of increased attentional focus, in trinsic interest and involvement, and constructive behavior
unpleasant feeling states can become more intense, and the probability of counter-ouching grows. In other words, re
patterns increases. In other words, repeated emotional lifts and floats can grow into emotional highs, emotional tick
peated emotional ouches can intensify into emotional hits, stabs, and slashes. Emotional hits, stabs, and slashes may include teachers (or peers) making fun of students, teasing and laughing at them (often without malicious intent), and
les, emotional caresses, emotional massages, and emo tional ecstasies [Author's Note: Emotional tickles was created by Steven Szalaj, music educator, Crystal Lake, Illinois, at the 1997 VoiceCare Network continuing course].
making sarcastic remarks to them. When teachers regularly deliver emotional ouches, students deliver them more fre quently to other students. Students also may make smart
Do children read books outside of school for the plea
A single emotional ouch only produces minimal feel
sure of using their visual, auditory, kinesthetic, and em pathic imaginations while reading stories? Or is reading an
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activity that is done only during school hours because it is required to complete worksheet assignments, pass tests, and get a grade? What do their voices sound like when they read aloud? Do their prosodic inflections express perfunc tory boredom or do they express the emotional flavors of the story and its characters? Do they read because it is enjoyable and satisfying in and of itself, and will they choose, therefore, to read throughout their life-span? Are children provided opportunities to learn clear, expressive voice skills
for conversation or informational presentations in front of
other people or for portrayals of human beings in plays? Do learners sing because they have mastered expres sive vocal abilities and because singing is enjoyable and fulfilling in and of itself? Will they continue to sing after they are no longer with us? Will all of the elementary school children that we have led, choose to become members of a junior high/middle school singing group (see the Fore Words)? Will the junior high/middle school learners choose to become members of a high school singing group? Will they then go on to college, community, or religious singing groups, study solo singing or speaking skills, or choose to become voice educators themselves? Assessment In school education circles, standard ized assessments of academic aptitude, intelligence (IQ), and achievement are administered to students. Aptitude and IQ tests were devised and began to be used in the early 20th century in an attempt to measure intellectual traits that were assumed to be genetically inherited. The tests predomi nantly used, and still use, analytic reasoning, activation and
alteration of selected internal sensory images, and linguistic and mathematical symbol systems, mostly learned in aca demic settings, as a way of gauging degrees of intelligence, assessing past academic achievement, and predicting future academic success. The tests are structured so that student responses can easily be converted into one or more num bers that serve as an index of general aptitude or intelli gence. Because hundreds of thousands of students have taken the tests, students can be placed into percentile ranks. In the past few decades, the traditional concepts of aptitude, intelligence, and achievement, along with their meth ods of measurement, have been questioned and significantly discredited (Ceci, 1996; Deacon, 1997; Gardner, 1991a,b; Gardner, et al., 1996; Gould, 1995; Hatch & Gardner, 1986;
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Owen, 1985, Popham, 1999a, Sternberg, 1985, 1998; Sternberg & Grigorenko, 1997). The line between innate, genetically provided capabilities (potential for learning) and experien tially learned abilities has never been clearly drawn (Gor don, 1999), and their overlapping developmental nature may make clear demarcation impossible.
Results of these tests can influence the formation of explicit or implicit teacher expectations that are communi
cated nonverbally (implicitly) by teachers to students, and the students interpret the nonverbally communicated ex pectations, and respond to them outside their conscious awareness. These teacher expectations can affect the achieve ment of some students beneficially, but can constrict the achievement of others (Conn, et al., 1968; Gould, 1995; Lemann, 1999; Owen, 1985; Pelletier & Vallerand, 1989; Rosenthal, 1971). Pygmalion in the Classroom (Rosenthal & Jacobson, 1992) describes an experiment in which teachers were told that their new "average performing" students had been tested and found to be on the verge of blossoming intellectually, when, in fact, no such finding had been deter Over the course of the ensuing school year, the students' academic performance improved significantly. The only change had been the teachers' expectation that the stu dents would "blossom intellectually". Typically, aptitude and IQ are determined by a one time, high-stress test. During the test-taking, the test-takers use learned abilities to demonstrate "innate intelligence", and the cultural learning bias of the test makers result in lower IQs for people who were not raised in the test-maker's cul ture. Aptitude and IQ scores can be raised by as much as 10 to 15 points by a favorable ability-learning environ ment. Typical academic achievement tests assess learned academic abilities that are decontextualized from, and some times irrelevant to, real world situations (Sternberg, 1998). Yet, standardized aptitude, IQ, and achievement tests con tinue to be the most common means by which children mined.
and adults are labeled as more or less intelligent, and as having higher or lower aptitude or achievement. In schools, students may be tested on recently cov
ered knowledge through unexpected pop quizzes or endof-the-week tests. Other tests may assess achievement over
longer time frames such as a quarter or half of a year, or a series of years. Teachers must grade numerous tests, often on their "own time" away from school, so a major criterion
for test construction is ease of scoring. The result is com
semantic memory and fact-based knowledge. How to use
mon use of right-wrong multiple-choice, item matching, fill-
semantic and fact-based knowledge in real world contexts
in-the-blank, or true-false tests. Correct responses are con
tends to be ignored. Gardner (1993) uses the word under
verted into a number and a range of numbers determines what letter grade will be assigned (A, B, C, D, F). All test
standing as a reference to the use of learned knowledge in evaluating, "brainstorming", planning, and solving real world
grades are averaged in some way to determine a single letter grade for an entire course. Course letter grades are then converted into numbers (A = 4, B = 3, C = 2, and D = 1) to create cumulative grade-point averages (GPAs) over several academic years and members of each graduating class are ranked according their GPAs. Class ranking is a major cri terion for admission to higher education and for employ ment.
problems.
Most primary and secondary school students are re quired to take standardized achievement tests one or more times before graduation. Standardized assessment refers to a process by which cumulative student achievement in one academic discipline (or more) is supposed to be objectively determined. Predominantly, achievement is assessed when student knowledge is examined through the use of ques tions or problems (exams or tests) that are presented in written language or mathematics symbols. These tests also are structured so that student responses can easily be con verted into numbers and student scores can be placed into percentile ranks. Standardized tests purport to measure the academic knowledge-ability of individual test-takers in a single span of time on one day or a few consecutive days, and then compare individuals' test scores to norms that are derived from thousands of test-takers over a span of years. Criticism of traditional forms of assessment used in classrooms are legion (Gardner, 1991; Gould, 1995; Hatch & Gardner, 1986; Gifford & O'Connor, 1991; Kohn, 1993, pp. 142-159, 198-227; Lemann, 1999; Neill & Medina, 1989; Popham, 1999a,b). Tests assess a somewhat limited range of learner abilities, they become competitive and threaten ing to well being, the ability of many test-takers to perform
well is decreased as is intrinsic interest in whatever is being evaluated (Harackiewicz & Manderlink, 1984; Harackiewicz, et al., 1987). At test-taking time, learning stops and a "decontextualized" event occurs. Real world work is as sessed in the context of goals and accomplishment of actual work tasks. It is almost never assessed by stopping work and taking a written test. Classroom instruction tends to be
tailored to the nature of the tests and becomes a test of
Parents and other taxpayers deserve an accounting of how children are progressing in their school learning. Accountability assumes that parents, other taxpayers, and school personnel have mutually clear concepts of what is
valuable for learners to experience and learn, and that the
means of assessment is valid. But what if parents and other taxpayers assume that current children's schooling and as sessment ought to be very similar to that which they expe rienced 10 to 40 years earlier (familiar), and school person nel have changed how both schooling and assessment are
done (unfamiliar)? What if school personnel: (1) have learned important details about how human bodyminds learn to love detailed learning, (2) have chosen to educate for
a wide range of human capabilities-abilities (Deacon, 1997; Gardner, 1990; Gifford & O’Connor, 1991; Popham, 1999b; Sternberg, 1998), (3) are aware of the effects of significant cultural changes (global communication and travel, com puters, news and entertainment media influences, and so on), and, as a result, (4) have made significant changes in what is experienced in schools, how, and when, and (5) have selected methods of assessment that provide evidence of truly significant learning? A teacher of singing at a small college kept an ongoing spread sheet journal of each student's lesson dates, a brief description of the
events that occurred in each lesson, of progress made, and a list of voice and musical skill goals that were set in each lesson. Each student used the same spreadsheet to keep their own journal. At the midpoint and endpoint of each semester, the teacher would complete an assessment form for each student, and each student would use the same form to assess themselves. The teacher had created a fundamental voice skills evaluation form. The form listed 32 funda mental voice skills that were allocated in five categories: (1) arrange ment and flexibility of skeleton, (2) breathflow, (3) voice quality (lar ynx), (4) voice quality (vocal tract), and (5) vowel and consonant for mation. Under each category, several specific skills were listed. The progressive mastery of each specific skill was described in four catego ries: (1) Not Observed (NO), (2) Observed Infrequently (OI), (3) Ob served Frequently (OF), and (4) Habitual (H). Zero points reflected the human-compatible
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NO category, one point reflected the OI category, two reflected the OF
vation of progressive accomplishment of each fundamen
category, and three reflected the H category Students could follow their progress toward mastery of each skill, and, by adding all of the num bers on the form, a numerical index of fundamental voice skill mas tery was determined. When all of the skills became habitual, the points would total 96. The only requirement was that the index number become higher with each assessment. This practice allowed for illnesses or other hu man circumstances that could affect the progress of learning. Because the college required the teacher to submit a letter grade for each student, each student would propose a grade on their assessment form. At an appropriate time, the teacher and each student would compare their assessments and their journals, discuss any differences, arrive at a con sensus on the index number, and mutually decide on a letter grade. At the end of each semester, the college's music department re quired each student to perform on their major instrument before a jury of the entire faculty. During the freshman and sophomore years, sing ing students were not required to sing five memorized songs, because doing so would (1) further consolidate their habitual vocal inefficien cies and slow down their progress toward vocal efficiency, and (2) teach them that singing was something you did for external evaluation, rather than for expressive communication with fellow human beings. They were asked to prepare a presentation in which they (1) described the skills that they had focused on during the past semester, and (2) demonstrated both their beginning-of-term and end-of-term skill levels by singing the pitch patterns, song phrases, or unmemorized songs that they had experienced during the term. If they became ready to memorize songs before their junior year, they would do so. Assessment of achievement can be embedded within
tal skill (NO, OI, OF, H), and summative assessment, that is, observation of collective accomplishment of all funda mental skills (the index number). Dialogue during comparison of journals and assess ment forms provide an opportunity for development of a
learning experiences as they are unfolding. In other words, assessment itself can be a learning experience that is inte grated within the context of goal-sets and pinpoint goals. Collaborative assessment includes both senior learners and learners in human-to-human communication. Both groups learn in a cooperative, constructive context (S. Kagen, 1991). In the above account, the journal recording of lesson expe
riences can help learners focus their attention on voice skill goals and observe their ongoing progress in accomplishing the goals. Journaling also can deepen elaborative encoding and memory consolidation. The assessment form can help learners categorize singing skills into a relatively clear con
ceptual framework with related component concepts and skills. It also enables formative assessment, that is, obser
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collaborative relatedness between senior learner and learner
and for assessment of self-perceived feedback and self-evalu ation skills. The assessment process also is contextualized. The jury presentation is itself a learning experience. The learners' analytic, sequentially branched, logically interpre tative, detail oriented, verbal explanatory capabilities and their integrative, whole pattern, global, cluster-branched, feeling-based, nonverbal, literal observation capabilities are used to elaborate their self-expressive abilities. [For more ideas about embedded assessment in music and choral edu cation, see Gates, 1995; Keenan-Takagi, 2000; Larkin, 1985; and a report by the New York Classroom Music Commit tee.] The principles that underlie collaborative assessment have been used successfully at the elementary, junior high/
middle, high school, and college/university settings by mem
bers of The VoiceCare Network. These and other forms of assessment have become known as authentic assessment. Prod ucts of thematic projects, audio and video records of per formance, and portfolios are examples. These forms of assessment are more compatible with the neuropsychobiological nature of human bodyminds, and are more practical in learning the abilities that are used in the real post-schooling world. Coordination of Learning Cycles by Senior Learners Research into teaching-learning processes, initiated in
the 1960s and 1970s, identified a teacher-controlled, threestep cycle that was labeled a teaching unit or a teaching cycle. The three steps were: (1) teacher presentation, (2) student response, (3) teacher feedback (Becker, et al., 1976; Brophy, 1979; Gage & Needels, 1989; Jellison & Wolfe, 1987; Yarbrough & Price, 1989). Learning cycles is a more com prehensive concept, and includes the learning processes that occur in both senior learners and learners.
Elementary school students in a typical U.S. classroom have learned how to perform single-digit multiplication problems and have learned their "multiplication tables". Their typical American teacher then tells her students how to solve double-digit multiplication prob lems (38X 53, for instance) while she demonstrates the number opera tions on a dry-board. She then places a series of problems on the board and asks students to come to the board and attempt to follow the same procedure to solve them. She corrects those students who make mis takes and compliments those who solve their problems correctly. She then assigns homework: read the math textbook's chapter on double digit multiplication and solve on paper the problems at the end of the chapter. The homework is checked the next day for right and wrong answers and scores or grades are given. Eventually right-answer ex aminations are presented, scored, and graded. There is no need for teachers to exchange ideas about how to teach this way more effectively, and there is no need for in-service teacher education in how to improve it. In a typical Japanese elementary school, when students are ready for double-digit multiplication problems, the teacher will place a prob lem on the board, 38 X 53 = ?, and ask them if they can figure out how to solve it. She waits in silence for a very long time while the individual students contemplate possible solutions and attempt vari ous strategies on their own. The teacher then asks for their ideas and coordinates discussions about various proposed strategies and ration ales. She only asks clarifying questions, summarizes students' points of view, asks about relationships to previously learned procedures (ad dition, subtraction, single-digit multiplication), and neither proposes a solution nor guides the students toward a single solution. When students propose clearly unworkable solutions, they are respected, rea soned through, and the students determine how the solution was un workable among themselves. Eventually, collaborative consensus is developed according to what "makes sense" so far. As this type of problem is revisited over a school year, refinements may be added to the earlier solution(s). Japanese teachers observe the Edwards Deming principle that complex constructive processes cannot be improved only by inspecting the products of the processes. The constructive processes themselves have to be evaluated and refined. So, Japanese educators are constantly experimenting with refinements of the learning experiences that they lead. What helps children figure out their world for themselves in the most elegant ways? Teachers observe their students very closely, have daily meetings to share observations and ideas, visit the classrooms of fellow teachers to learn from them, and, as a profession, publish thou
sands of articles on method refinements. [These contrasting teach ing styles are described in Diamond & Hopson, 1998, pp. 270-272; see also Stigler & Stevenson, 1991.] In which teaching style might the students feel most
threatened with exposure as an inadequate solver of math problems? How might threatened students regard math problem solving in the future? In which teaching style might
teacher-student relatedness be more jeopardized? In which teaching style are innate capabilities for making sense and gaining intrinsic mastery of one's world and one's self most likely to flourish? In which teaching style would learners' prefrontal cortices be activated to initiate transderivational searches through a range of number-op eration and pro portional memories, probabilistic evaluation of alternative possibilities, creation of possible solutions, comparison and assessment of possible solutions, and probability-based solutions? Which student responses are most like the way mathematicians behave in the real world? A class of American fourth graders was taught a com mon math concept in the Japanese way, and another fourth grade class was taught the same concept in the U.S. way.
Both groups were then given new problems to solve and were assessed on the extent to which they understood the concept. Both groups of children were equally able to op erate on the numbers to solve the problems. The children who were taught in the Japanese way, however, were able to quickly detect and reject "blind alley" paths to solving the problems, but the children who were taught in the Ameri can way could not. The researchers' conclusion? Japanese-
style teaching involved thinking, that is, reasoned estima tion, probabilistic calculation, projecting, comparing, evalu ating evidence, and making probabilistic decisions. American-style teaching only included memorizing and guessing
with little or no thought. [This experiment was described in a lecture by James Stigler, Ph.D, Department of Psychol ogy, University of California, October 12, 1995; cited in Dia mond & Hopson, 1998, p. 271] A formerly common way to "increase reading skills" in United States elementary schools was to seat the students in rows and consecu tively take turns reading a paragraph or two until the story was fin ished. Then the teacher would ask right-answer questions about the story's content, and then give a written right-answer test about it. Next story.
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In the mid-1980s, about half of a fourth grade teacher's stu
dents were struggling with reading comprehension and retention when taught that way. The Springfield, Illinois, teacher became aware of a different way to teach reading and started it right away Her students were formed into small-group, autonomous "literature circles". They were given a section of a story or book to read, then they collaborated to summarize the progress of the story to each other, to wonder "out loud" what the characters may be feeling or thinking, to create questions about them and the events they were experiencing, to express the gist of the story so far, and to speculate about where the story will go from there. At the next reading time, they read the next section of the story and did the same things, fitting the new information into the old and comparing their speculations to what actually happened in the story. This process was repeated until the story was finished, and then a class-wide summary and discussion was held. [Author's Note: This teacher was described in Diamond & Hopson, 1998, pp. 265, 281. The different way of teaching is called reciprocal teaching (Palinscar & Brown, 1984). It is used in a number of school districts in the United States, and dramatic in creases in reading comprehension, retention, and interest
have always been reported.] In addition to questions of emotional safety, and en gagement of innate cognitive sense-making and personal mastery, one may ask: Which method of increasing read ing skills is most likely to produce (1) elaborative memory encoding, (2) intrinsic reward and interest in reading (own
ership), (3) use of immediate, recent, long-term, and work ing memory processes, (4) local and global mapping of neu ron networks, and (5) optimum building of useful knowl
edge-ability clusters? Collaborative interaction between learners and senior learners is a prominent feature of the
Japanese-style of teaching and of reciprocal teaching. The people involved are doing what learners and senior learners do (see Tables I-9-8 and 9). From the perspective of senior learners, learning cycles in clude at least the following phases (see Tables I-9-7 and 8 for examples). 1. Before they initiate learning cycles, senior learners "brainstorm", anticipate, and plan learning experiences that
are intended to evoke learner attention to selected goal-sets and anticipated pinpoint goals (targets with bull's-eyes) within one or more knowledge-ability clusters, that, in turn,
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Table I-9-8. A Learning Cycle Sequence that Matches the Way Human Bodyminds Learn I. Senior learners organize and engage learners in an exploratory discovery experience that evokes as many of the senses as possible (sights, sounds, physical sensations) from which one or more perceptual, value-
emotive, conceptual, and behavioral abilities can be engaged for elaboration. II. After the experience, senior learners ask questions and share feedback that focuses conscious attention on several perceptual, valueemotive, conceptual, and behavioral abilities that can be elaborated upon. From the ensuing interactions, pinpoint goals for ability elaboration emerge. The interactions and a few repeats of the experience can be described as selecting a target and focusing conscious attention on it. III. The experience is then repeated to provide opportunities for the elaboration to be actualized in the physiochemical systems of the learners. When conscious awareness is engaged in elaborating abilities, only one ability can be successfully focused on at one time. A template model of that one ability begins to be defined as the bull's-eye of a target. IV Each repetition of an experience (with refinements) can be followed by questions and observations that facilitate self-perceived feedback, consolidation of new template abilities in memory, further pinpoint goal selection, and eventual elaboration of template abilities into increasing complexity by using them in more and more varied situations (transfer of learning).
2. Before enactment of learning cycles, senior learners anticipate and plan how to enact learning cycles, such as,
sequences of events within the learning experiences (selec tion of targets to "go for", outside limits of the targets, where
the bull's-eyes are, and their size), how the goal-sets, pin point goals, and feedback questions or descriptions could be worded to the learners, what gestural and prosodic non verbal communications might be employed, and so on (see Chapter 8 and Hudson & Blane, 1985). 3. Senior learners initiate and coordinate the planned learning cycles (learners experience the outside limits of tar gets, take target practice in search of bull's-eyes, perceive internal and external feedback). Learner and senior learner self-perceived feedback are coordinated with mutual respect in the formation and implementation of goal-sets and pin
point goals. 4. During the learning cycles, senior learners experi ence their own self-perceived internal and external feed
back as they evaluate their own coordination of the cycles
and learners' verbal and nonverbal responses. 5. Also during the learning cycles, senior learners use their own self-perceived feedback to engage learners in co operative elaborations and refinements of the planned learn-
Table I-9-9. Sample of Exploratory-Discovery Learning Cycles for Young, Inexperienced Vocalists Written Goal-Set (achievement standard): Explore auditory and kinesthetic sensations during upper and lower vocal register coordina tions and register transitions, and develop appropriate language labeling and descriptive vocabulary (see Book II, Chapter 11, on vocal registers). Written Exploratory-Discovery Learning Experience: Senior
learner demonstrates a slow sigh-glide that begins in a "high-ish" upper register pitch and glides downward to a "low-ish" lower register pitch. Learners are asked to do the same task about three times and discuss their observations. Spoken Pinpoint Goal: "How close can you come to doing this with your voice?" [demonstrates an upper register to lower register sigh glide! "Go near the bottom end of your voice. Got it? Do it with me!'/ "Do it without me!' Senior Learner:"Did you notice anything change in your voice as you slid from higher to low?" Learner(s): "Yes!'
SL: "What was that like? Can you describe it?" L: "Well, my voice kind of made a funny sound." "Mine did, tool' "Mine didn't make a funny sound but it sure did something different about half way down!' SL: "So, some of you noticed a funny sound during the sigh-glide. Connie, could you tell us more about what youro voice did?" L: "Hmmm. Okay, well, I think my voice kind of flip-flopped to another sound!' SL: "My voice can flip-flop, too!' [teacher demonstrates] "Connie, would you be willing to do the glide again and show us how your voice flip-flops? L: [does it] SL: "Let's all do the glide again. How close can you all come to flip-flopping your voice the way Connie's and mine did?" L: [everyone does that] SL: 'Annie, you said that your voice didn't flip-flop, but it did "something different'. Is that right? L: "Yes, it got kind of bigger!' SL: "Would you show us what your voice did on the glide?" L: [does it] SL: "Did anyone hear a change in Annie's voice during her pitch glide?"
L: "Yes!' SL: Annie's voice didn't flip-flop, so how would you describe what Annie's voice sounded like when it changed?" L: "Well, it just did something else!' SL: "Would it be accurate to say that her upper voice kind of melted into her lower voice?" L: "Yeah. That's what it sounded like to me!' SL: "My upper and lower voices can melt, too!' [teacher demon strates] "Let's all do the glide again. How close can you all come to melting your upper and lower voices together the way Annie's and mine did?" L: [everyone gives that a go several times, an some still flip-flop! SL: "Wonder what will happen if you (gestures) float your upper voices lower, lower, lower than you usually do. Will you find a place where it melts on its own? Give it a go. L: [they do it, and more learners notice the melting!
SL: Annie, do the glide again and notice if you feel your voice change in your throat? L: [she does the glide! "Yes! Something happens in my throat!' SL: "Float your upper voices lower and lower and see if you find a place where you feel it melt on its own into your lower voice ? Give it a go
ing cycles. They may "intuitively" respond to evolving, unpredictably branching learner interests and improvise un planned, alternative learning cycles that focus on goals that may or may not be related to a preplanned goal-set, but may be related to such general learning center goals as sharp ening of sensory discrimination, empathic emotion regula tion, general concept formation, and refinement of motor skills. 6. When time allows, senior learners review, analyze, and reflect on the memoried feedback from learning experi
ences in order to more richly evaluate senior learner-learner
interactions and the direction(s) that learning is taking. 7. Senior learners then use the reflected-upon feed back to conceive, anticipate, and plan upcoming learning
experiences that grow out of the context of previous learn ing experiences. They also may adjust or reconceive the just-completed learning experiences, and how they enacted them, to benefit future enactment versions.
From the perspective of learners, learning cycles include at least the following features (see Table I-9-7 for examples). 1. Learners respond to the verbal and nonverbal com munications of senior learners as exploratory-discovery and expressive learning experiences are initiated and coordi nated (attention, cognitive-emotional reactions, and behav ior).
2. Learners conceive possible targets and their bull'seyes, take target practice, and evolve their knowledge-abil ity clusters.
3. During the learning experience(s), learners self-perceive their own external and internal feedback and form or
elaborate their internal perceptual, value-emotive, concep tual, and behavioral abilities. When something "doesn't make sense" or a "bull's-eye is missed", and learners experience a slight "uneasy" feeling state, they may seek clarification by asking a question or they may undertake or request a reex
periencing of the immediate learning experience. 4. During or after learning cycles, learners also re spond to senior learner questions or feedback that are in tended to facilitate learner review and analysis of evolving knowledge-ability clusters, so that upcoming target practice is more likely to produce increased mastery of goal-set abili
ties.
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5. Learners then participate in cooperative elabora
1. current (a) cultural, (b) family, and (c) school con
tions and refinements of the planned learning cycles or in improvised, unplanned, alternative learning cycles. 6. After a period or day's learning cycles are com pleted, learners engage immediate or recent memories of the learning experiences for self-review, self-analysis, reflection,
texts that influence the cognitive-emotional-behavioral de velopment of younger people who eventually become adults; 2. a brief description of leadership actions, undertaken
and self-initiated target practice on the evolving knowledge ability clusters.
ciplinary" modes of behavioral control; and 3. a brief description of leadership actions, undertaken
“Discipline” and Compliant Behavior Versus Collaborative Leadership and Empathic Self-Reliance
by many senior learners, that enable learners to evolve in ternal, respectful, attentive, self-reliant, emotionally con nected, empathic, collaborative, and intrinsically rewarding modes of human living.
Discipline is a giant dilemma for both parents and teach ers. In schools, classroom management is a more euphemistic term. How do parents "set limits" on the behavior of their children and "deal with behavior problems"? How do teach ers "maintain order in the classroom" and "keep students on-task"? This part of this chapter cannot possibly address the enormous complexities of this topic. Every human being who raises a child-and every child-has a unique genetic,
epigenetic, and experiential history. The same goes for ev ery person who is called teacher and every one of the 15 to
35 or more persons who are called student in a "classroom" setting. How human beings interact with each other in par ent-caregiver-and-child, teacher-and-student, and peer-to-
peer situations is always unique. The socioeconomic cir cumstances in which people grow up also are unique. As a
result, people bring to educational settings different pat terns of social-emotional self-regulation and different ra tios of protective versus constructive behavior patterns. The following paragraphs, tables, and real-world ex periences will present a perspective that is substantiated by research findings from the human being sciences (neuropsychobiology). To a lesser degree, the perspective is formed by the experiences of colleagues who are parents, senior learners, and learners, and on my own personal ex periences as a learner and senior learner, but there is just no way to address even a small percent of the unique circum stances that human beings can and do encounter. This per
spective presents:
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by many teachers, that impose external, coercive, accusa tory, punitive, emotionally distancing or disconnecting, "dis
Brief Context: Social-Cultural Influences on Learning How is it that human beings form interdependent
social groups? How is it that some groups of people be come antagonistic toward other groups of people? The neuropsychobiological nature of human beings and a so cial-historical perspective may be helpful when contem plating these questions. Human beings have a high-speed brain system that produces immediate feeling-state reactions to novel or unfa miliar experiences of people, places, things, events (see Chap ter 7). The amygdalae, the hypothalamus-pituitary com plex, and the autonomic nervous system trigger immediate
increases in heartrate and blood pressure, and tensional changes in the visceral organs of the torso. At the least, these changes produce an internal neuropsychobiological state that may be described as potentially threatening to well being so that heightened arousal and attention occur (vigi lance and wariness). In other words, a tense or portentous
feeling-state or impression is experienced (see Chapter 8). The
greater the perceived differences between human beings (unfamiliarities), the more intense their initial appraisal. Unpleasant feeling states are then likely to be more intense and unfavorable impressions are more likely to be encoded in memory. If the differences are considerable, then interpre tations of potential threat to well being may occur. Human interpreter mechanisms then are likely to produce nonver bal and verbal concepts that justify protective behaviors toward people who are different, such as depersonalized, objectifying nominalizations (see Chapter 7).
Human beings also are born with empathic capabili ties, of course. People who share familiar physical charac teristics, have undergone familiar and unfamiliar experi ences together, have fulfilled each other's needs, and have evolved similar self-identities, tend to form feeling-state somatic markers that are referred to as emotional affiliation. People who are emotionally connected, therefore, tend to inter act with each other frequently, constructively, and interdependently to form self-verifying opportunity structures or life-style enclaves (Bellah, et al., 1985; Swann, 1999, pp. 83-87). These
enclaves of human beings may affiliate because of similari ties in their threat-protect or benefit-construct histories. If innate empathic capabilities-abilities are not desensitized by threat-laden experiences, then differences and conflicts be tween human beings can be mediated and resolved before threat-interpretation intensities escalate to the point of emo tional disconnection. So, in the presence of people who have unfamiliar physical characteristics and modes of dress, who have not undergone familiar and unfamiliar experiences with us, have not fulfilled mutual needs, and have evolved dissimilar self identities, the emotional motor system is more likely to trigger nonverbal distancing signals or withdrawal or immobiliza tion. If an interpretation of threat is or becomes intense enough, human beings may communicate nonverbal warn
ing signals. Some encounters may escalate into verbal at tacks, explicit threats, or physical attacks against others. The feeling-states then become instantiated in neural networks as somatic markers for unpleasant explicit and/or implicit memories and learned avoidant or hostile reactions. Neuropsychobiological survival capabilities, therefore, are the major source of cultural or group distinctions, differ ences, biases, prejudices, polarizations, conflicts, "siege men talities", revenge attacks, and so forth. As a result of these inherent social-emotional capa bilities, large human populations that share the same land mass have gravitated into relatively diverse subpopulations. Each subpopulation evolves constructive and interdepen
dent relationships and behavioral roles. These delineated, interdependent subpopulations of human beings are re ferred to as cultures or societies of people. Over time, the people who make up larger cultures or societies further delineate their unique preferences and attachments and form
into subcultures or subsocieties. Subcultures form into increas ingly smaller associational groups and subgroups, based on family ties and mutual interests (Billig & Tajfel, 1973). In addition, members of different cultures and subcultures that live in a single land mass tend to intermix, to some extent. Also, members of cultures from other land masses may undertake exploratory migration, or coercive domination (war), or members of one culture may force members of another culture into forced servitude (slavery). So, within a single land mass, there may be several cultures, each with multiple subcultures, groups, and subgroups. For example, the land masses that are now known as Canada, Mexico, and the United States of America were origi nally populated by human beings who are now referred to as the native peoples. The native peoples had become differ entiated into multiple native cultures and subcultures that are sometimes referred to as tribes. Subcultures of Caucasian peoples from Europe migrated to these land masses and established colonies. Eventually, the Europeans coerced the native peoples into relinquishing the land mass on which they lived and, eventually, the three bordered nation-states were formed. Peoples from subcultures within Africa were forcibly captured, transported mostly to the United States, and were sold as free-labor slaves, especially to people who populated the southern area of that nation and the Carib bean area. In the present day, people from those three countries are thought of as being from the Canadian, Mexican, and American cultures. Within the American culture, there are many subcultures including the native peoples, French Ca nadians, English Canadians, African Americans, AngloSaxon-Irish-Scot-Welsh Americans, Chinese Americans, Hmong Americans, Hungarian Americans, Italian Ameri
cans, Japanese Americans, Lebanese Americans, Mexican Americans, Polish Americans, Russian Americans, Somali Americans, Ukranian Americans, and so forth. In its broadest denotative meaning, culture is a nominalization that refers to all interactions, multi-influ ences, and created productions that are enacted by and be tween people who are members of an identifiable culture or society. Each culture, subculture, group, and subgroup tends to evolve similar interactional behaviors, modes of communication, customs, practices, mores, and so forth. For
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example, male and female human beings may be said to form two delineated subcultures within every culture (Brody, 1996; Garbarino, 1999; Jordan, 1995; Kindlon & Thomp son, 1999; Pipher, 1994). In this case, both genetic-epige netic influences and cultural learnings interact to create these delineations (Kimura, 1999). Differential effects of the sex distinction hormones on the neural organization of prena tal and early childhood males and females result in differ ences in their value-emotive and conceptual categorization patterns. As a result, males and females often behave dif ferently and solve problems differently. When children go
lation, and human-to-human relationships are placed un der considerably greater stress. Tannen (1998) has proposed that an "adversarial argument culture" has amplified hu man social polarization, and it pervades political discourse, print and broadcast news media, entertainment media, and
to schools, the total school population is formed into groups such as grade-classes, and subgroups that are sometimes delineated by ethnic origin, by shared characteristics and preferences, or by perceived status. These groups and sub groups are sometimes referred to as the in-groups, the out groups, nerds, winners-losers, cliques, teams, clubs, and so on. The innate exploratory-discovery and self-expressive capabilities of human beings (see Chapter 8) inevitably re sult in evolutions of products and social interactions. Dur ing only the last seven decades, production and mass avail
pregnancy rates, antisocial behavior, suicides, murders; re
ability of technological inventions have enabled (1) high
speed travel over wider geographic areas that now include the entire world, and the culture-to-culture interactions that result, (2) instant communication with people who live al most anywhere on Earth, (3) instant observation of people and things that exist, and events that occur, in distant places on Earth and beyond it, and (4) information storage, shar ing, and manipulation that is revolutionarily vast. Motor ized vehicles, passenger jet airplanes, cable and satellite tele phones, radio, commercial and cable television, super-com puters, personal computers, and the internet are some of the technologies that have dramatically changed how hu man beings from many cultures and subcultures live and interact with each other. These technologies, and many others, have produced
vast increases in the experiential opportunities, options, and
social expectations that are available to human beings. The distressful and eustressful demands on the neuropsychobiological systems of human beings, therefore, have increased manyfold. (Cantor, 1996; Cappella & Jamieson, 1997; Centers for Disease Control and Preven tion, 1998; Dietz, 1993; DuRant, etal., 1994; Grossman, 1995; Hawkins, et al., 1999). Self-identity, personal emotion regu 236
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so on (also see Fallows, 1996; Jamieson, 1992; Klein, et al.,
1993; Rudman, 1996; Sherry, 1995; Tomasello, et al., 1993;
Williams, 1986). The social statistics of the past several decades are interesting. There have been well known increases in: fam
ily disconnections; reported "domestic violence"; adolescent ported rapes, mass killings, and so on.
Production and
mass availability of destructive technologies such as bodymind-maiming chemical compounds and more effi cient ways of killing more human beings in belligerent con flicts also have occurred. Wide-field-rapid-fire automatic weapons, and large-explosive materials are some of the tech nologies that are now available, to say nothing about bio logical, atomic, and hydrogen weapons of mass destruc tion.
Wars. Assassinations of public figures. Race riots, burning, and looting. Terrorist mass murders. Culture wars. Get-even revenge shootings. Spousal and family shootings. Random mass shootings. Drive-by shootings. Rising teen suicide rate. Ruby Ridge, Idaho. Waco, Texas. Oklahoma City, Oklahoma. Dunblane, Scotland. Paducah, Kentucky. Pearl, Mississippi. Jonesboro, Arkansas. Springfield, Or egon. Littleton, Colorado. Conyers, Georgia. Fort Worth, Texas. Et cetera. Self-determination during childhood and adoles cence. Some cultural patterns of behavior and social inter action are presented to each generation with explicit guid ance by other persons such as parents, other primary
caregivers, peers, and teachers. Most cultural behavior pat
terns are implicitly modeled to each generation by those same people in their everyday behavior. Those patterns are im plicitly learned, that is, without explicit guidance by an other person and without conscious deliberation. For ex ample, no one has to deliberately say to children, "Those
people are of a lower class than we are, are not very smart, and are potentially threatening to our well being" When
certain categories of people are nearly always observed in low-paid servant-like roles and other family members be
have toward them with physical and emotional distancing, and sometimes speak disparagingly of them, but only in front of close family members, then observing children will learn a version of those same cultural patterns.
Children are born into an immediate social milieu. Nuclear and extended families are one such milieu. Begin ning with their innate immitative, exploratory-discovery, and expressive abilities, children engage in massive num bers of interactions over time with immediate caregivers, siblings, and peers. Layers upon many layers of nonverbal and verbal learnings are thus elaborated implicitly and ex plicitly and are neurochemically instantiated within each bodymind. As these experiences accumulate, each bodymind evolves a unique, differentiated self-identity. Children also are embedded within a larger social culture that shares substantially similar mores and verbalnonverbal communicative symbol systems. Cultural learn ing is produced by such means as peer-to-peer experiences, observed modes of dress and appearance, religious orien tations, school experiences, economic process experiences, interaction in organized associations, entertainment events, and interactions with cultural organizations such as gov ernments, businesses, and the print and electronic commu nications media such as newspapers, books, musics, radio, television, the internet and so forth. The news and entertainment media have become a pervasive presence in "developed" cultures. In democratic societies, those media are profit-making corporate conglomerates. Commercial U.S. television, for example, is able to present "free" programs to millions of viewers because they charge very high fees for showing product advertisements. Those
fees raise the price that people pay for the advertised prod ucts, and businesses can deduct all advertising fees from their federal taxes. If people were not influenced by adver tising to go out and buy the products, then businesses would not advertise. Commercial advertisements create a pleas ant-feeling state about products by presenting deliberately planned visual-auditory images which surround the product(s) and make them optimally appealing. Explicit and implicit memories are then created, that frequently re sult in buying behavior. According to David Walsh, Ph.D. (Director, National Institute on Media and the Family, Minneapolis, Minne
sota), for-profit television corporations compete with each
other to "deliver as many eyeballs as possible to TV sets" so that they can charge advertisers higher fees and thus in crease company revenues and stockholder profits. In order to attract and hold viewers, TV programs must elicit rela tively intense feeling-state arousal and the sensory atten tion that follows. Television businessmen have known for
some time that (1) good-guy-bad-guy fighting and killing, (2) "sex", (3) us-against-them competition, (4) humor, or (5) any combination of the above, are the best ways to get and keep eyeballs. When viewers become habituated to the type of humor and the degree of competition, violence, and "sex"
then the type of humor must be changed and the intensity of the competition, violence, and "sex" must be increased in order to keep the eyeballs coming back for more. For ex ample, the producers of the Jerry Springer "talk show" fre quently select guests who are in personal conflict with each
other and "set them up" to express anger and disrespect. Often, they physically attack each other. Apparently, a suf ficient number of eyeballs are delivered to satisfy the show's
advertisers. In the United States, television news programs chronicle a high percentage of "hard news" social malaise events such as wars, murders, rapes, assaults, natural disasters, fires, diseases, vehicle accidents, and human conflict and contro versy. A television media "sweeps week" occurs every April and November. During those weeks, the extent to which the public watches national and local television programs are rated. The pricing of TV ads are set according to those ratings, so eyeball attraction is of utmost importance. Tele vision news producers tend to highlight spectacle stories about crime, "sex" disease, and corruption during sweeps weeks. "Soft news" events have to be extraordinarily en gaging to be on the air, such as rare surgeries and star enter tainer appearances. The daily struggles of ordinary human
beings who are overcoming life's obstacles are rare and are regarded as "fluff pieces". Consumer fraud stories about heavy advertisers are never investigated. Those stories may get news reporters fired. Children's television programming often follows similar pat terns of good-guy-bad-guy, competitive fighting, settle-differences-byviolent-means, and humor patterns. Remember the "made for TV experiment" by the National Institute on Media and the
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Family that was briefly described in Chapter 8? A group of preschool children watched an episode of the children's TV program "Barney", in which empathic, cooperative behav ior was portrayed and expressed through action, talking, and singing. Free play time then occurred and the children were videotaped playing quietly, empathically, and coop eratively. One day later, the same children watched "Power Rangers", a children's TV program in which the "hero" char acters use a version of martial arts to violently subdue ob viously "bad people". During the subsequent free play, both boy and girl children confronted each other with loud voices, and they kicked at, pushed, and hit at each other in imita tion of the behaviors that they had just observed (also see Nelson, et al., 1969). Increasingly, television is used to occupy children while adults attend to other matters. A study of 527 randomly
identity as very distinct from the perceived identity of par ents, and of society's "establishment" or "the system" (Bleich, et al., 1991; Davis, 1981; Frith, 1981). Frith (1981) suggested
that many young people form social groups around pre ferred popular music styles and performing groups. He proposed that "...all adolescents use music as a badge..." that communicates to others their particular "values, attitudes, and opinions". In 1985, Davis calculated that adolescents averaged 10,500 hours of elected listening to their preferred style(s) of music and watching music videos. Heavy metal, punk, al ternative, rap, hip hop, and other styles, emerged from a conflicted, in-your-face, defiance of external controllers, a me-against-you and us-against-them, and a violenceagainst-women orientation to life (Hansen & Hansen, 1991; St. Lawrence & Joyner, 1991). In 1994, U.S. sales of popular
selected families across the United States (Gentile & Walsh, 1999), with children ages 2 through 17 years, indicates that:
music recordings and music videos totaled over $12-billion
1. on average, children watch TV for 25 hours each
identity and group-identity of adolescents are expressed, in part, through their preferred music (North & Hargreaves,
week, play computer or video games for 7 hours, and ac cess the internet from home for 4 hours; 2. 40% of families watch TV programs during meals either "always" or "often", and those children tend to per form more poorly in school; 3. 20% of 2-to-7 year-olds, 39% of 8-to-12 year-olds,
and 56% of 13-to-17 year-olds have television sets in their bedrooms; those that do, watch 5.5 hours more TV than those who do not have sets in their bedrooms, and they, on average, perform even more poorly in school; 4. the less TV watching occurs (especially during meals or in their bedrooms), and the more children see their par
ents reading, read more frequently themselves, and engage more often in family activities, the more likely they are to perform well in school. [The American Academy of Pediat rics recommends that children watch "no more than 1 to 2 hours per day" of television (Charren, et al., 1994; Hawkins, et al., 1999)].
For decades now, popular music has been increas ingly commercialized and marketed worldwide (Frith, 1987). In a 1972 survey, Lyle and Hoffman found that over 5O% of teenaged subjects listened to popular music 3 to 4 hours per day. Rock 'n' roll was rooted in a definition of self
(Geter & Streisand, 1995). In other words, the current self
1999; Setterlund, et al., 1993). Waite and colleagues (1992)
have used withdrawal of music video viewing as part of psychotherapy and have noticed cognitive-emotional-be havioral changes away from aggressive, self-destructive behavior. The same eyeball-delivery ethic that the television in dustry uses, is used by the movie-making industry. Escala
tions of realistic violence, brutality, "sex", horror, and fatal ism (Titanic©) have occurred over the past two decades. The same explicit and implicit learnings that occur when viewing television advertisements, also occur when the por trayal of violence and inappropriate sexual interactions are shown in an emotionally neutral or positive context. In the movie Basketball Diaries©, a student wearing a long black coat enters a classroom and murders several of his class mates with a shotgun. The scene is very similar to some of the recent school killings by teens in the U.S. Even socalled "professional" wrestling has attracted a larger and larger following by escalating simulated and real violent behavior and in-your-face, confrontational language.
Video games are pervasively used entertainment toys among five to eighteen year-old youngsters (Funk, 1983), and their technological sophistication is astounding. The creators of the games are in business to sell products, of
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course. The same attract-and-keep methods that the televi sion, music, and film media use, are used by some makers of video games (not all). Holding a simulated handgun and slaughtering "invading" human beings in combat-like set tings is a common theme. Most early and middle adoles cent children know about video games called Doom©, Duke Nukem©, and others. They are very realistic and especially
popular among males. One of the more recent versions of Duke Nukem includes the realistic murder of a female strip
dancer (violence and sex combined). Current videos in clude Kingpin: Life of Crime© (a "multiplayer deathmatch") and Rogue Spear© (multiplayer commandos kill terrorists in an opera house!). Today s adults were not raised with video games and, in the United States, parents are often unaware of their content. They were proposed as an influence in recent killings of school students by students. Some soci etal commentators have proposed that video games influ enced the recent killing of school students by students. During World War II, only about 15% to 2O% of U.S. combat riflemen fired their weapons at enemy soldiers during battle (Marshall, 1978). So, after World War II, the U.S. armed services gradually developed effective methods of desensi tizing combat soldiers to the act of killing (Grossman, 1995, pp. 249-261; see Chapter 7 for context on sensitization and desensitization). Operant conditioning methods came to be
used in 100% controlled environments. Soldiers were placed in warlike settings and human-image, pop-up targets ap peared in order to condition quick-reaction shooting. Movies that depicted horror killings by enemy soldiers were
shown to assassins and snipers in training (Watson, 1978), and video simulation games were used with combat sol diers. The strategy worked. Desensitization occurred. By the Vietnam war, 9O% to 95% of combat riflemen fired their weapons at enemy soldiers during battle (Marshall, 1978).
Does a culture's media cause increases in violence and inappropriate sexual interactions among school-age chil dren? If children see/hear a TV program, video game, or CD that demonstrates killing, will they then go out and kill
people? Conclusive scientific validity for a direct causal effect does not exist with absolute certainty, and likely will never exist. Direct cause-effect studies, however, do not assess the implicit learning that influences behavior over time. The
studies that do assess implicit learning over time have indi cated that the nature of entertainment media clearly play a role in the formation of "mind-sets" and behavioral ten dencies of people (Singer & Singer, 1981; Williams, 1986; Gortmaker, et al., 1990; Charren, et al., 1994; Minnow & LeMay, 1995; Strasburger, 1995; Walsh, 1995; Walsh, in prepa ration). On average, by the time American children graduate from high school, they will have seen over 200,000 violent acts and 40,000 dramatized murders on television alone (Huston, et al., 1992). Does desensitization occur? A ran
domized analysis of almost 1,000 scientific studies of the effects of media violence (there have been over 3,500 since 1950), a correlation was found between higher exposure to media violence and increases of aggressive behavior in chil dren and adolescents in all of the studies except 18 (cited by Grossman & DeGaetano, 1999, p. 24, and Committee on Public Education, American Academy of Pediatrics, 1999). Twelve of the 18 studies were funded by the television in dustry. The 14-year old boy who killed three fellow students
and wounded others in his Paducah, Kentucky, school, had
never fired a real handgun before. He fired eight shots at eight children and hit every one of them; five in the head and three in the upper torso. Lieutenant Colonel (retired), and psychologist, Dave Grossman (1999, p. 4) concludes that the shot pattern displays expert marksmanship. Michael Carneal repeatedly played point-and-shoot video games with a simulated handgun, killing images of "enemy" hu
man beings. The simulation videos that were prepared for the military were converted into commercial video games and marketed to children and adolescents for increased prof its. So, what role does violence, us-against-them, and "sex" in the media play in the development of human selves? David Walsh, Ph.D., President of the National Institute on Media and the Family, proposes that the trends in the news and entertainment media implicitly invest within young people a "culture of disrespect" for other human beings,
and do so at a time when the contextual interpretation abili ties of youngsters may not be fully elaborated (David Walsh, opinion letter to print media, May 24, 1999). Desensitiza tion to one's own self-feelings and to empathic feelings for
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other human beings are likely to occur (particularly among males), along with sensitization to territoriality, domina tion, me-against-her/him/them, us-against-them, disrespect for other people, settling differences by violent means, and revenge for real or perceived wrongs.
Dr. Brandon Centerwall's words scream at us all. His 1992 report of international studies on the effects of media violence on people's violent behavior concluded that if "...television technology had never been developed, there would today be 10,000 fewer murders each year in the United States, 70,000 fewer rapes, and 700,000 fewer assaults." Military killing is always restricted by training and follows specific authority as to when and where it occurs. The only restrictions on aggressive or violent behavior in a
general society are those that are formed by an inherited temperament and appropriate cultural learning (families, educators, news and entertainment media, government per sonnel, and so on). "Technologies" for optimally constructive human-to-human interaction in child-rearing, schooling,
business and work, governing processes, and so forth, have been formulated, and they do take into account the stresses produced by cultural evolution. But they have not been "packaged" in universally recognized terms, mass availability has been considerably inconsistent, and they often are in troduced far too late in the lives of human beings. How and when can parents-to-be learn to raise their children in
a way that is optimally constructive for the children, even though it may be different from the way they themselves were raised by their parents (see DeGaetano & Bander, 1996)? Can child daycare become part of community learning cen ters and workplaces with trained infant and early child
hood educators? Can all teachers, in their pre-service and in-service education, learn optimally constructive, humanto-human forms of verbal and nonverbal communication and human-compatible learning methods? Brief Context: Family-Caregiver Influences on Learning The father of a newborn infant must work long hours to pro vide for his family while his wife is on unpaid maternity leave. Dur ing the first three post-birth months, the mother does not know how to recognize the physiochemical imbalance that has occurred in her brain, producing postpartum depression and emotional disconnection from her child. She rarely interacts and plays with her baby and is dis
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tressed by her emotional flatness. After her three-month maternity leave, she returns to employment, and her child is placed in daycare. As a result of these circumstances, the infant's parents provide com paratively few opportunities for sensory experiences and affectionate interaction, and the daycare provider is a babysitter for several infants rather than a trained early childhood educator. The baby's neuropsychobiological needfor secure attachment and empathic caregiver relatedness, therefore, are minimally met. During the child's early years, there continue to be compara tively minimal opportunities to form a secure emotional attachment with parents. There are frequent confrontations at meals and bedtime that result in accusatory communications and punitive actions by the parents and daycare providers. There are comparatively few interactive experiences that enable the child to learn how to focus and sustain attention, form intentions, interact with and "read" the nonverbal and verbal communications of others, express images and ideas symboli cally, or self-regulate emotional experiences. The child's neuropsychobiological need for relatedness, competence, and autonomy are subverted. In kindergarten and first grade, emotional explosions and be havioral conflicts are frequent. Accusatory and punitive interactions with teachers and peers are frequent. The pattern is likely to continue, until.... The innate, neuropsychobiological constitution of chil dren, who have normal anatomy and physiology, auto matically impels them to (1) make sense of their experi enced "world" (people, places, things, events); (2) protect themselves in a relative state of well being; and (3) gain mastery of the experienced world and of themselves in it (Hart, 1983, 1998). Within their cyclically progressive "on line" capabilities, therefore, children must explore the people, places, things, and events of their world, imitate what other people do, and interact with caregivers by way of nonver bal vocal and gestural communications. As they do so, an increasingly documented array of dynamic physio chemical states occur in their bodies and they have opportunities to make more sense and gain more mastery of their world and of themselves. Five of those physio chemical states may be referred to as: • heightened "energy" level (arousal, alertness); • focused sensory attention and perception (concen tration);
• value-emotive feeling states that may range from (1)
minimally unpleasant to rage and (2) mildly pleasant to ecstatic; • interrelational concept formation, memory, learning, and behavior patterns; • modification of past arousal and attention, percep tions, feeling states, conceptions, memories, learnings, and behaviors as ongoing experiences and reexperiences occur.
from experiences in which emotional responsivity is safe
and brings rewarding relatedness, especially with people who are important to them. Children whose innate tem
perament leans them toward easy emotional expression or emotional displays or emotional venting may benefit from experiences in which emotional inhibition brings reward ing relatedness, especially with people who are important to them.
The innate feeling-emotional-affective responsivity of children is referred to as their temperament Experience expectant capabilities for such responsivity evolve over the
People's social-emotional experiences can tilt their learned emotion regulation "balancing act" toward either self-protection or constructive self-realization. For example,
human life-span as genetically triggered tiers and levels of brain growth occur (see Chapter 8). As children's
the emotion regulation patterns that parents-caregivers dis play become models for implicit learning by children (Denham, 1989; Denham & Grout, 1993). By observing parental-caregiver actions and words, children can learn to
neurobehavioral capabilities progressively come on-line,
they become increasingly capable of learning emotional self-regulation abilities (Bridges & Grolnick, 1994; Denham, 1998; Eisenberg & Fabes, 1992; Salovey & Schluyter, 1997; Stroufe, 1996; Thompson, 1994; Tucker, et al., 1995). Tem perament capabilities and learned emotion regulation abili ties intersect when social interactions occur. The outcomes of accumulated social-emotional experiences (relatedness) are the foundation of a person's self-identity, verbal and nonverbal communication abilities, and the reactions that other people have to that person. Unique life learnings are the major determinants of
unique abilities (Kandel, 1991; Greenspan, 1997), and all of those differences are reflected in the current (but alterable) neuropsychobiological constitution of children. In other
words, the attentional focus-and-sustain and the higher order "interpreter mechanism" abilities of each human being (see Chapter 7) are considerably different from all other human beings (less so in identical twins). Some children will learn a higher proportion of protective abilities compared to con structive abilities, and some will learn more constructive than protective abilities (see Chapter 2). Denham (1998, pp. 150-169) suggests that construc tive emotion regulation is "...a pragmatically useful culmi nation of emotional expressiveness, (emotional) understand ing, and (emotional) socialization from all the important people.." in the lives of children (p. 169). Emotional regula tion involves balancing both activation of feelings-emotions and inhibition of feelings-emotions. Children whose
innate temperament leans them toward emotional inhibi tion (shyness, low emotional expressiveness) may benefit
suppress emotional processing and hide emotional expres sion, or they can learn to lash out at other people when they feel threatened (Karr-Morse & Wiley, 1997). Alterna
tively, children can learn how to self-soothe in the absence of parents-caregivers, seek social support, and solve social problems respectfully and empathically on their own. When threatened or attacked, they may learn how to defend them selves in ways that increase human-to-human antagonism or in ways that optimize conflict resolution and human connectedness (Eisenberg, et al., 1997).
According to Denham (1998, pp. 150-169), there are three components of emotion regulation that often operate outside conscious awareness: (1) emotional expression and monitoring, (2) cognitive-perceptual appraisal (understand ing), and (3) behavioral coping (socialization). For example, children can learn to attend to a different toy if an infant
sibling takes hold of the one that they were playing with. Singing a familiar calming song after an emotional upset, or
a lullaby at bedtime, can lower emotional arousal. Pretend play is a common setting for rehearsal of emotion regula tion behaviors and can be a means by which children mod erate emotional distress (Barnett, 1984). In a distressful so cial situation, people can learn to pause, take a rich breath, and reflect on the situation before replying to a "you-message" accusation of inadequacy. When acting in a school play or speaking before a speech class, adolescents can learn to speak expressively and "rein in" their habitually exagger ated facial and arm-hand gestural expressions, body sway ing, and random pacing. human-compatible
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The most helpful time to learn constructive emotion
regulation abilities is during infancy and early childhood through interactions with parents. [Where do parents learn elegant parenting and communication skills?] Greenspan (1997) proposed three stages and six levels of self-develop ment that lay a strong foundation for developing lifelong cognitive-emotional-behavioral abilities (described in Chap
ter 8; listed in Table I-8-3). Briefly they include the ability to: 1. attend (process sights, sounds, sensations); 2. engage emotionally with others (pleasure-displeasure, attachment, relatedness, empathy, assertiveness, anger, dis appointment, and so forth); 3. be intentional (indicate feeling-based needs and wants
purposefully); 4. form complex interactive intentional patterns (emotional regulation, connect one's own emotional signals with those of others regarding security-insecurity, acceptance-rejection, approval-disapproval, protective-constructive behaviors,
and so forth); 5. create images, symbols, and ideas (invest them with feel ing meanings; a primary foundation of reasoning and emo tional coping); 6. connect images and symbols (familiarity with one's own preferential feeling patterns, "read" the patterns of others,
4. primary caregivers are externally controlling in most caregiver-child interactions (accusative, punitive, coercive, dependency-producing) .
The most pervasively influential educators in the whole world are called parents, or guardians, or primary care-givers. Secure emotional attachment with parents-caregivers and optimal parent-caregiver support for learning emotional regulation abilities are necessary if children are to optimally develop them (see Chapter 8; also Greenspan, 1997; Kopp, 1989; Thompson 1994). Childhood and adolescent family connectedness has been identified as a significant factor in protecting children from future health risk behaviors such
as emotional distress, addictive substance use, unwanted
early pregnancy, suicide, and violence (Resnick, et al., 1997; Hawkins, et al., 1999). Parental leadership is crucial in providing an appro priate context for experiencing news and entertainment media (see previous section). What is experienced and how
much it is experienced are vitally important to the optimal development of perceptual, value-emotive, conceptual, and behavioral dispositions. Watching programs together and discussing them afterward can help children place disre spectful, sexual, and violent content into a perspective of empathic human understanding. Parents-caregivers and children can become partners in the development of emotional regulation (Denham, 1998,
reality testing, "emotional intelligence"; autonomy, infrastruc ture of psychological processes, and so forth), [adapted from Greenspan, 1997, pp. 108-109]
pp. 158-161). During the second and third years postbirth, while parents lead the development of emotion regulation,
Incomplete realization of Greenspan's six stages re
toddlers can begin autonomous regulation such as (1) refo cusing attention away from or to another person, thing, or
sults in some degree of difficulty in cognitive-emotionalbehavioral processing and in empathic human interaction. For example, optimal degrees of secure attachment may not occur in caregiver settings when: 1. biological mother and/or father are not present at
all to raise their children due to death, placement for adop tion, or desertion; 2. primary caregivers are insufficiently available for caregiver-child interaction due to illness, economic neces
sity, or job demands;
3. primary caregivers are in conflict, separated, or di
vorced, and have not communicated about these matters appropriately and lovingly with their children;
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event, (2) self-soothing or self-stimulating, (3) approach or
retreat from a situation, and (4) use cognitive-symbolic means to alter emotional states, such as singing and pre tend play (Denham, 1998, p. 158; Kopp, 1989). During years three and four, perceptual, value-emo tive, conceptual, and behavioral categorizations related to emotion regulation enable children to evaluate the conse quences of their social-emotional regulation behaviors and make adjustments accordingly. Their adaptation to an ex
panding range of social situations can include (1) altering the intensity of their emotional arousal (Folkman, 1991); (2) expressing out or venting their feelings; (3) avoidance of
distressing people, things, or situations; (4) expressing like/
dislike and approval/disapproval (Fabes and Eisenberg, 1992); (5) directing attention to pleasant aspects of a place
or an event rather than fixating on distressing aspects (Bridges & Grolnick, 1994); and (6) finding a new goal (Denham, 1998, p. 160). If parents-caregivers externally impose emo tion regulation, the consequences for children's social fu ture is very likely to be bleak, especially when they attend school (Greenspan, 1997).
Even though they may seem to not be listening, when adults talk about their own feelings in the presence of chil dren, the children are likely to be learning about how adults
think about and regulate feelings and how to apply that
learning to themselves (Denham, 1998, p. 166). Parents caregivers also use explicit verbal "coaching" to influence their children toward their own learned cultural and family norms. Some parents may say, "Stop that crying!" or "People who are large are human beings, too, just like you. Making
fun of them hurts their feelings, just like it would hurt you if someone made fun of you because of the way you look"
Taking time to use emotion language and explain the subtle ties of social-emotional interactions is a major way to help children develop their own emotion regulation and social
abilities (Denham, 1998, pp. 165-168; Kopp, 1989; Thomp son, 1994). Children who have experienced consistent emo tional coaching during their preschool years cope more pro
ductively with their emotions and their social interactions in preschool (Denham, et al., 1992). When children express their distressed emotional states, parents who are consistently responsive, warm, accepting of emotional reactions; who help their children to cope ef fectively with their emotions (by asking questions that in vite their children to talk about their feelings, for instance), consistently raise children who are: (1) expressive and less
likely to become overaroused, (2) emotionally well regu lated, and (3) empathic, that is, responsive to the feelings of other people (Denham, 1998, p. 167; Eisenberg, et al., 1988;
Fabes, et al., 1990; Grolnick, et al., 1997). Parents who exer cise developmental leadership: (1) help their children be
come aware of, and pay conscious attention to, their emo tional states, (2) provide reasonably predictable structure in daily activities, and (3) enable and allow their children to make emotion regulation attempts on their own. Those actions will provide optimal support for development of
On the other hand, when parents react to their
children's distressed emotional states in negative, accusa tive, overbearing, or punitive ways, they are modeling those reactions for their children to imitate when they observe people who are in emotional distress (implicit learning). When parents frequently react punitively to emotional ex pression, children tend to suppress their own feelings or hide their expression of them, rather than learn how to
regulate them. In research by Fabes and associates (1990), Eisenberg and Fabes (1994), and Morales and Bridges (1997), mothers reported their means of coping with their children's negative emotions. Their means of coping and the mea sured characteristics of their children can be described in four categories: 1. Children who were: (1) unlikely to openly express out their emotions, (2) likely to avoid anger situations, (3) likely to self-soothe, and (4) unlikely to ask their mothers for comfort or help with their emotion regulation, had
mothers who (1) minimized or belittled their children's dis tressing emotions and their expression of them, or (2) pun ished them for displaying them. For example, a mother might say, "Calm down, you're overreacting. It's not that important" or "If you start crying, you'll have to go to your room." 2. Mothers who verbally and nonverbally expressed distress when their children displayed emotionality, tended
to have children who: (1) did not vent their emotions, (2) showed less emotional intensity in anger situations but were assertive, (3) chose to deal with their distressful feelings on their own, without anyone's help, and (4) shielded others from the problem of dealing with their own emotion ex pression. For example, a mother might show distress fa cially, turn her head away, and say, "I wish you wouldn't act like that. It's very upsetting." Or when other people are
present, she might say, "I'm sorry you had to witness this. I hope it didn't make you too uncomfortable." 3. Some mothers preferred a problem-solution re sponse to their children's emotionality. They might say, "I suggest that they do something else" or "I show my child
how to see the problem in a different way" Explanations of the human context of situations were more frequently of fered. In anger situations, the children of these mothers
autonomy in children's social-emotional regulation. human-compatible
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were less likely to display high-intensity anger (tantrums) and were more likely to cope with a problem by removing themselves from it. They were more likely to deal with emotional situations in ways that defused their feelings, of ten indirectly, such as choosing another activity or toy. 4. Emotion-focused reactions to emotionality were
used by some parents, that is, their children's emotional needs were met. In the studies, exemplar parent responses were, "I comfort my child" or "I try to help my child feel bette." The children of these mothers were much less likely to display high-intensity anger or to vent their anger openly as a means of coping. They were more likely to just object verbally to a person or thing that caused them frustration.
They would sometimes ask about or talk through the con text of a conflict situation. In other words, they expressed
ated or self-chosen, thus there is a substantial "from-insideto-outside" direction to the play (internal locus of causation, see Chapter 8) followed by contextual feedback that is mostly implicit (outside conscious awareness). Interactive play, es pecially with peers, can engage a "dance" of interpersonal accommodation and emotional regulation abilities. More often than not, intrinsic interests in people, places, things, and events are developed during such experiences. Sub stantially self-directed and reciprocal interactions help chil dren evolve a self-mastery of their world and of themselves in that world. What happens when children go to a school? Teach ers are in the leadership role. In traditional school cultures,
child tendencies were significant even when the effects of
their prime challenge is to attract and sustain for several hours the attention of all of the 15 to 35 or more youngsters that they teach, all of whom have unique temperaments, accumulated social-emotional learnings, and cognitive "styles". That is a monumental task for one teacher-person to accomplish. Currently, the primary goal of schools and their teach
inherited temperament were statistically accounted for.
ers is to lead students through a predetermined academic
Emotion-focused and problem-focused reactions by moth
curriculum. The components of the traditional curriculum
ers were more likely to result in: (1) development of adap
that are regarded as most important are the disciplines of native language, mathematics, the physical sciences, and so cial history. More and more, school and teacher account ability in accomplishing this goal is measured by the scores that their students achieve on benchmark, high-stakes, onetime-only, fact- and logic-based, right-answer, standard
their frustrations and distressing emotions verbally rather than by ranting and raving. According to the researchers, most of these parent and
tive emotional coping by their children and (2) enhanced empathic relatedness, constructive competence, and self-re liant autonomy. Brief Context: Influences of “School Cultures” on Learning We call the "work" of preschool children play. Chil dren are always participants in the direction of play activity, whether they play alone, with a parent or other adult, or
with other children. They decide, or influence decisions about what to play, how, and when (subject to safety and family needs; see Book IV, Chapter 1 for more on children's play). During interactive play, such decisions are usually
arrived at collaboratively, sometimes cooperatively and sometimes antagonistically. When playing alone, children spontaneously display their primary repertoire of innate exploratory, imitative, and self-expressive abilities (see Chapter 8). These abilities are triggered by sensory perceptions or memories of people, places, things, and events. As play proceeds, exploratory, imitative, and self-expressive actions seem to be self-initi 244
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ized tests that purport to measure the students' achieve ment in those academic disciplines. In education circles, then, a prominent tendency is to organize school curricula and teaching methods so that students will pass those tests within a relatively limited time frame. Logically, the fastest and surest way to do that is to expose children to informa tion that has been accumulated in the past (pre-detected patterns) and give them practice tests that are modeled after the standardized tests. What happens, then, to the inborn exploratory-dis covery, imitative, and self-expressive capabilities that we hope children have been developing during their preschool lives? What happens to their innate "drives" to: (1) detect
and make sense of observed patterns in their "world" (per ceptual, value-emotive, and conceptual categorizations), (2) protect self in a relative state of well being, and (3) gain
mastery of world and self by divergently and creatively using internal processing abilities to evolve behavioral pat terns and solve real world problems? What happens when young bodyminds infrequently encounter interesting patterns to detect on their own, challenging real world problems to creatively solve, contextualized and relevant skills to mas ter, or opportunities for self-expression through a variety of symbolic modes?
Might the students experience a notable degree of unpleasant boredom or frustration in such a school set ting? Might they begin seeking alternative experiences that can provide the aroused attention and pleasant feeling states of intrinsic reward, interest, and self-mastery? And how
might the teachers' interpreter mechanisms react to the seek ing of "alternative experiences", that is, (1) off-task behav ior, (2) lack of self-discipline, (3) behavior that disrupts the curricular experience and the attentional focus of the "seri ous" students in the group, (4) disrespect for the teacher's authority, and (5) loss of teacher control? What will the teachers do to accomplish their primary academic curricu
lum goal? The common reaction is to apply "discipline
techniques", that is, the use of coercion to regain student
compliance with what the teachers want them to do and obedience to what the teachers say, or the use of extrinsic reward techniques to achieve the same compliance. Do we educators talk about school learning as though it is something that is done to the people that we refer to as students. Common examples of educator language are: "I want to learn how to get and keep my students' attention", or "When my students start talking in class, I have to get them back 'on-task'", or "Motivating my students is my number one challenge", or "My goal is to instill in my stu dents a respect for (subject area)", or "When my students
misbehave, I have to discipline them, because if I don't, I'll lose their respect", or "Our program teaches students the
academic skills they need to get good jobs or to be success ful in college". Some educational consultants present teacher in-service training in motivation techniques and discipline strat egies. Teachers may say, "I need surefire techniques and strat egies "that work". One may ask, "'Work' to accomplish what?" Getting students to do what teachers tell them to do, with out any questions or any participation in the process?
Do we teachers use the nominalizations teacher, student,
teaching, learning, motivation, and discipline as though they re
ferred to discrete, physical, material, concrete entities (nouns)?
Have we analyzed in some detail the complex, multi-pat terned, correlational, evolving-event realities that occur in side human beings when we say that they are motivated, have learned, or are disciplined? Does the nominalization stu dent make it easier for us to suppress our limbic systems' empathic abilities so that we treat the human beings who are called students more like objects on an assembly line and compartmentalize what we think and do about their vast human capabilities (see later section and Chapter 7)? A guest professor for a one-week summer course for educators
delivers a one-hour presentation of principles and practices of "human compatible learning". One of the course participants becomes frus trated, confronts the presenter, and says: "I really get angry when sup posed experts, who haven't taught in classrooms for years, come in here and tell us all of this "no discipline problems" stuff. I've tried it and it does not work. In the culture that I live in, talking and disrupting in school is what most students do, and the misbehaving kids keep the good kids from getting involved in what we're doing. I have to say, 'Be quiet and sit down!!' or they'll never pay any attention to me and we'll never get anything done. You have to be louder and stronger than they are and put punitive limits on their behavior or you'll have chaos." Response: "I clearly remember similarfrustrations when I taught in public schools. I yelled at kids, even cussed, and threw things on the floor when they didn't do what I wanted them to do. But now I'm wondering: When and how do children get to the point where they engage themselves in learning because they want to, because it's inter esting and rewarding to them, and because they respect their teachers and their peers as fellow human beings?" (pause) "I don't know" Curwen and Mendler (1988, pp. 2, 3) put it this way: "School is a battleground for too many participants, a place where major confrontations and minor skirmishes occur daily. Why must this be so? Teachers and students share the same space, time...and needs. They spend most of the day communicating with each other, thinking about each other, scheming against each other, and judging each other. When they are antagonistic, they expend as much if not more time and energy trying to outsmart each other and
win, or at least achieve a standoff. If things get bad enough, they have the power to ruin each others' lives....For most teachers and students, a main battleground revolves around
discipline." [Author's note: Notice the military and war meta phors?] human-compatible
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In traditional school cultures, discipline is about com pliance and obedience (Kohn, 1996). Three methods for inducing compliance and obedience are (1) coercion, (2) punishment, and (3) extrinsic rewards. Coercion takes many forms. Government laws coerce parents to see to it that their children go to school. Once they are there, teachers expect students to comply with and obey their dictates as they coerce predetermined activities that follow a predeter mined, coerced academic curriculum. Typically, textbooks, computer programs, and schoolwork materials are used as information resources. Coerced, formulaic, right-answer recall tasks, that are decontextualized from the real world, are predominantly provided. Social behavior follows pre determined rules that students must follow, such as sitting still in rows of chairs with assigned seats, being quiet, al ways listening to their teachers, always doing what teachers say to do, moving quietly from place to place in single-file lines, and always addressing teachers with Mr., Mrs., Miss, Ms., or Dr. titles that reassure teachers that students respect them (but how does one know, if it is coerced by a rule?). Substantial freedom from coercion occurs after school is dismissed and during free-play time (recess). When students do not comply or do not obey or meet expectations, then discipline techniques are applied,
such as some form of punishment (adverse consequence) or a threat of punishment. Common adverse consequences are physical pain (corporal punishment), emotional pain (verbally and nonverbally delivered accusations, and other emotional ouches, hits, slashes), "logical" consequences (more later), and withdrawal of rewarding experiences. An un pleasant-feeling somatic marker is then recorded in students'
Why is punishment still commonly used in school cultures? Kohn (pp. 30-32) presents eight possible reasons: 1. Punishment is a "quick and easy" way to obtain
compliance compared to the elaborated skills that are needed "to work with students to figure out how to solve a prob lem". 2. It results in temporary compliance which rewards punitive behavior in teachers "while its long-term harms"
are "harder to see". 3. Most teachers "were raised and taught in environ ments that were, to some degree, punitive, and we live what we know", and we have rarely, if ever, experienced an alter native way to interact and solve problems with learners. 4. Punishment is expected by the school culture, that is, colleagues, administrators, even some students. 5. It makes us feel competent, in control, or "power ful". 6. "It satisfies a desire for a primitive sort of justice", that is, "if you do something bad, something bad should happen to you-regardless of the long-term practical effects". 7. "...if students aren't punished" for disobeying rules, then "...they will think they 'got away with' something and will be inclined to do the same thing again-or worse".
8. "...until we have made the wrongdoer suffer, we haven't really taken any action....we've been permissive or 'soft'....Any attempt to get to the bottom of the problem by working with the student is therefore just a fancy version of doing nothing."
The use of extrinsic rewards is a third method of inducing in-the-moment and long-term compliance-obe dience. Praise, awards, and providing special privileges or
memories and protective abilities are engaged (withdrawal, demobilization, counter-ouching). Punishment and threat
experiences are three types of extrinsic rewards that are
ened punishment, as Kohn indicates (1996, pp. 27-32):
have in ways that schools and teachers want them to be have (compliance), such as doing what the teacher says to do when the teacher says to do it (obedience), attending to academic tasks, making good grades. In that sense, these enticements function like bribes and can evolve a "what's in it for me" orientation. Whether the intent is manipulation
1. model the value-emotive categorization (learning) that the possession of power over others grants the capac ity to "make something bad happen" to others in order to
get one's own way-"Do this or here's what I'm going to do
to you"; 2. "...warp the relationship between the punisher and the punished"; 3. "...impede the process of ethical development"; and 4. "...tend to undermine good values by fostering a preoccupation with self-interest" (see also McCord, 1991). 246
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commonly used (Kohn, 1993). They entice students to be
or not, regular use of extrinsic rewards tends to focus stu
dents on developing strategies to obtain more rewards, rather than on developing an intrinsic love of one or more knowl
edge-ability clusters (see previous section on extrinsic re ward effects).
Deci, et al. (1981), Ryan & Grolnick (1986), and Grolnick
& Ryan (1989) collected data from children whose parents
and teachers used controlling rewards and punishments to influence their behavior. The children reported a prepon
derance of external influences on their own achievement. The teachers reported that these children were less "self motivated" and more likely to "act out" in the classroom. The parents and teachers of these children reported their belief that the best way to help children toward higher achievement was to use controlling rewards and punish ments. The studies' findings indicated that parent and teacher controlling actions actually interfered with the intrinsic pro cessing that could have produced greater empathic related ness, academic and social-emotional competence, and selfreliant autonomy. During students' first schooling experiences with "cur
ricular play", the internal self-initiations and collaborative interactions of before-school play are not often allowed during "curricular play". When the innate abilities for imi tation, exploration, and self-expression do occur, teachers often teach the children how to be "ready to learn" that is, be quiet, sit still, and pay attention to the teacher. Forms of coercion, punishment, and extrinsic reward are the com
mon methods used for obtaining compliance and obedi
elaborated or subtle the adversarial interactions become. Do some students explore counter-control games with the teachers and form peer alliances to do so? Do they explore ways to distract teachers during class, to "test teachers" and "see how much they can get away with"? Might teachers then interpret these student actions as threatening to their
own well being, label them with the terms off-task or disrup tive or disrespectful and label repeat offenders as discipline problems or behavior problems? The neuropsychobiological evidence indicates that external-control, adversarial, accu sative, punitive "discipline" does not induce genuine human respect. It never enhances an emotional connection and constructive love for music or for voice educators. It never frees voices for more expressive speaking and singing. It only constrains them. Typically, then, threat interpretations and protective abilities are learned by both student- and teacher-people, that is, some combination of (1) avoidance of the source of threat, (2) relative immobilization (sometimes referred to as fear), or (3) counter-ouch, counter-control, and counterat tack. Teachers may tend to become either (1) doormats, wimps, walked-all-over, or (2) inconsistent in coercive-con trolling versus benevolent behavior, or (3) consistent in co ercive-controlling behavior, or (4) consistently domineer
duce an implicitly learned adversarial "mind-set" that be
ing and punitive. Students may tend to become either (1) submissive and dependent, (2) compliant but not necessar
comes instantiated in teachers and in students (remember
ily cooperative, (3) exploiters of teacher weaknesses, or (4)
animals and aliens?). The mind-set predisposes both "sides" to learn overt or covert adversarial interactions. Adversarial interactions are the result of learned (in stantiated) protective abilities within human bodyminds so that the mind-sets are perpetuated and intensified. A teacher person who teaches in a school culture that fosters adversarial relationships is likely to learn a repertoire of coercive discipline techniques. Often, new teachers are not very skilled at playing the teachers' side of a domination control game, but from at least second grade on, many of their students are experienced players. Often, students are said to "walk all over" some inexperienced teachers and their "discipline skills" become suspect. The longer students and teachers have been in school, the more consolidated the mind-sets become and the more
uncooperative, smart-mouthed, belligerent, or rebellious.
ence. Over enough time, these interactions are likely to pro
Sometimes teacher-student interactions may appear to be cooperative, but a covert game of teacher control and student "testing" reflects an undertone of emotional discon nection (animals and aliens again?). Teachers' "interpreter mechanisms" (see Chapter 7) can become ripe for making assumptions about the "ulterior motives" of students and "jump to the conclusion" that one or a group of students is "misbehaving" because he-she-they...." The true, complex sources of the misbehavior may never be explicitly known, especially by the teacher, because no one can truly know what is in the bodymind of another person. But the adversarial languages of coercion, control, dependency, and
accusative judgment (see Tables I-9-1 and 2) can intensify explicit-implicit protective abilities. An orientation toward
emotional disconnection between teachers and students and
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between students may occur, and (1) the places where the
interactions occur, and (2) any objects or events that are involved. So, an explicit or implicit domination-control game comes to be played between many teachers and their stu dents. It is induced by external controls that are imposed by schedules, curricula, and school personnel. For some students, the intensity and subtlety of counter-control games escalate over the years, including increased disruption of learning experiences. Some teachers, then, develop esca lated coercion strategies and punishment severities, and the extrinsic reward bribes may get bigger and more frequent, so that the withdrawal of rewards becomes a form of ma nipulative punishment. A continuum of classroom behav
4. Those "mental" processes that are in conscious awareness, or easily can be, are the only ones that can be usefully addressed in a school setting. 5. "...(C)hildren born in the same year are sufficiently
similar in developmental attainment, (cognitive) capacities,...and level of visual, verbal, and manual skill to be taught...as a homogenous group by standardized meth ods" (Greenspan, 1997, p. 217); 6. "...(C)hildren can learn effectively through one-di rectional presentation of material in lectures, textbook read ing, drill, and rote memory" (Greenspan, 1997, p. 218);
The sources of power-control for teachers are (1) the author
7. Written and read language(s) and mathematics are the only symbolic modes of communication that are useful and practical for young members of the culture to learn in detail. Nonverbal modes of communication (including all of the expressive arts) are related to feelings and emotions and are considerably outside conscious awareness, so there fore, they are not as important (see items 2 and 4 above). 8. Exposing students to the planned academic cur riculum content in the fastest way possible is the overriding
ity of a government, (2) social mores of parents and the greater society, (3) their innate self-protective capability, (4)
task of teachers, and "covering the material" requires com pliant attention by students to the "covering" process.
a dominating verbal and nonverbal communication style, and (5) greater physical size (in most cases). The power sources for students are (1) greater numbers, (2) granting or withhold ing of cooperation, (3) their innate self-protective capabil ity, and (4) greater physical size (in some teenage students). In schools, the historic, cultural, and organizational roots of the human being domination-control game and the adversarial mind-set are many. They are likely to be deeply imbedded in the implicit cultural learning of many school personnel who attended the culture's schools them selves. Nine implicit or hidden roots that can nurture the adversarial mind-set between teacher-people and student people are: 1. Human minds (psyche) are nonphysical entities that are separate from human bodies, inhabit them, perform reasoning and deciding (cognition), and direct bodily be
9. School learners are compartmentalized, assigned
ior may be conceived that extends from complete external coer cive control of behavior on one end ("crack down hard on the first day"; "never smile before Christmas") to unrestrained be havioral anarchy on the other [anarchy is from Greek: an = without; arkhos = leadership].
havior. Schools educate minds.
2. Cognitive processes are separable from emotional processes. Schools educate cognitive processes.
3. "Emotional self-control" is learned by imposition of external controls or limits on behavior, through the use of coercive and punitive sanctions when necessary.
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nominalizations (labels), and are overgeneralized about, thus making it easier to interact with them as though they are depersonalized objects or units in an assembly-line mass (see Chapter 7).
As a result of those and other historical roots, the organizational processes of schools and school systems in
the "developed countries" have tended to: 1. devise curricula that emphasize scholarly, academic, discipline-based "mind pursuits" that are similar to schools ofthe 18th and 19th centuries; 2. devise curricula that are sequentially ordered ac cording to the class & grade assembly-line model of the 19th/20th century industrial revolution; 3. devise curricula and assessments of achievement
that are decontextualized from actual experiences of the real world; 4. frequently employ extrinsic rewards to attract and sustain student engagement with learning experiences rather
than create learning experiences from which intrinsic re wards and interest are likely to emerge;
5. use military-model, external, dominative, accusa
1. Effective senior learners tune into each learner's own
tive, punitive sanctions to induce obedient-compliant-de pendent behavior, and to inhibit or control behavior that is
developmental level and facilitate their observing, learning, and assessing abilities, such as reading nonverbal signals and reflecting on and communicating one's own and oth
interpreted to be off-task, disruptive, or disrespectful to ward teacher authority.
ers' ideas and feelings. These abilities are just as fundamen tal as language skills, factual information, operations on num
Do these student-teacher interactions optimally sup
port the conversion of human capabilities into abilities, that
is, the three core, constructive, neuropsychobiological needs of human beings (empathic relatedness, constructive com petence, self-reliant autonomy)? Do some school cultures implicitly expect students to
suppress their value-emotive categorization capabilities (feelings-affects-emotions) at the schoolhouse door, and only
develop their perceptual and conceptual categorization or "academic" capabilities during classes? Can students leave their human being social histories at home and not bring them to school? Are schools and teachers supposed to
have absolutely nothing to do with emotional self-devel opment and evolving self-identity? Are they supposed to
use coercive means to suppress these influences on stu dents, so that teachers can accomplish the more important mission of "covering the material" for academic achievement? Feelings, affects, and emotions are always co-processed with cognition and behavior. What we refer to as
perceiving, attending, categorizing, “concepting", remembering, learn ing, thinking, reasoning, logic, decision-making, interacting, and doing (cognition and behavior) are not separable from what we call feelings, affects, and emotions (value-emotive processing). To say that cognition and behavior are separate "mental processes" from feelings, affects, and emotions is like saying that an auto mobile can function as an automobile without its motor! The previous eight chapters have presented evidence from
the neuropsychobiological sciences that value-emotive pro cessing is the "motor" that "drives" perception, attention, conception, memory, and learning, and is a prime contributor
to health and disease. Value-emotive states are consider ably more influential than cognitive processing in the con version of human capabilities into abilities and in the ini tiation of both automatic and intentional human action. Greenspan suggests several principles of effective edu cation (adapted from Greenspan, 1997, pp. 221-230).
bers, fine motor skills, and so forth.
2. Effective senior learners present learners not just with information to assimilate, but with emotionally en
gaging questions to answer and problems to solve through active initiative and participation such as hands-on tasks and experiments, field trips, debates, and creative-expres sive projects. 3. Effective senior learners take seriously each learner's inclinations and perspectives and use them as a means of broadening understanding and experience, and building bridges between knowledge-ability clusters that appear to
be very separate from other clusters (integrated learning). 4. Effective senior learners are leaders or coordinators of developmental learning experiences that are presented in ability-appropriate sequences and are consistent with learn ers' cognitive-emotional "styles". 5. To feel competent, learners must have relatively clear targets (goal-sets) with bull's-eyes (pinpoint goals) and op portunities to develop self-perceived feedback abilities so they can assess their own progress in learning new abilities or altering habitual ones. External-Control and Adversarial “Discipline Techniques” What are we talking about when we use the nominalizations discipline and classroom management? In the
context of school behavior, various dictionaries define disci pline as a state of social order that is based on (1) submis sion to, or compliance with a set of behavioral rules, and (2) the authority of teachers to punitively enforce these rules on students. Management is borrowed from the knowledge ability cluster that is referred to as business, and relates to controlling and directing employees. Both terms make it easier
to instantiate implicit mind-sets that objectify, depersonal ize, and nominalize human beings as students or employees and less so as human beings (see Chapter 7).
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When teachers attempt to engage and sustain the in
terest of 15 to 35 or more unique individuals, their ingenu ity and verbal-nonverbal communication skills are taxed to the limits. In schools where spontaneous behavior must be inhibited and compliance-obedience must be achieved in order to engage in preplanned curricular experiences, how is it done? Some of the well known adversarial and punitive dis ciplinary methods in schools are: 1. spoken forms of address to school personnel (Mr., Miss, Mrs., Dr.), that are coerced and enforced; 2. formulation and announcement of behavioral rules and their punitive "logical consequences" and verbally de livered warnings to rule breakers (Dreikurs & Grey, 1968, pp. 71-77; Nelson, 1987, p.73; Albert, 1989, p. 79; Canter & Canter, 1992, p. 82); 3. corrective verbal statements delivered with a louder
ers (happy faces, cartoon characters), buttons, pins, certifi cates, plaques; 2. praising compliant behavior ("I like they way Pete is watching me when we sing", "You have been so good
today!"); 3. earning privileges with compliant behavior (field trips, being a hall or playground monitor, free time, ap pointment to a responsible position such as safety patrol, choir section leader, and so on).
Kohn (1996, pp. xi-77) analyzed recent, well publi
cized, widely used discipline technique systems and placed them into two overlapping categories: (1) the Old School
of Discipline, and (2) the New School of Discipline (Kohn, p.
16).
The Old School of Discipline is described as auto
cratic and based on a somewhat dim, pessimistic view of children and human nature (Kilpatrick, 1992, p. 92; Wynne,
1989, p. 25). In this view, many children (1) are assumed to
and higher-pitched voice and abrasive-sounding voice qual ity (stern, firm, accusing tone of voice), along with eye con tact and a stern or angry-looking facial expression; 4. rule-breaking students write their own names on a
be fundamentally self-centered (K. Ryan, 1989) and unrea sonably demanding of attention (Dreikurs & Cassel, 1972, p. 36), (2) are willful in their creation of behavior problems,
chalkboard or dryboard in front of the class, or write a moralism 100 times on paper;
(3) naturally "take the easy way out" in most situations (Kilpatrick, 1992, pp. 25, 249), (4) are manipulative (Albert,
5. extra homework;
6. coerce students to deliver an embarrassing com munication in front of peers (such as an apology, or singing
a song alone); 7. withdrawal of "privilege" activities; 8. public isolation or removal from usual surround ings and peers ("time out" sit next to teacher's desk or in front row of class, talking friends are separated, go to principal's office, and so on); 9. verbal emotional ouches and hits (humiliation, making fun of, sarcasm) delivered individually or in front of peers; 10. after-school incarceration ("detention");
11. parent-child-teacher-principal conference;
12. corporal punishment (painful paddlings); 13. short-term or long-term suspension from school. There are well known external-control discipline meth ods that predominantly use extrinsic rewards. Some of them are: 1. giving display awards for compliant behavior such
as name written on the board by a teacher, adhesive stick
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1989, p. 47). The essence of old school discipline is that teachers must "...dictate, control, and threaten" in order to
"...get compliance", and it succeeds "...in forcing rebellious children to back down (e.g., Jones, 1979)" (Kohn, 1996, p. 56). "Once you encounter resistance, you'll know (your tech nique is) working" (Cline & Fay, 1990, p. 103). In other words, teachers must "...lay down the law with children and coerce them into compliance" (Kohn, 1996, p. xiii). The work of Rudolf Dreikurs (1968) and associates (Dreikurs & Cassel, 1972; Dreikurs & Grey, 1968; Dreikurs, Grunwald, & Pepper, 1982; Dinkmeyer & McKay, 1989) provided theoretical foundations for the old school. Dreikurs
and associates asserted that misbehavior is always to be blamed on the children, never on the practices of school cultures. Before students will stop their misbehaving, they must feel some kind of pain. Assertive Discipline is the label that Canter and Canter
(1992) use for their discipline system. It was introduced in the 1970s and was sharpened in subsequent years. Kohn regards it as a quintessential example of the old school. Lee
Canter has written that Assertive Discipline "is nothing new";
it is "simply a systematization" of common behavior modi fication methods. Behavior modification is an outgrowth of behaviorist psychology. Students who "...talk when asked to be quiet; who dawdle when asked to work; who argue and talk back when asked to follow directions..." can be dealt with effectively by an assertive teacher who "...tells students exactly what behavior is acceptable....No questions. No room for confusion.." (Canter and Canter, 1992, p. 27).
"...(N)on-disruptive off-task behavior is unacceptable and must be dealt with correctly" (p. 163). Thus, in Assertive Discipline, dominating teacher control and student compli
child about the particulars of the alibi. Such wheedling or diversionary tactics have as their sole purpose derailing your
efforts to set a limit. If you do not bite the bait, you will
succeed. Shut up, get close, and wait. When the child runs out of hot air, say firmly, 'Sit up,' 'Turn around,' or 'Get to work.' As soon as the child caves in and complies, become warm and nurturant and say, 'Thank you.'"
Canter and Canter (1992) urge teachers to avoid ex amination of their teaching and disciplinary practices be cause doing so is likely to produce "...guilt, anxiety, and frus tration" instead of "...confident behavior management" (p.
subject for debate. If students resist in any way, they must
9). Kohn disagrees (1996, p. 21). "...(T)he curriculum is part of the larger classroom context from which any student's behavior, or misbehavior, emerges. An authentic response
be made to capitulate. "Whenever possible, simply ignore the covert hostility of a student. By ignoring the behavior you will diffuse [sic] the situation. Remember, what you really want is for the student to comply with your request.
to the behavior calls upon us to examine the whole of that context and consider changing it. The failure to do so amounts to blaming the student-which, in turn, gives rise to the familiar tactics of manipulation.." such as coercion,
Whether or not the student does it in an angry manner is not the issue. The student is still complying with your expectations" (Canter
punishment, and extrinsic rewards. Exemplars of the New School of Discipline under stand that old-style punishments create problems in school situations. Punishment, they say, is "ineffective for long term change" (Curwen & Mendler, 1988, p. 69), "provokes hostility and antagonism" (Albert, 1989, p. 79), and even a decision "to get even very soon" (Nelsen, 1987, p. 67). New
ance is the premise from which all else extends. It is not a
and Canter, 1992, p. 180; italics added). A core practice of Assertive Discipline is the commu nication, by teachers, of explicit rules with which students must comply, and explicit consequences (punishments) that will follow lack of compliance. Ideal rules and consequences are stated succinctly and they prescribe or proscribe spe cific behaviors. "Be respectful of other people" would not work, but a list of specific respectful behaviors would, such as "Keep your hands to yourself". Dabney, et al., cite one teacher's rules (1994, pp. 63, 64): •If Mrs. D_____ is talking, DON'T! •If assigned, do it (on time, with a smile)! •If you don't want to do it over, do it right the first
time! •If it's a school rule, follow it! •If you gripe about an assignment, be prepared to do extra! [I don't want to hear, "Golly, two pages. Do we have to write two pages? What if we...?" It's not "Let's Make a Deal" time here. I'll just say, "Gee, I think you can write three or four pages on yours"] When a student has been caught breaking a rule, teach ers must assume that an explanation is an "excuse" and avoid dialogue about it. Jones (1979, p. 29) says that teach
ers must "...guard against...getting verbally engaged with the
School proponents encase their discipline theories in terms like motivation, responsibility, dignity, cooperation, and self-esteem. These discipline methods are labeled with qualifiers like Cooperative Discipline (Albert, 1989), Discipline with Dignity (Curwen & Mendler, 1988), Discipline with Love and Logic (Cline & Fay, 1990), Innovative Discipline (Dabney, et al., 1994), Posi tive Classroom Management (Collis & Dalton, 1990), Positive Dis cipline (Nelsen, et al., 1993), and 21st Century Discipline (Bluestein, 1988). Other qualifiers also are used, such as commonsense, creative, effective, gentle, judicious, stress-free, and without tears. While the Old School of Discipline might be characterized by "Sit down and shut up", the New School would rephrase it as, "Be seated and refrain from talking" (Kohn, 1996, pp. 56-60). The new school is an attempt to highlight the more positive methods of behavior modification techniques. Behaviorist psychology used a mixture of punishments and positive and negative reinforcements to change the behav ior of animals and, sometimes, human beings. New school proponents promote the establishment of behavioral rules human-compatible
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(expectations), but claim that their discipline techniques do not include punishments. They say that their methods teach "self-control", "hold students accountable" and make them "take responsibility for the actions that they choose".
iff" and is "...responsible for keeping the behavioral records" (Curwen & Mendler, 1988, p. 76).
Dreikurs' work also provided some foundations for the new school. According to Dreikurs, et al. (1982, p. 117),
offenders, is a logical consequence (Albert, 1989, p. 77).
when children are punished, they "...retaliate because they see no relationship between the punishment and the crime"
• When children misbehave and distract others from
class activity, then spending a "few uncomfortable moments" in an isolated time-out area, with longer times for repeat Uncomfortable moments can be made less uncomfortable by labeling the isolation area "the happy bench" (Nelsen, et al., 1993, p. 124).
His suggested alternative to punishment was "logical conse
quences" that "fit the crime" (Dreikurs & Grey, 1968, pp. 73, 74). This orientation has been widely adopted by all new school discipline programs. Logical consequences are: (1) mo tivated by a desire to instruct, (2) reasonable and respectful in their application, (3) related to the act of the wrongdoer, (4) not harsh, and (5) delivered with a matter-of-fact tone of voice. Regardless of how they are packaged, logical conse
quences are almost always described as an imposed, unpleas ant, aversive experience that happens after a student has misbehaved or has behaved inadequately. Kohn refers to new school consequences as "repackaged punishment" or punishment lite (1996, pp. 39-45). For example: • If a student fails to put away toys or materials that they enjoy working with, then denying them the use of the
toys or materials is a logical consequence (Dreikurs & Grey, 1968, p. 96). • If two students are caught laughing during seat-work
Choice is a premium concept among advocates of the new school of discipline. Giving children a choice between alternative consequences (usually only two) is said to help children "...learn about responsibility" (Canter, 1992, p. 72).
For example, "Do you want to sit down and be quiet right
now or do you want to cancel the movie this afternoon?" or "If you misbehave more than three times, that tells me that you are choosing to not be in choir. You'll be resched uled into a study hall because I only want people here who
show that they want to be here." These kinds of choices are not really choices. They are pseudochoices and their purpose is coercion of compli ance. Pseudochoices are a common new school discipline technique (Kohn, 1996, pp. 51, 52). They create the illusion of democratic involvement by students in decision-mak ing. Usually, the teacher alone determines the options so that the teacher's option is clearly the least aversive or most
time, a logical consequence might be to make them go to
attractive. One new-school program for parents (Cline &
the front of the class and tell everyone what was funny. Dreikurs and Grey (pp. 142, 143) would say that "Though the children were obviously embarrassed, it was a result of their own action and not a result of any arbitrary judgment
Fay, 1990, pp. 48, 91) suggests forcing children to make "de
by the teachef • If a student throws a self-made spitball, a logical consequence would occur when the teacher forces that stu dent to make 500 spitballs without drinking any water, so that a parched throat results (Albert, 1989, p.34).
physical pain where they hurt from the outside in; italics in
• When a rule is repeatedly violated, a logical conse quence for the offending student is to write an essay on how he or she intends "...to stop breaking this rule" (Curwen & Mendler, 1988, pp. 72, 81); or offending students must "write (their) own name(s) on the blackboard, or have it written there by a student who has been elected class "sher
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cisions" that will have non-dangerous aversive consequences so that they will learn appropriate "lessons". Their intent:
"We want our kids to hurt from the inside out" (contrasted with
the original). Perspectives on the Old and New Schools of Discipline In their heart of hearts, nearly all teachers have their students' best interests in mind. Always. And prospective teachers study education for altruistic reasons. They want to experience the thrill of helping young people learn valu able things, and grow into competent, happy, well adjusted people.
What happens when beginning teachers start their careers in a school culture that is populated by many learn
ers that: (1) have not yet experienced all of the six develop mental levels described by Greenspan, (2) are of the same chronological age but not the same developmental age, (3) tend to form popular-unpopular and adversarial social subgroups, (4) have been extensively exposed to strong elec tronic media influences (enhances tendency to emotionally disconnect from and disrespect controller adults and other "outsiders"), (5) have not responded very often with intrin sic interest to schooling experiences, and (6) often bargain for extrinsic rewards for doing school work? Frequent frustration and disillusion, in many cases.
The job didn't turn out to be what they imagined it was
going to be. Some of the students overtly tested them right away and kept on doing so. The general culture (parents) and the school culture swamped them in conflicting self interests and administrivia and stifled their creative imagina tions. Approximately 4O% of U.S. teachers leave the profes sion within five years. Common observations are, "I spent more time doing 'police work' and 'paper work' than I spent actually teaching", or "I really enjoyed the teaching. All of that administrative and discipline stuff just made it an over whelmingly awful experience. I had to get out" In a column for the Washington Post (reprinted in the
Minneapolis Star Tribune, Section A2, Sunday, September 12, 1999), former teacher Natalie Chamberlain Reis wrote, "So when people ask me why I am not teaching this year, I tell them that I spent too much time as a disciplinarian and not
enough time teaching....I was tired of feeling like I was alone in battle...of trying to make parents see that their children needed help...of scrambling to get help when none was available...of leaving school every day feeling as though I had failed my students....It wasn't that I wanted to do so
much; it was that I never dreamed there would be so much I couldn't do" When I was a student in elementary, junior high, and high school, "doling out discipline" was how my teachers taught me and my classmates. Earlier in my teaching career, it was the only means I knew for getting and keeping "good discipline" among the human be ings in my choirs and classes. My adversarial mind-set was estab lished during my own schooling years and it lasted a long time. In
my early adult years, I added the model of the professional choral conductor. I had learned to be the servant of music by getting human beings to make it the way my past experiences had taught me was right. I used to yell, scream, cuss, and throw things in choir rehearsals when the student singers were not paying attention enough or they were not making the music the way I thought they should. I devised written rules, made the students and a parent/guardian sign them, and thought up logical consequences. I created an array of extrinsic rewards to manipulate student behavior, used the threat of their with drawal as a punishment, and I did withdraw them when provoked. I singled school-aged singers out for humiliating individual criticism, and threw singers out of the choir for bad behavior. I delivered corpo ral punishment to two boys once, for missing a choir performance. I did have some redeeming qualities. Honest. Adversarial, coercive, punitive, and manipulative ac tions by teachers produce temporary compliance with adult authority figures who use superior coercive power, granted by a government, to control the behavior of students. The modeling of this behavior can result in imitative implicit
learning that could be stated: "To be in control, you have to get and exercise superior force or power over other people" (see Kohn, 1996, pp. 22-32). The implicit communication behind predetermined "rules and consequences" expresses dictatorial social values: What teachers "ask" students to do, and how they ask it, are infallible and always the right way to do things. Students must comply and obey without question in order to avoid adverse consequences. In an effort to force this square block of autocratic values into the round hole of democratic values, Driekurs, et al., claimed (1982, p. 67), "It is autocratic to force, but democratic to induce compliance" (italics added). A U.S. public school system's administrators decided to do some
thing about the high number of "discipline problems" that teachers were encountering. They felt, in general, that far too many of the students were on the verge of being "out of control". During the school year, they hired a well known "discipline consultant", who had pub lished a popular book on the subject, to provide in-service training on a method for regaining control of "student discipline". The superinten dent of schools announced to the teachers that the new methods were to be put into practice by the first school day of the next month (to allow time for assimilation and planning). During the interim time, when
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behavior problems arose, the teachers warned the students that a new
way of disciplining students was coming, and "just you wait..." On the appointed day, each teacher placed three behavior rules on the chalk
board along with the aversive or punitive consequences for violation of the rules, and then spent time discussing each rule and consequence.
Did the student discipline problems go away, or sud denly reduce? No. Entrenched adversarial mind-sets and habitual patterns of behavior did not change much. Some students were ensnared by the new rules and became "ex amples" to other students, but the advance advertising had communicated to the students that they were left out of the process (no intrinsic ownership), and had given them time to explicitly or implicitly devise counter-domination-control game strategies. The externally imposed rules and adversepunitive consequences only enhanced the protective cogni tive, value-emotive, and behavior patterns of students, and drove some of them "underground". Control-domination game strategies were continued in more subtle forms or as acts of vandalism that were unlikely to be traced to "perpe trators". The evidence is rather massive that external-control, adversarial, accusative, punitive discipline only increases the compliant-submissive and distressful-protective reactions of people (Deci, et al., 1982; Hyman, 1990: Koestner, et al., 1984; Kohn, 1996; McCord, 1991; Miller, 1984; Render, et al., 1989; Straus, 1994; Watson, 1984). It never enhances an emotional connection with teachers or with a domain of learning, or with "loyalty" to the school that students at tend. Physicians who are identifying conditions that en hance health-risk and health-protective practices among ado
lescents have indicated that school connectedness is a pro
tective factor and school disconnectedness is a risk factor
(Resnick, et al., 1997; Hawkins, et al., 1999). Are sports team competitions and social activities the primary reasons for school connectedness? Groups of teachers are asked, "What are your long term goals for the students you work with?" "What would you like them to be-to be like-long after they've left you?" Rather than describing what kind of academic student they
their students, they describe them as "curious, creative, life long learners". None of their intellectual development goals mention the ability to solve algebra problems, name the capital cities of the world, or harmonically analyze a Bach chorale. How do those long-term teacher goals compare to what actually happens in schools? As Kohn describes it (1996, p. 61): "We want children to continue reading and thinking after school has ended, yet we focus their attention on grades, which have been shown to reduce interest in learning (Kohn, 1993a, 1994). We want them to be critical
thinkers, yet we feed them predigested facts and discrete skills-partly because of the pressure to pump up standard ized test scores. We act as though our goal is short-term retention of right answers rather than genuine understand
ing.." that enables sophisticated action in the real world. Fourth grade students from a variety of schools and socioeconomic backgrounds were surveyed about what they thought their teachers most wanted them to do. Be courte ous and treat other people respectfully? Make reasoned decisions? Ask reflective questions? A majority of them said: "Be quiet," "don't fool around," and "get our work done on time" (LeCompte, 1978, p. 30). Second and sixth grade students were interviewed about their beliefs about what "behave well" means. The most frequent answer was about being quiet (Blumenfeld, et al., 1986). When asked to express long-term social goals for young people, very few parents or teachers ever say, "I want my kids to obey authority without question, to be compliant
and docile" (Kohn, 1996, p. 61). Yet, when seeking "disci pline techniques" from "discipline experts", many teachers and parents ask, "How can I get children to do what I want them to do?" (Kohn, 1996, p. xv)? The word discipline has deep cultural associations with the emotional ouches, hurts,
cuts, and slashes that are embedded in externally imposed, dominative, accusative, punitive actions by parents and
teachers. Student compliance and obedience in the service of the academic curriculum, or "well behaved children" that
reflect well on parents, may be sources of reliance on coer
think they should be, they respond by describing their vi
cion, threat, punishment-lite consequences, and extrinsic
sion of people who are altruistic toward their fellow human
rewards as means of forcing or bribing young people into
beings, constructively competent, and socially responsible in a democratic society (Kohn, 1996, pp. 60-77). When they
immediate, short-term compliance and obedience.
comment about the long-term "intellectual development" of
compliance and obedience, will they be likely to commit
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When young people are threatened or rewarded into
themselves to detailed ability development in the long-term? Will they want to develop deep knowledge, understanding, and skill in a knowledge-ability cluster? As Kohn (1996, p. 62) says, "...trying to keep control of the classroom and get compliance...is inimical to our ultimate objectives. What
we have to face is that the more we 'manage' students' behavior and try to make them do what we say the more difficult it is for them to become morally sophisticated people who think for themselves and care about others" (italics by Kohn) A common reaction to this perspective is, "So, stu dents should be allowed to do anything they please? No rules to control their behavior? They can attend class when they want to? They don't need to study? They can treat people anyway they like? Come on! You can't be serious." This argument is invoked frequently to defend the familiar ity of the status quo, but it assumes that teachers and par ents only have two choices: (1) "...putting up with behavior problems" and (2) "...being the big boss and stamping them out" (Nicholls & Hazzard, 1993, p. 56). Are specific rules with explicit consequences "the an swer"? Rules and consequences induce some young people to use their analytic abilities to become "lawyers" and look for technicalities, loopholes, and escape clauses. Teachers spend significant time on police, prosecutorial, and judge work rather than guiding learning. Punitive penalties usu ally follow rule violations, which means teachers are "...do
ing things to students rather than working with them to solve
problems" (Kohn, 1996, p. 73). For example, when students are forced, by an externally imposed rule, to address teach ers as Mr., Mrs., Miss, Ms., or Dr., is that a sign that the students genuinely respect and "look up to" all of the teach ers? Is there a way that senior learners and learners can interact so that mutual respect is genuine and automatic, and is based on (1) mutual recognition of shared humanity and (2) assumption of vast capabilities to relate, create, col laborate, empathize, learn, establish self-reliant personhood boundaries, and be constructively altruistic? Internal Self-Reliance and Respectful, Collaborative Learning So, should young people be allowed to act disrespect fully, or any way they please? New question: Are young people capable of behav ing respectfully and collaboratively when a controlling teacher
is NOT present to enforce compliance with rules? If they are capable of behaving that way, how can that be achieved nearly
all of the time? When organizing a school, and planning how a school's learning experiences will be enacted, Kohn (1996, pp. xv, 10) suggests two key questions. They point senior learners in the direction of helping learners become like the people in the teachers' long-term visions that were mentioned earlier. 1. What do young people need in order to flourish, to become curious, communicative, creative, productive, lifelong learners, and to be empathically disposed toward fellow human beings, constructively competent, and socially responsible participants in a democratic soci ety over their lifespan? 2. How can we help them meet those needs? Will children need opportunities to learn how to: (1) establish and sustain close relationships with other human
beings, (2) self-regulate their emotions, (3) communicate competently in a variety of symbolic modes, (4) develop appropriate self-borders and become self-reliant, (5) col laborate constructively with other people to solve prob lems, (6) critically analyze their own needs and empathically assess the needs of others, (7) form opinions about the rela tionships and roles of people who are referred to with such labels as children, parents, siblings, students, teachers, principals, school administrators, citizens, representative legislators, judges, may ors, governors, prime ministers, presidents, employees, managers, ex ecutives, and stockholders, and (8) express their opinions con structively and through voting and financial investments, and so forth? Will those abilities be developed if young people are expected to do what they are told, and they are never in cluded in decision-making processes and result analyses; if they are coerced or cajoled into compliance with predeter mined modes of behavior by someone with superior au thority over them? Will lifelong curiosity and learning be
developed if they are bribed into compliance with prede termined learning experiences in which extrinsic rewards and punishments are delivered by well meaning parents or teachers? If we suspect not, what can be done by parents and teachers to help children develop those abilities that they need to survive and flourish?
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"Consider a rough syllogism. Major premise: chil dren misbehave when their basic needs have not been met
Minor premise: children (like adults) have a basic need to
experience themselves as 'origins' of their own behavior as
opposed to 'pawns' (de Charms, 1968, 1977). Conclusion: misbehavior will diminish when children feel less controlled.
Kids tend to be more respectful when their need to make decisions is respected; they are likely to be better behaved when there is no need for them to struggle to assert their
autonomy. Specifically, students are more likely to go along with a request, all things being equal, when they have some (real) choice about how to carry it out." (Kohn, 1966, p. 81-
2. "Commitment—the willingness to coexist—is crucial....Community...requires that we hang in there when the going gets a little rough." 3. "Decisions in genuine community are arrived at through consensus...." 4. "Realistic decisions...are more often guaranteed in community than in any other human environment....(A) community includes members with many different points of view and the freedom to express them, it comes to ap preciate the whole of a situation far better than an
individual... or ordinary group....With so many frames of ref erence, it approaches reality more and more closely" 5. "(A) community...examines itself....The essential goal
83)
In what kind of setting can children genuinely be in
of contemplation is increased awareness of the world out
cluded in real decision-making and have their assertions of
side oneself, the world inside oneself, and the relationship
self-reliant autonomy respected? Would that be possible in
between the two....The community-building process requires self-examination from the beginning"
a setting where the needs and wants of favored people su persede the needs and wants of less favored, perhaps less self-reliant people? Would that be possible in a setting where the needs and wants of all people within a group supersede the needs and wants of individual persons within the group, and group conformity is the desired social norm? What about a setting in which all individual persons within a group collaborate with each other, guided by a senior learner, to find balances between the needs and wants of individual persons and the welfare of everyone in the group? That means that individuals have opportunities to develop and elaborate their analytical, evaluative, decision making, and communicative abilities in the crucible of dif fering and shared perspectives, disagreements and agree ments, conflicts and resolutions, exchanges of solutions to problems, debates, and the like. That is the comparatively messy process called community. To Peck (1987, p. 59), a community of human beings is "...a group of individuals who have learned how to com municate honestly with each other, whose relationships go deeper than their masks of composure, and who have de veloped some significant commitment to 'rejoice together, mourn together' and to 'delight in each other, make each
others' conditions our own.'" He suggests six characteristics of a sense of community among human beings (pp. 6168). 1. "(C)ommunities are always relatively indusive....The great enemy of community is exclusivity'' 256
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6. Once a group has achieved community, the single most common thing members express is: 'I feel safe here'"
Truly democratic political processes are the seed ground in which communities of human beings can form
and thrive. Communities truly thrive when their members:
1. develop personal analytic and big picture skills that lead to reality-testable perspectives about the world as they have experienced it; 2. develop clear self-borders and a resilient self-iden
tity; 3. learn how to differ with other people in a way that
communicates respect, kindness, fairness, and empathy for their needs and wants; 4. learn how to develop consensus within a group when possible; and 5. when not possible, learn how to respect the voted decision of the community.
That is how democratic communities can truly thrive. Can schools and classes within schools become com munities of senior learners and learners? Researchers at the Child Development Project studied how fifth and sixth grade children in 24 elementary schools in the United States were
affected by the presence or absence of a sense of community in their classrooms (Battistich, et al., 1995). The students who
reported a stronger sense of community also reported that they liked to go to school and saw learning as intrinsically
valuable. They also displayed more empathy for other people and were more skilled at conflict resolution. These trends were notably prominent in schools that had a high enrollment of low-income students. Children who felt like they were not part of a community reported opposite trends. These results are consistent with: 1. Piaget's (1965) perspectives on the moral develop ment of children (cooperative relatedness is the key); 2. the research of Battistich, et al., 1995, DeVries and Van (1994), and Koestner, et al. (1984); 3. the writings of Angell (1991), Bowers and Flinders (1990), Etzioni (1996), Kamii (1991), Sergiovanni (1994), Solomon, et al. (1992); and
4. the work of the Child Development Project (1994,
1996).
How do we create genuine communities (not pseudo communities) in places called schools? Can general music education classes become communities? Can choirs be come communities? In early Spring, a junior high/high school choir teacher from Nebraska traveled hundreds of miles to get therapeutic help for her vocal fold nodules. She wanted to sing well again and she loved teach ing. She had been told that she might have to find another career, and that was very distressing. She identified a number of distressful life circumstances that might have influenced her overly effortful, high collision-and-shearing-forces voice use. She was asked, "Is there any thing in your teach ing day that typically just drives you up the wall?" Without hesita tion she said, "Seventh grade choir! I can't get them to do what we need to do to get readyfor performances. They talk a lot, don't pay attention very well, and a few of them are really smart-mouths. I feel I have to talk loudly to stay in control. It's the most frustrating part of my day. If I didn't have seventh grade choir, teaching would be a pleasure." A plan for having a genuine, heart-to-heart talk with the choir members about her feelings was addressed. It included engaging the choir's singers in a process of writing up a description of "What It Means to Sing in a Choir: How the Conductor and the Singers Help Each Other". Among other items, the conductor would ask the singers for ideas about what choirs do, what the conductor can do to help the singers truly become even more skilled and expressive as singers in a
choir, and what the singers can do to help the conductor become even more skilled and expressive as a conductor. The idea was to implement this plan at the beginning of the next school year. She decided not to wait. At her next therapy session, she revealed that she implemented the plan immediately upon her return home. The result? The students became collaborators with her in a human adventure, and her whole teaching day had been a pleasure ever since. She implemented the same plan in all of the choirs, eliminated several nonpaying obligations from her social schedule, and decided to teach only a .75 load the next year. Her nodules resolved by midsummer. So, what did that teacher say to her students, and how did she say it? What did they say in response and how did they say it? How did they arrive at their description of "What It Means to Sing in a Choir: How the Conductor and
the Singers Help Each Other"? What was the dialogue like and how were decisions made? How did they relate to each other as they carried out what they had agreed upon? Did it carry over into the next Fall term, and if so, what was that like? Prerequisites for building a learning community. In order for a sense of community to grow within a group of people, the leader need(s) people skills (empathic so cial-emotional communication abilities). For senior learn
ers that means having a deep respect for, and a fascination with, the phenomenal capabilities of learners regardless of their age and past experience, and an abiding belief that, at
their core, learners want to exercise their innate exploratory discovery and self-mastery capabilities, and they want to do so in a safe, emotionally connected setting. Genuinely listening to and respecting all of the points of view that learners express, while being aware of other group and in
dividual needs, models empathic skills for the learners. Constructive verbal and nonverbal communica tion skills (see Chapter 8) are needed to facilitate a "coming together" of diverse needs and interests among a community's members, and to help members "work through" their dif ferences and disagreements to solve both learning and so cial-emotional problems (Christiansen, 1980; Tickle-Degnen & Rosenthal, 1987, 1990). Learners of all ages form feeling based impressions and "comfort levels" in response to the verbal and nonverbal communications of senior learners (see Chapter 8; Riggio & Friedman, 1986). Wording and in
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flection of goal-setting and feedback language can contrib
interactions". Greenspan (p. 220) also suggests that the real
ute to affective connection or disconnection (see Tables I-9-
basic skills of education are (1) engaged and sustained attention,
1, 2, 5,4 6, 7 9). Impression and comfort level judgments are
(2) strong relationships, and (3) communication. These abilities
influenced by a senior learner's voice quality (Addington, 1968; DePaulo & Coleman, 1987; O'Sullivan, et al., 1985;
highly correlated with the human neuropsychobiological
Phillis, 1970; Scherer, et al., 1991; Zaidel & Mehrabian, 1969). Vocally delivered nonverbal communication skills include (1) appropriately wide, but customarily meaningful, pitch and volume ranges (see Book V, Chapter 2), (2) an habitual voice quality that can be described as "firm and clear but mellow and warm" within the spoken pitch and volume ranges (see Book II, Chapter 10 and Book V, Chapter 2), and (3) genuine, expressive phrasing of conversational and read speech.
McLaughlin's research (1993) indicated that when all of the senior learners in a school are members of a col laborative network of senior learners (a community), they each will be much better able to engage the learners that they work with more deeply in their learning. Teachers who are isolated and left on their own, with no collabora tive support, tend to provide shallow, unimaginative expe riences for their students, hold cynical beliefs about chil dren, and value their privacy more than they value teach ing well. And finally, a prerequisite for building a sense of com munity is time and patience. People in a real community are not just casual acquaintances who meet together occa sionally for a common purpose. They are people who have come to know each other, respect each other, and trust each other, and that takes time. Building a sense of community is easier when there are smaller numbers of learners in a group.
make all other learning possible in the first place and are
needs for relatedness, competence, and autonomy. Developmental leaders (senior learners) plan and enact learning experiences that are highly likely to (1) en gage attention and be intrinsically interesting to bodyminds, (2) produce and enhance emotionally connected human re lationships, (3) enhance pleasant emotional well being, and (3) result in constructive competence (tailored to develop mental capabilities). Clearly, learning communities need structure, that is, ways of deciding and planning what will be done and when, and how all of the human beings that are involved will interact with each other. The questions are: What will be the nature of that structure? Who will
create it? How will it be created? Teachers can choose to impose the structure with coercive rules and manipulative extrinsic rewards. That adversarial "mind-set" and the result ing adversarial interactions produce a structure that induces protective reactions, diminishes intrinsic "motivation" and creativity, and reduces emotional connectedness (Koestner, et al., 1984). What if, instead of an adversarial, dominance-con trol-compliance mind-set, a collaborative "mind-set" be
came the norm among learners and senior learners. This mind-set predisposes everyone to engage in mutually re spectful collaborative interactions that enhance empathic relatedness, constructive competence, and self-reliant au tonomy. Senior learners can lead or guide the establish
The practice of representative democracy is one way to fa cilitate decision-making in some larger groups. Observing
ment of structure in collaboration with the people who are
learners as they navigate through the communications skills, responsibility fulfillment, and fairness issues of elected of fice can be an important part of the social-emotional, self regulation curriculum of a school.
of mutually respectful, self-reliant, cooperative human be ings who have an internal (from inside-out) "ownership"
A brief on building collaborative learning com munities. Greenspan (1997, pp. 211-213, 217-219) recom mends that educational methods be based "...not on tradi tion but on the best current insights into how children learn" His "key tenet" in a developmental model of education is:
intellectual learning shares common origins with emotional learning.
Both are unique in each child and "stem from early affective
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called students. The desired result would be a community
of, and sustained involvement with, detailed learning, sym boling, interacting, reflecting, creating, and producing (Ryan
& Powelson, 1991; Ryan, et al., 1985). A community rests
on the knowledge of, and connections among, the individuals who are part of it" (Kohn, 1996, p. 113) Kohn (1996, p. 106) suggests that senior learners ask themselves some important questions. For example: "How (will) the classroom system work (see Alshuler, 1980; Bow
ers & Flinders, 1990)? Are students helped to develop a sense of responsibility for each other? By what means?
for members to be personally introduced and may lead
What happens if a child is reduced to tears by cruel taunts,
whole-group or small-group cooperation as members cre ate "performances" (see Ashton & Varga, 1993; Sher, 1995 for more ideas). For example, the senior learner may ask the whole group to form a circle and then say, "I'm going to make a sound with my hands, feet, or voice. Your mission, should
or by deliberate exclusion? What expectations, norms, and structures have been established to deal with such an incident-and to make it less likely to happen in the first place?" What would an observer "see and hear and feel" in a group of human beings who "truly deserved to be called a com munity"? and "What would be the most effective ways to prevent a sense of community from being developed in the first place or to destroy a community that is already formed?" In a learning community, senior learners interact with learners as real human beings. They are not controlled, emotionally distanced, "always right", role players. "A real person sometimes gets flustered or distracted or tired, says things without thinking and later regrets them, maintains interests outside of teaching and doesn't mind discussing
them....is vulnerable....remember(s) details about students' lives....thinks about how what they say sounds from the students' point of view....explain(s) what they are up to and
give(s) reasons for their requests...ask(s) students what they think, and then cares about the answers....listens
patiently...shows concern for someone he doesn't
know...apologizes for something he regrets having said...." (Kohn, 1996, pp. 111-113) The key element in building a learning community is the inclusion of learners in nearly all decision-making
processes. Learners of all school ages are quite capable of participating in discussions and decision-making about what
will be learned, how, and when and about empathic treatment of
people in social-emotional relationships. The community build ing process begins with sharing constructive, pleasant ex periences that builds an emotional connection and trust between all of the community's members. Senior learners and learners become emotionally connected with each other and the learners become connected with each other. When possible and appropriate, a morning-to-afternoon bond ing and learning picnic in a public park, or a weekend re treat away from school in a camp setting, provides an op portunity for enhancing group connection. Group-prepared meals, playing games, group discussions, and singing expe
riences are possible events. Whether at a retreat or at the first class meeting, senior learners may enable novel ways
participatory games that involve emotionally enjoyable,
you choose to accept it, is to pass that same sound around the circle as fast as you can 'til it comes back to me, and then I'll do another one. We'll go to my left. Are you ready?" After two such sounds are passed around, mem bers of the group can be asked if they would like to start a sound. The senior learner may then ask the whole group to divide themselves into groups of five (or another appropri ate number). "Here's your mission: One person creates a vocal sound and a movement to go with it. The next per son connects with that person's sound and movement by making their own sound and movement. Eventually, ev erybody connects, so you all create a collection of sounds that has a beginning and then builds. And your final chal lenge is to find a way to create a noticeable closure to your...shall we call it a composition of sounds and silences? You have five minutes to get it together, and afterward we'll all get to see and hear what you've created. Five minutesgo! " Fun and laughter, of course, never happen during these games...? [The two games are borrowed from Patricia Feit and Elizabeth Grefsheim, senior learners for The
VoiceCare Network.] Ongoing group communication is necessary for build ing a sense of group connectedness. Whatever they come
to be called, discussions or meetings take place. What is addressed in the meetings will depend, in part, on what type of group is meeting. Discussions in a kindergarten class will be different from discussions in a second, fourth, sixth, eighth, tenth, or twelfth grade class. Meetings in a general music class that meets for 30 minutes two times per week will be different from a middle school choir that meets three times per week, or a high school choir that meets five times per week, or a college-university vocal pedagogy class
that meets twice each week for two hours. Meetings and discussions may take many forms and may take up many issues. As Kohn suggests (1996, pp. 8891), meetings can include a time for a voluntary sharing of human-compatible
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interesting or important events that have happened to group
move on to something else, but to use those events for
members over a weekend, or upcoming events. These are
learning how to acknowledge our human feelings and emo tions, how to deal with them when they arise, how to learn from them, how to understand events from other people's perspectives, how to resolve conflicts with other people, when possible, and how to preserve respect and empathy for our fellow human beings, even though we may differ with them.
not "show and tell" or "bring and brag" times, and "...the idea is to take pleasure in others' contributions (experiences and accomplishments) rather than trying to outdo them." But the main purpose of group or class meetings is for reflecting, deciding, and planning. Occasions for reflection, and what is reflected upon, can be initiated by the senior learner, a learner, or an event that has recently occurred and is of concern to the group. Any prominent event that has occurred in near or far proximity to the school, or an event that a member experienced, or an event that occurred be tween members, an upcoming event such as a visit by an outside person or a field trip may be reasons to have a reflective, deciding, and/or planning meeting.
Deciding and planning are usually connected. A sense of community (empathic relatedness), constructive compe tence, and self-reliant autonomy can be developed further when learners not only reflect on, but participate in deci
sions about (1) arranging the learning environment, and (2) the most productive ways to carry out the learning experi
Perspective taking is about developing empathy, so
ences themselves. Ownership is the word. Examples of in cluding learners in nearly all deciding and planning pro
cial judgment, "people skills", and so on. Child psycholo
cesses would be: (1) How do we decorate the walls? (2)
gists indicate that it can help children develop perspectives about how other people think and feel and generosity to
How do we arrange the classroom furniture? (3) What field trip would be both interesting and related to what is being
ward them, rather than wariness or walled-off protective
studied? (4) Who will make arrangements for the trip and what do they need to get done? (5) How might we resolve personal conflicts? (6) Will learning happen better if we
ness (Feshbach, et al., 1983; Kohn, 1990). For example, a group thought experiment might be introduced this way: "'What if, some time this year, you found yourself acting in a way you weren't proud of? Suppose you hurt someone's feel ings, or did something even worse. How would you want (the rest of us) to help you then?' After everyone has re flected privately on this question, and perhaps discussed it, pose the follow-up question: 'What if someone else acted that way? How would we help that person?"' (Kohn, 1996, p. 115) Reflection and perspective taking do not result in co-dependency relationships if senior learners help the group
point in the direction of intrinsic interests, self-perceived feedback, and constructive competence. Developing and continuing one's personal self-identity borders is equally important. At the beginning of a school year, a senior learner may ask the learners to reflect on how human beings treat
each other in class and on the playground. Such questions may be considered as, "What can we do when we disagree, or when somebody says or does something unpleasant?" As conflicts and disagreements actually arise, the group can
study in groups or alone, or if we read aloud or silently? (6) Do we need to spend more time on math because some thing else that was really interesting caught our attention the past two days? (7) Which music do we need to spend more time rehearsing so we can really be ready for our concert? and (8) How do you feel about going to the choir contest this year? "Whether or not we acknowledge it, stu dents are curriculum theorists and critics of schooling. If they are drawn into the conversation about the purposes and practices of schooling, we may all learn useful lessons." (Nicholls & Hazzard, 1993, p. 8) Bringing the learners in on just about every decision
means that senior learners and learners are solving prob lems together. "Suppose a student does something hurtful or mean. Immediately we make a choice about how to construe what has happened and what ought to be done. Option One: 'He has done something bad; now something bad must be done to him.' Option 2: 'We have a problem here; how are we going to solve it together?"' (Kohn, 1996,
how we treat each other. As learners experience conflicts,
p. 121) These options reflect the difference between a "do ing to" and a "working with" orientation to education. For
the goal is not to shut them off quickly, stifle emotions, and
example, a teacher is going to miss three school days to
ask questions, discuss the particulars, and consider further
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attend a teacher's conference, and a substitute teacher has been hired. A "doing to" teacher would say something like, "Now, if the sub teacher tells me you misbehaved while I'm gone, you'll all have to (describes a punishment), but if I'm told you were good and worked hard on the assign ments I've left, then (describes an extrinsic reward)." That teacher might have a meeting with the entire class, tell them that a sub will be with them for three days, and have every one say out loud what the teacher expects them to do, and how they are to behave. A "working with" senior learner might have a meet ing with the entire class, say, two days before the sub comes in, and say, "We will have a guest in the room two days from now, while I will be away at a teachers' conference. His name is_____. Have any of you ever visited some where and you met a group of people that you had never met before, but they all knew each other? [responses, inter
actions] How did you feel when you were going into the room to meet them? [responses, interactions] Some people would call Mr._____a substitute teacher, but he's really a person who will be our guest for a few days. What can we do to make Mr._____ feel welcome?" And then, the teacher might ask, "What do you think we need to accomplish in
reading, math, science, and music over the three days that I'll be gone? Any ideas?" A post-absence meeting could include a "...thoughtful discussion about how things went and how they might be improved the next time the teacher
Learners grow their social-emotional abilities and vari ous knowledge-ability clusters most completely when they "feel safe speaking their minds" with the senior learner. If a
learner becomes frustrated when learning a new ability, and speaks angrily and defensively to the teacher or another
learner, "a private conference is most likely to be productive if the student feels accepted by the adult." (p. 123) Reassur ance of that trust and caring "can strengthen the bond that
is necessary to work things out."
For example, in such a private conference, a senior learner might say, "Mickey, what you said felt hurtful to me as a human being, but I know you are really a good person. What happened inside you that made those words come out?" That interaction (1) describes the senior learner's honest
reaction to the learner's behavior, but (2) respectfully sepa rated the value of the person from the person's behavior, (3) gave the learner an opportunity to express his own feel ings out, and (4) opened a dialogue that can move the two toward deeper mutual respect and empathic relatedness. 2. The senior learner will need the empathic "people skills" described earlier in order to "help students learn to listen carefully, calm themselves, generate suggestions, imag ine someone else's point of view, and so on." (p. 123) A lot of "target practice" may be necessary for some children to learn these social-emotional skills (emotion regulation), and many children may not know what the targets and bull's-eyes are in the first place. "(I)f a student seems unre
is absent." (adapted from Kohn, 1996, pp. 89, 90; also see,
sponsive when asked to take some responsibility for undo
Child Development Project, 1996a, pp. 72-75, 94-96) In building a learning community, according to Kohn,
ing the damage he did, the reason may have less to do with
the "point of departure" is “How can we work with students to solve this problem? How can we turn this into a chance to help them learn?" Ten suggestions, paraphrased from Kohn (1996, pp. 121-129): 1. The foundation upon which human development and detailed learning are built is empathic relatedness be tween the person who is the leader of a learning community (senior learner) and each of the persons within the commu nity. Learners must know that their senior learner accepts
his attitude than with his lack of experience in figuring out
what to do" (p. 123) 3. In school situations, some type of governing body has given the senior learner the responsibility for guiding
the learning of other human beings, regardless of their age. In a learning community, the learners are invited to partici pate in decisions about how their community's members interact with each other to solve problems that are faced. The senior learner provides guidance-mainly with ques
them and respects them as unique human beings, cares about
tions, not orders or rules-so that the learners can learn how to think through what is happening and figure out solu
their individual value and welfare, and trusts them as ca pable people who are growing in personal competence and autonomy. When that happens, trust will become mutual.
tions. Doing that is really difficult when we are tired, under pressure, and our own "emotional buttons" have been pushed recently.
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When the same knowledge-ability bull's-eyes are missed over and over by a learner, or when communica
tion or conflict problems arise among two or more learn
ers, the senior learner's first concern is, "How can I help
(anyone involved) to learn how to help themselves in simi lar situations in the future?" The senior learner begins by gathering information in order to "diagnose...the underly ing reasons for a given behavior". Examples: (1)A learner may be "lazy" (there is no such thing; there is a personal history that has formed non-engaged behavior in school settings) because breakfast is never eaten (low blood glu cose level) and nutrition is inadequate for a body's needs. (2) A learner may emotionally lash out frequently with other people because parents are in serious conflict. (3) A learner may not speak very often because of genetically inherited shyness that has been deepened by peer teasing in the past.
do you think you (we) can do to accomplish this goal or solve this problem? Chenfield (1991) suggests "four easy nudges" for amplifying learning involvement.
a. "What else?...What else can we find out about the early settlers? What else can you share about your pet gerbil? What else can we think of for our spring program?
What else do we want to know about the Beatles?...There is always more to discover, to learn, to ask, to wonder about." b. "What if? Merely asking this question will auto matically trigger the imagination....What if we could trans late the songs of whales into English? What if we had ex
perienced the great journey westward?...What if we began a story with its ending? What if the Founding Fathers had sung the Constitution?"
These are occasions for educational moments within a com
c. "Show it!...Show an idea: demonstrate it in words, in pictures, in music, in dance, in sculpture, in graphs, in reports, in an interview, in a discussion, with a puppet, on a
munity of learners through the use of hypothetical situa tions in which everyone may "play detective" to find pos sible underlying reasons for specific behaviors. 4. Some serious internal angst can occur when we teachers wonder about our own, and our educator pro
bulletin board, as a newspaper, in clay, in a play, in anyway that communicates." d. "Fake it! In the uptight, test-centered, anxiety-filled world of education, 'fake it' gives permission to try some thing new or different. Take a stab at it. Make believe you
fessions', habitual practices. Sometimes those wonderings can be quite threatening to our own well being and "sense
can do it....Hang loose. Stay cool. If you can't do something
perfectly, it's okay to try anyway. 'Fake it' invites participa
of competence". After we have learned about the stifling
tion and encourages involvement. It draws a circle that
effects of coercive punishments, punishment threats, and extrinsic rewards, then we may wonder about our own habitual use of them to "motivate our students". For ex ample, what if a college singing student is practicing only about an hour before each weekly lesson and her progress on voice skill mastery shows it. The teacher can threaten
encompasses everyone. No one is ever left out....If you're unsure, fake it!" 6. Two learners are shouting angrily at each other and occa sionally shoving each other The group's senior learner hurries to them, shouts "Stop", places herself between the two learners, and then says, "Walk with me." They walk to a nearby area away from other people. During the walk, Bay reports to the senior learner that Dawn had called her an insulting name and that she just could not let it go. At this point, all the senior learner knows is that the two young women are angry and that Bay has stated that Dawn addressed a specific insulting term toward her and a shouting-shoving event happened. In their private talk, the senior learner asks Bay, "What happened?" As Bay's story unfolds, the senior learner asks follow-up questions to help her describe her perception of the event's sequence, what was said by whom, and how that made her feel. Then the senior learner says, "Is that what happened, Dawn?" Dawn then tells her perception of the event's sequence and who said what, and the senior learner asks ques tions about what Dawn's feelings were as the event transpired. [Those
"consequences" or give a low grade or otherwise coerce the student into compliance, or the teacher can meet privately with the student and make the student to work out a rigid
practice plan. Neither approach "asks the key question(s)": What is the student being asked to do? Is it intrinsically interesting to the student? How involved was the student in designing the learning experiences? These questions can help us reach beyond our current grasp, as the poet Browning might have said. 5. Maximize student involvement in deciding how to accomplish goals and solve problems. "With tongue partly in cheek, I will now reveal in four words how to become a better educator: Talk less, ask more" (p. 126) What
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follow-up questions are focused on exposing the two girls to each other's perspective and to their human feeling reac tions to the event] The senior learner keeps in mind that Bay's and Dawn's "inter preter mechanisms" (see Chapter 7) will possibly engage at some point to generate one or more self-justifying explanations and one or more statements of accusation or blame toward the other In order to avoid haggling over whose version is accurate or who is to blame, the senior learner just summarizes the two versions of events and how each of the two participants felt during and after it. As their cerebral cortices are able to "quiet" their limbic systems, under the influence of the senior learner's questions, the two learners begin to modify their "positions" toward a more literal observation of the events. At an appropriate point, the senior learner says, 'All of us hu man beings get frustrated and ticked off at times. I suspect that, deep down, neither of you really wants to carry on an "I'll-hurt-you-whenever-I-can contest from now on. I got into a few of those when I was younger, and they were such a waste of energy and time. So, what do you think we can do now? Is there a way to resolve this and rejoin the flow of our group?” At this point, the learners can suggest pro forma apolo
gies, or bargain for a punishment lite consequence, or say something else that they believe the senior learner wants them to say The senior learner can mete out a punishment to them both or offer an extrinsic reward for good behav ior in the future. Or, the senior learner can guide the learn
can be rewarding for everyone concerned. 9. When carrying out problem solutions or goal ac complishments, flexibility is important in logistics, what is said and done, how it is said and done, when it is done, and how long it takes. For example, several disruptions of group attention are initiated by one learner in a choral group re hearsal. Instead of stopping the rehearsal for a one-to-one or group meeting to deal with the problem right then, a senior learner may say, "Tyne, something just happened that
I would like to talk to you about at the end of this rehearsal. See me right here. Now, altos, how close can you come to..." The statement tags the disruptive event in Tyne's memory so that it can be referred to in the one-to-one meeting after rehearsal. Sometimes, a whole-group meeting will be the best way to solve problems, set goals, and make plans. On other occasions, a small group meeting or oneto-one meetings with individual learners may be the ticket. Asking for suggestions from colleagues or friends or stu dents may trigger a flash of insight. "In short, 'doing to'
responses can be scripted, but 'working with' responses of ten have to be improvised" (p. 128) 10. There may be times when the neuropsychobio logical state of a learner makes self-regulation extremely difficult if not impossible for them. Repeated interruptions of the other learners, for instance, are not fair to them. Under such special circumstances, temporarily separating the learner from the group can be a last-resort option. The senior
7. When one or a group of learners have said or done
learner might say, in a respectful, calm, but concerned voice, "Mel, I don't know why, but in the past five or 10 minutes, the concentration of your choirmates has been disrupted by your talking and elbowing. We need to get a lot of
something that is disrespectful or destructive-intentionally or through negligence-a senior learner might say, "If they
things done, here, and we'd like to have your voice making its contribution, so can you bring yourself into a flow with
had [said or done] that to you, what could they do to make it right with you?" or the senior learner could describe the
the rest of us? And let's talk this out after rehearsal. Meet me right here. OK?" [wait for a response] If the disruptions continue: "Mel, we really need to make this music go, here. So, for now, please go to my office and wait there for me, so we can talk this over" The point? Minimize the punitive impact of the one, two, or three last-resort actions that one takes per year (some options are addressed later). Teachers at all levels, from kindergarten through gradu
ers toward constructing an authentic solution to their con flict, if they are not able to go there on their own. The goal is empathic relatedness.
damages and/or the painful feelings, and ask, "What can you do to repair this damage (or hurt)?" "A reasonable follow-up to a destructive action may be to try to restore, replace, repair, clean up, or apologize, as the situation may dictate", that is, "make restitution or reparations", (p. 127) 8. Senior learners, showing interest in the social-emo tional growth of learners, can check back later to observe how solutions or goals are working out. Additional guid ance may be needed but listening to a report of progress
ate school, are expected to cover a large range of experi
ences in a fairly limited amount of time. Experienced edu cators are concerned that all of the time that would have to human-compatible
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be devoted to helping learners develop empathic related ness and self-reliant autonomy through community build ing, would mean that knowledge-ability learning (academ ics) would suffer too much. After all, schools in Western
to spend a lifetime doing what one is told and being pre pared to take an active role in a democratic society..." (Kohn, 1996, p. 73) Transition from external and punitive control to collaborative community. When students have substan
cultures are held accountable for language, math, and sci ence test scores, not for the extent to which self-regulation
tially experienced external and punitive control from their
and social-emotional abilities are developed. "Taking time
teachers, then many learners are not likely to have much
to develop relationships with students sounds like teachers are trying to be their buddies. All these meetings and taking time to solve personal problems are just babying them, not getting them ready for the tough real world. Families and religions are supposed to take care of those things. Schools are for teaching academic skills for a successful future in the real world." [Notice an interpreter mechanism's use of nominalizations to overgeneralize, and compartmentalize human beings?] Do collaborative learning experiences take too much time? Taking time to help learners build personal and so cial abilities at the "front end" of schooling experiences mas sively reduces the time spent on "police work" and "disci pline" later on, and the unpleasant distresses that they bring to everyone concerned. Much more time can then be de voted to developing knowledge-ability clusters that can
experience in reflecting on social-emotional problems, com municating their own ideas, interacting empathically, and
bring the intrinsic rewards and interests that lead to a suc cessful future. Mutual trust and respect, ethical character, and moral judgment abilities are being developed (Kitchener, et al., 1993). In addition, learners "...learn to reason their way through problems, analyzing possibilities and negoti
ating solutions....are less likely to be alienated" and more likely to "learn enthusiastically" as they develop construc tive competencies and self-reliant autonomy (see Kohn, 1996, p. 90, 91). When learners perceive that they have an accepted and respected "voice" in decisions about goal setting, plan ning and enacting learning experiences, problem-solving, and assessment, then intrinsic ownership of their learning is quite likely to take place. Emotional connection to senior
learners, fellow learners, and the knowledge-ability cluster(s)
at hand also are likely (see previous sections). "There are few educational contrasts so sharp and meaningful as that between students being told what the teacher expects of them, what they are and are not permitted to do, and stu dents coming together to reflect on how they can live and learn together. It is the difference between being prepared
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making collaborative decisions. Social-emotional self-regu lation is likely to take time and patient direction-pointing. A senior learner whose students were previously taught by someone who exerted tight, external, punitive control, or by an inconsistently punitive-then-friendly teacher, will face
very different challenges as compared to a teacher whose students were previously taught in a collaborative way. The
same challenges face substitute teachers. Kohn observed five former tightly controlled classrooms go through a tran sition toward becoming a collaborative community. He noted five common learner reactions (adapted from Kohn,
1996, pp. 96, 97) .
1. In acting out, a large store of suppressed emotional
ouches and hits emerged in student behavior (see previous section). In some cases exploded was the more accurate word. 2. Testing of the teacher appeared in many forms such as "outrageous suggestions" or even disrespectful talk. Sometimes, this behavior is interpreted by teachers as a sign that children were "asking for limits and discipline". Kohn suggested that teachers were tested "...to see whether you
mean what you say when you tell them their needs and preferences matter. They may be asking you to prove that you are not just a teacher who reassuringly declares, 'This is our classroom!...and then proceeds to.." make all of the "im portant decisions". 3. When teachers ask students what to do about a situation that has arisen, outright resistance may happen in a form such as, "I don't like this way of doing things. I don't want to think. Just tell us what to do and we'll do it" 4. Silence or one-to-three word rejection responses may occur, such as, "I don't care", or "Whatever". 5. Parroting means that students will say what they think the teacher wants them to say, that is, an obviously correct, please-the-teacher point of view.
One high school student, whose math teacher devel
oped collaborative communities in his 45-minute classes, "...describe(d) how difficult this approach was for her ini tially, since she was someone who preferred to be told what to do. At first, she (said), 'I couldn't really deal with sitting in a circle and talking stuff to death,' but by the spring, 'I was, like, starting to take responsibility'" (Kohn, 1996, pp. 90, 91). When in doubt, bring the learners in on it.
Some Applications to Arts Educa tion, Music and Choral Education, and Private Voice Education
Principal: (chuckling) Well, I didn't think you'd do all of those things. But the fact is that singing in a choir is just not the same as studying an academic discipline. It's more like an extracurricular activity. I think you should be grateful that it's offered for any credit at all. Wonderings: Academic? Discipline? Textbooks? Homework? Tests? Exams? Grades? Credit? What do young people need in order to flourish, to become curious, communicative, creative, productive, lifelong learners, and to be empathically disposed toward fellow human beings, constructively competent, and socially responsible partici pants in a democratic society over their life-span? How can we help them meet those needs?
At least two graduates of those choirs became profes
The 25-year-old high school choral music educator was pas sionate about expressive singing of significant, expressive music. A wide variety of musical styles were studied and performed, mostly "clas sical" music, and a multi-movement work was included in each year's repertoire. In rehearsals, he taught expressive musical skills and sight singing skills, and he provided historical contexts for much of the music that the choir performed. The choirs performed with reasonable frequency, hosted a local-area invitational choral festival each year, and developed quite a familial esprit de choir. One of the choirs toured Europe. Several of the academically inclined singers said, on several oc casions, that they did more work in choirs than they did in many of their academic courses, but only received one credit unit instead oftwoto-four. They felt that it wasn't fair. So, the teacher met with the school's principal and relayed their concerns. He detailed the academic type of work that being in a choir involved, and asked, "Is it possible to offer choir for more than one credit?" Principal: "Well, academic courses have textbooks and they give tests and final exams, and that doesn't happen in an activity course like choir or band, so I don't think that would be possible." The teacher wrote an 82-page book that explained, in simple terms, some musical acoustics, simple fundamentals of music theory, a basic approach to sight-singing, a brief orientation to music history, and some rudimentary understandings about voice skills. He occa sionally gave short written tests on the book content and a final exam that assessed book knowledge and knowledge of historical information about the music that was under rehearsal and its composers, sight singing skills, and the degree of memorization of the music that had been or was about to be performed. Several months later, he met with the principal again.
sional "classical music" singers with moderate careers in the United States and Europe. Several became music educators or teachers of other subject areas. One graduate organized and implemented the first women's athletic program in the school district of a large city in Indiana. As adults, some of the singers told the teacher that those intense and expres sive choir experiences were primary influences on the course that their lives had taken and had opened them up to the wider world around them. A dedicated, enthusiastic, elementary school music educator teaches eight half-hour classes in a row every morning, five days per week-with no break. She has a 30-minute lunch period (10 to 15 minutes of which are spent wrapping up the morning classes and setting up for the afternoon). She then resumes teaching five half-hour classes in a row-with no break. She asks the school principal for a schedule adjustment and is told, "I just can't do that. The classroom teachers need their preparation breaks." Over several months, the teacher experiences increased discom fort, then increasing pain, in her vaginal area, especially during urina tion. Her family practice physician diagnoses urethral stenosis. [In women, the urethra is the small, 3-cm. tube through which urine drains from the bladder. Stenosis (Greek: stenos = narrow; osis = condi tion) refers to an abnormally narrowed or constricted passageway or opening in a body structure.] The physician comments that he sees this condition somewhat frequently in teachers who have schedules like hers. It develops because the bladder-urethra muscles must close in tensely for long periods of time in order to retain large accumulations of urine in the bladder. In addition, the clarity and pitch range compass of the teacher's untrained soprano voice slowly deteriorates (she was a keyboard ma human-compatible
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jor), and eventually, she "loses her voice" (aphonia). A cooperative voice treatment team (ear-nose-throat physician, speech-voice patholo gist, and a specialist voice educator) observed moderate-sized vocal fold nodules, severe swelling, and considerable over-efforting by her larynx, pharynx, and neck muscles. She took a six-month leave of absence from her job. Medications, increased hydration, and immediate uri nations when needed are helping her nervous system normalize her bladder-urethra function. Several months of voice therapy are helping her vocal fold tissues heal and return efficient vocal function for speak ing and singing. Wonderings: Do school administrators and "regu lar" classroom teachers perceive arts educators as relief for the classroom teachers? Or are they perceived as specialist educators who help learners express themselves ever more richly through symbolic modes of human self-expression
that are as important as language and mathematics? When their students are meeting with an arts specialist, do class room teachers observe the class and then confer with the
music educator to follow up on the experiences of the mu
sic class? Do music programs actually help learners ex press themselves through symbolic modes that are as im portant as language and mathematics? How significant can music programs be when elementary school children are exposed to music education about 24 hours per year or
integrate self-expression through the symbolic modes called the arts with general educational experiences. Typically, read ing a short story or one of Shakespeare's plays aloud in a secondary school English class does not include how to read or speak expressively. Thus, a core essential of the selfexpressive literary arts is missed. And classroom teachers rarely engage their students in expressive singing. [Most of them were scared spitless of music and singing by their experiences in a required undergraduate music course.] A standard perspective is that the really important symbolic systems are languages and mathematics, and, of course, "science" is the wave on which future high-paying jobs ride. So, another wondering: In an attempt to demon strate the current status of educational quality in schools and school systems, the scores on high-stakes standardized tests
in math, language, and science are published in local news papers along with reporters' comments. Standardized tests
in the arts have never been given and, thus, are never pub lished with the other scores. Does that mean that other
subjects are second- or third-class educational experiences? This state of affairs reflects a cultural perception of "the arts"
as peripheral to a "solid" education, so when budgets need trimming, arts education cuts have been a common source of financial savings. In the U.S., arts educators had to "raise
less? When music educators are treated the way the above teacher was treated, how long will they stay in the profes sion?
quite a ruckus" with politicians in order to get the arts in
Typically, U.S. elementary music educators interact with all of the students in one-to-three different schools each week and are scheduled to see students in each classroom of each school for 30 minutes once or twice a week, some times three. Many music educators carry their equipment with them from classroom to classroom on a cart, and have
pers printed editorials suggesting that doing so was a waste of taxpayer money. Does "music education make kids smarter"? Does it "dramatically enhance children's abstract reasoning skills, the skills necessary for learning math and science"? Does it increase "general intelligence"? As noted earlier in this chapter, the nominalized concept of intelligence itself is in debate. Deacon (1997) described intelligence as "...originating, mo
schedules that are similar to the teacher described above. Those that teach at multiple schools also drive to another school during lunchtime, eating in their car. Music educa tors may see a total of anywhere from 400 to 1,300 students per week! Apparently, a common perspective among many edu cators, taxpayers, and legislators is that experiences in the arts are important, but they are peripheral to educational "substance". To some, the arts seem to be about entertaining or distracting people away from life's more serious matters. Although there are exceptions, classroom educators rarely
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cluded in the Goals 2000 legislation. When the national
standards in the arts were first published, some newspa
ment by moment, new, detailed, appropriate representations
[images, concepts, symbols, and so forth] of an ever-chang ing environment and spontaneously generating new, com plex, adaptive responses to that environment where none previously existed, generating useful information from scratch to fit in with and take advantage of..." unfamiliar
environments as they occur. Intelligence is reflected in "many levels of functioning" and in "highly robust regulatory flex ibility". It also is demonstrated in the ability to judge the
extent to which newly originated representations match "re
(1982, 1983, 1991a, 1993, 1994) and other researchers (e.g.,
ality" and the extent to which new adaptive responses are appropriate to various situations that are encountered. Gardner (1999) has proposed eight intelligences. Sternberg (1996, 1998) described three ways of exhibiting successful intelligence-critical-analytic intelligence, creative-synthetic intelligence, and practical-contextual intelligence (see Chapter 8 for more). To what extent are those characteristics of "intelligence" enhanced by music education? Would their development
Foax, et al., 1995; Hodges, 1996) have taken important steps toward changing that reality.
depend on how music (arts) education is experienced? Are
the musical experiences that "enhance abstract reasoning" presented by all music teachers in all schools? What are those experiences, how do they accomplish that result, and how is it credibly assessed? Will publicizing those perspec tives help upgrade public perceptions about, and actions toward, music education? One study on which those claims are based showed that certain types of music listening and instruction caused a slight improvement in "spatial reason ing" test scores for some children that lasted for a short time. These lines of research are quite promising, actually,
but there are many variables that have not yet been fac tored, and it is far too early to use the findings as justifica tion for claims of increased development of "intelligence" because of music instruction. If music education does enable better math and sci ence learning, does that mean that parents should be encour aged to involve their children in music education because it helps them become better at math and science? Will learn ing music in order to get an advantage in other knowledge ability clusters increase the probability that young people
will choose to make music over their lifetimes? Or, when
the smarts have been obtained, will music-making then be dropped because there is no longer a reason to pursue it? Remember the effect that extrinsic rewards have on people? The circumstances described above strongly suggest that the arts education professions: (1) have not settled on a clear, no-doubt-about-it, way of communicating that the arts are deeply significant knowledge-ability clusters for hu man beings in any culture, and are not just a nice way of distracting and entertaining people away from the serious
concerns of life; and (2) have not developed a consistent, profession-wide perspective about learning and practice that is based on a wide array of significant findings within the neuropsychobiological sciences. Howard Gardner's work
Individual or grouped human beings, genuinely ex pressing out personal, real-life, feeling-laden, human per
spectives, is the heart and soul of all the symbolic modes
that we call the arts (see the final section of Chapter 8). Yes, the neural network "sharpenings" that occur during repeated self-expressive experiences (the arts) are available for use when parts of those networks are used in other ability clus ters. Indeed, elaborated involvement with the arts can sensi tize ("sharpen") attention-focusing neural networks and re lated visual, auditory, and somatosensory networks. Sing ing songs, for example, can be a valuable aid in developing
language ability, the study of cultural and political events, and so on. But are these the intrinsic, from-inside-out reasons why human beings evolved drawing-painting-sculpting, music, dance, and theatre in the first place? When arts learning experiences engage all of the learners' senses in evaluative pattern detection (analytic and integrative) and in produc tive activities that are self-expressive and intrinsically re warding, then focused and sustained attention is almost
inevitable. An example would be learners composing songs that express their own feeling reactions from life-living and then guiding the rehearsal and performance of them. At the same time that expressive skills are being honed, self-deter mination and self-reliance are enhanced, and empathic mutual respect, productivity, group cohesion, and collabo rative community building can be amplified (Parks & Sanna, 1999, pp. 9-20, 61-77). In such a learning atmosphere, "dis cipline problems" are quite rare. How often does the personal expressing-out really happen in arts (music) education? May it increase.
Preparing to Be a Voice Education Senior Learner In order to accomplish the kinds of human-compat ible learning processes that are described in this chapter, the
pre-service education of comprehensive voice educators will need to include experiences that are currently not com mon. For example, candidate general music educators, choral conductors, singing teachers, speech teachers, and theatre directors need to learn: human-compatible
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1. Habitual efficient skills when using their own voices
for: (a) expressive up-close conversation, larger group in
teractions, or rehearsal settings, (b) expressive reading, (c) expressive singing. 2. Deep knowledge about: (a) the neuropsychosocial biology of human be ings and their resultant behavioral expressions, (b) how voices are made, (c) how they function with optimum efficiency and with inefficiency, in both speaking and singing, (d) how voices can become disordered,
(e) how to prevent voice disorders, and (f) how to be an auxiliary member of cooperative voice treatment teams that help learners with disordered voices recover their vocal health. 3. Education in the verbal and nonverbal abilities that
are involved in: (a) planning, writing, and spoken delivery of goals, goal-sets, pinpoint goals that are intended to result in em
pathic relatedness and group "sense of genuine commu nity", constructive competence in expressive vocal abilities, and self-reliant autonomy; (b) the enactment of learning experiences that opti mize the intrinsic rewards of efficient and expressive vocal sound-making, speech-making, and song-making; (c) the development of lifelong, intrinsic interest in self-expressive voicing;
(d) the art of asking questions that facilitate inclu sion of learners in reflective decision-making and planning,
elaborative memory encoding, consolidation, and retrieval (explicit and implicit), and in the enhancement of self-per ceived feedback by learners; (e) the delivery of descriptive feedback (implicit
praise); and
(f) embedded collaborative assessment processes. These abilities are extremely complex and cannot be
mastered in four years of a traditional baccalaureate degree in music, speech, or theatre education. What if the bacca
laureate degree were to become a "pre-education" degree,
like it is in the medicine and law professions? What if it
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included foundational courses in the neuropsychosocial biological sciences and courses in a college of human self expression (languages and the verbal and nonverbal audi tory, bodily-kinesthetic, visual, and combination arts)? What if it were followed by a two- to three-year masters degree that finishes with at least a one-year internship with one or more master teachers in a "teaching school" (as in "teaching hospital" in medicine)?
Senior Learner Leadership that is Human-Compatible in General Music Education, Choral Music, and One-toOne Voice Education Context. In all music and voice education settings, what can senior learners do to optimize human-compat ible learning? What can senior learners do to optimize the chances that the learners they work with will love music,
their voices, and themselves over their entire life-spans, and will respect and interact collaboratively with fellow human beings? The neuropsychobiological sciences point us in at least three general directions. 1. Optimum realization of learning goals cannot hap
pen unless both learners and senior learners can experience
emotional safety and empathic relatedness nearly all the time, that is, a "sense of community". Emotional safety and
empathic relatedness cannot be optimally established in a coercive, accusative, punitive, destructively competitive, stressful, disrespectful, or perfectionist atmosphere (see Wiggins, 1999). They can be established in a respectful, non verbal matching, collaborative, helpful, intrinsically reward ing, goal-oriented, productive atmosphere. So, the most im portant goal of senior learner leadership is to help learners culti vate emotional self-regulation and empathic social-emotional relationships in all of their life experiences. 2. Developing competence is the same as converting innate cognitive-emotional-behavioral capabilities into learned and increasingly elaborated abilities. Optimal con structive competence in vocal self-expression cannot happen in threat-prominent settings or in the absence of
emotional self-regulation and empathic social-emotional re lationships. Learning and refining abilities by "taking target practice on many bull's-eyes" also reduces or eliminates the threat of self-perceived personal inadequacy that stems
from the imaginary concepts of mistakes, errors, wrongs, incorrects, and failture. The verbal and nonverbal ways that senior learn ers facilitate goal-setting and feedback are crucially impor tant to learning constructive abilities. Choosing to involve one's self in skilled, vocally self-expressive experiences over a life time also depends on the extent to which intrinsic rewards were experienced when participating in those experiences earlier in life. Lifelong intrinsic interest in the expressive vocal arts evolves from repeated, intrinsically rewarding experi ences with them. Competent self-expressive abilities include all forms of verbal and nonverbal communication such as (1) ex pressive conversational speech, (2) expressive gesturing (pos tural, facial, arm-hand), (3) expressive reading, (4) expres sive portrayal, (5) expressive singing, and (6) consistently "on-target" interpretation of the communications that are presented by other people.
Competent physical coordi
nation abilities for voice and speech make self-expres sive speaking and singing clearer, richer, and deeper (pre
sented in Books II and V). Optimum learning of these abili ties necessitates frequent experiencing of expressive and well crafted exemplars of the expressive vocal arts (stories, songs, plays), and of other human beings displaying expressive abilities with optimum skill and "genuineness of heart". These experiencings are particularly important during the reflex, sensorimotor, and representational tiers of brain and cog nitive-emotional-behavioral development (prenatal through about age 10 years; see Chapter 8). To learn expressive singing abilities, for example, in trinsic reward and interest will be increased when learners frequently listen to and sing expressive and well crafted songs and choral music. Vocal music that has stood the test of long-term emotional appeal to children and adults (mainly folksongs) would be prime resources, as well as new songs that "have a feel of human connectedness". Songs that have been produced just for seasonal observance, commercial sales, or for teaching non-expressive concepts and abilities are not likely to be expressive or well crafted. During the abstract tier of development, children are capable of distin
guishing the difference between expressive and inexpres sive music, but they are likely to need help from senior learners. 3. The development of self-reliant autonomy is con siderably enhanced by learning emotional self-regulation
abilities and establishment of strong self-borders, empathic social-emotional relationship abilities, and constructive com
petence in verbal and nonverbal self-expression.
These
abilities are stifled in an external control, coercive-compli
ance, "doing to", atmosphere. Autonomy is developed when
senior learners help learners take "target practice" in the per sonal creation of poetry and songs-improvised or notatedthat express their own real, experienced feeling states, and then rehearse, read, and/or sing them expressively and skill fully. Even though collaborative "working with" is rela tively "messy", it is the only way that senior learners can help learners take target practice on the ability to identify and solve problems for themselves, to set goals, plan solu tions and enact them, and to reflect on the results in human
terms. Do senior learners feel their own "pride of achieve ment" when learners are dependent on them for problem analysis, goal setting, plan-making, solution enactment, and
reflective assessment? What if senior learners' pride of achievement increases as they become less and less neces sary because the learners are "coming into their own"? Planning by senior learners is a form of perspective taking. Within the concepts of (a) cap ability-ability continua and (b) a collaborative mind-set, senior learners ex press intended directions for learning that they believe would be valuable for learners to attain. These learning directions (goals) must be constrained by the senior learners' knowl edge of (1) the on-line capabilities of the learners (related to tiers-levels of brain growth spurts), (2) the abilities that learn ers have developed in the past; (3) the amount of time that actually will be available for learning experiences, and so on. For example, some research indicates that in the better music education programs of U.S. elementary schools, chil
dren are scheduled to receive about 24 hours per year of music education. What life-enhancing goals can be accom
plished well by learners in 24 hours per year over six or seven years (about 144 hours out of about 7,200 hours of in-school time over six years). Learning a repertoire of truly expressive songs, learning how to sing and speak expressively with efficient vocal skill, and loving it, would be excellent core goals. Goals may be globally grouped according to the neuropsychobiological needs of human beings, that is, (1) empathic relatedness, (2) constructive competencies in so cial-emotional self-regulation and in vocal self-expression
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in speaking and singing, and (3) self-reliant autonomy.
questions and feedback, learner self-examination and self
Longer-term goals, directions, or perspectives may
perceived feedback, collected evidence of formative learn
be written in terms of what learners would be like, as vo cally self-expressive human beings, after they have com pleted all of their learning experiences at a school. What will youngsters be like who begin their schooling experi ences in a pre-kindergarten setting and progress through
ing such as portfolios, photographs, audiotape and video tape recordings, and so on. Summative assessments may be planned such as participation in public performances that are recorded, big-picture written self-assessments, and big-picture written assessments by the senior learner that are collaboratively discussed with learners for possible con sensus. Parents and community members can be brought into a learning experience/assessment process by inviting
grade 12 and become high school graduates? What will
learners be like after four years at a college, or two to five
years of graduate school? These "voice education program goals" are desirable, large, summative ability targets (con ceptual frameworks, for example) that can only be attained by mastering the perceptual, value-emotive, conceptual, and behavioral bull's-eyes of many smaller targets (component concepts, for example). Shorter-term goals, directions, or perspectives, related to the longer-term goals, may include the working goal-sets for a selected portion of each schooling year or course term. These goal-sets may be outlined in an anticipated sequenc
ing of formative ability targets or goal-sets. Preparation for each day of learning experiences will include anticipated spoken or implied goal-sets and anticipated spoken pin point goals (bull's-eyes). Goal-sets and pinpoint goals are enmeshed with the planning of collaborative learning ex periences and the cycling of them with learners. What musics, movements, pitch patterns, singing games, and so on, might the learners be engaged with, in what sequence, and how will they be engaged with them? Will I include only well crafted expressive music, even for prekindergarten children? Will I include "functional" songs that are neither well crafted nor expressive? What will be the first experience of each class, rehearsal, or lesson that is intended to engage the attention of learners and be most likely to result in intrinsic reward? How might each learn ing experience continue so that intrinsic interest will be sus
tained? How might each learning experience be ended so that a pleasant-feeling closure happens? These are some of the crucial questions to ask. Anticipated collaborative assessments of learning can be integrated with the planning of each day's goals and learning experiences, including how they will be embedded in the learning cycles. Daily formative assessments may be built into each learning experience, such as senior learner
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their participation in informances (a portion of performances that inform the public about what skilled, expressive sing ing really involves). Learners and senior learners may plan, rehearse, and demonstrate for family, friends, colleagues and members of the community, various aspects of the vocal self-expression abilities that learners are attaining in music, speech, or theatre.
How might human-compatible learning be realized by senior learners in general music education, choral mu sic, and one-to-one voice education? The remainder of this chapter suggests some possibilities. General music education. The introductory meeting of new senior learners, and the learners with whom they will be interacting, includes both verbal and nonverbal com munications. As learners are welcomed to music study, they read the arrangement of the senior learners' skeletons (posture), their facial expressions (especially pleasant-un pleasant, smile-no smile), their arm-hand gestures, and their voice qualities for initial feeling-based impressions accord ing to past experiences with people who are called music teachers. Being recognized as a unique human being among a group of human beings elicits empathic relatedness between the recognizer and the recognizee, and gives a pleasantfeeling boost to the recognizee. In traditional rectangular classroom seating, the eye-gaze patterns of teachers tend to move in a triangle that gradually spreads left and right from a straight-ahead gaze, and that is the zone of greatest stu dent attention and participation (Knapp & Hall, 1992, p 55). Commonly, that excludes students who are seated nearer the front and to the presenter's left and right. Eye contact that includes the whole group necessitates looking at all learners.
Start nearly every class by being constructively pro ductive. As suggested in Table I-9-10, always begin a class with voiceplaysm, that engages attention and constructive skill building in speaking, moving, and singing. Imitative vocal sound-making and speech-making, with efficiently produced vocal models from the senior learner, can pro vide practice for (1) efficient larynx coordinations in speech,
(2) vocal fold closure intensities (volume and quality varia-
Table I-9-10. Some Ways to Engage the Attention of Learners in the General Music Setting 1. Upon first meeting a group of learners, before doing anything else, raise your hand above your head as you walk among and around them with a pleasant look on your face and seek eye contact When they have become silent, clap a short, simple rhythm and say, "Can you do that together as a group? I'll clap it again, then you." Perform several rhythms before immediately moving into a next learning experience. Then, ask everyone to sit on the floor with you and introduce yourself with a sung pitch-pattern and ask each child to introduce herself or himself with that pattern or one that they have made up. Give each child full eye-contact attention with a pleasantly expectant, smiling facial expression, with no change if they sing a pattern's pitches inaccurately or in another key. Finish the session with one or more "ice-breaking" singing games. 2. In the next meeting of the learners, before doing anything else, raise your hand high above your head as you walk among or around them with a pleasant look on your face and seek eye contact. When they have become silent, ask, "If, at the beginning of every class, I raise my hand like this, what do you suppose that could mean?" [response: "time to become quiet and begin"] "Just for the fun of it, when you see my hand raised, you raise your hand too, and become silent, and when everyone has done so, we'll get going. Let's find out what that's like. Everybody start talking...[the experience occurs and other learning experiences follow] Then, anytime learners have been interacting among themselves, and group attention is needed, the same pattern can occur. 3. Other possibilities for interactive involvement: • Speak several short, simple, improvised phrases or sentences that vary vocal pitch, volume, quality, and duration (mix in some sound making patterns).
• Sing a short, simple, improvised pitch pattern or melody on non word syllables or on made-up word combinations. • Speak or sing a phrase from a story, poem, play, or song that is being studied. • Speak or sing phrases that contrast the presence or absence of a particular vocal or musical skill, and then ask questions about it (assumes prior experiences) • Model gestures that can serve as visual and kinesthetic metaphors for some aspect of spoken or sung vocal expressions (see Tkach Hibbard, 1994; Wis, 1993). • Ask individual learners to clap a rhythm, speak or sing a pattern or melody snippet, suggest and use metaphoric gestures, or demonstrate the presence or absence ofa vocal or musical ability. • Play a singing-movement game through which goal-sets and pinpoint goals are undertaken and collaborative assessments are made.
tions), (3) lower, upper, and even flute register coordina
tions, (4) blended register transitions, (5) vocal tract adjust
ments (mouth and throat parts). Voiceplaysm also can be part of (1) conditioning for larynx muscles and vocal fold cover tissues, and (2) a beginning of vocal warm-ups. Voice skill games can be played and invented and senior learners can ask follow-up questions to help learners develop audi tory, kinesthetic, tactile, and visual categorizations, and elabo rate their conceptual categorizations and behavioral abili ties. Learners can learn how to lead the games (Book IV, Chapter 3, presents research based underpinnings for the practical applications in Book V Chapter 6). Present a list of sentences that have contrasting "feel ing meanings", such as, "Each day is a grand adventure, that ends in quiet sleep" [from Andrews & Summers, 1988] Se nior learner: "Read the sentence silently two or three times to get a feel for what is being expressed. Do you see one or two meaning chunks in the sentence? [response] Say the first meaning chunk out loud. How would you say it if
you had just returned from travel to a way-over-the top interesting place, and were saying these words to a close friend? [response] How would you say it to express the high-powered grandness of that adventure?" Experiment with how the second meaning chunk might be spoken if the opposite of the intended feeling meanings were expressed, then speak it and express the intended meaning. Explore how many different ways each meaning chunk of the sen tence can be spoken to express different shadings of feeling meanings. With no introduction, read a short, expressive
poem inexpressively, and then expressively. Ask questions,
discuss, pass out copies so everyone can experiment with and demonstrate different shadings of feeling meaning. In nearly every music class, if the first song that is
sung is familiar or easily masterable expressive music, then the familiarity and constructive challenge are likely to result in emotional connectedness. During a class meeting at the beginning of a year, ask, "Can only a few especially talented people learn how to sing well?" Begin a dialogue or debate. Introduce the "continuum of development" concept and "your voice capability line" (see Figure I-8-1 in Chapter 8, Book IV, Chapter 3, and Book V, Chapter 6). Then ask,
"What would you like to be able to do with music, or your singing, or your voice?" A collaborative orientation may include: "What can you teach me about a piece of music human-compatible
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that you like?" or "I'll sing a song, and you help me with my
you could do that." She asked, "Do you guys know that song?" Nearly
voice skills" These types of interactions, and many others, can trigger mutual goal setting, that is, creating "targets" that
all of them said "Yes!" "Well, sing it with me," and off they went. After they sang it together, one guy said, "Do you know (name of another classic rhythm & blues song)?" and they tore into it. After singing several songs together, they talked for a few min utes about the experience and about music, and then she said, "Do any of you play or sing?" A few did, so she said, "Teach me a song that you know" As the class progressed over the next several weeks, they listened to and explored several related styles of music like blues and jazz, based on music gettin' to your soul. They looked at the places in songs that "really got to them", and touched on what the chord changes were and how the melody danced into and out of the chords. They listened to Bessie Smith, B.B. King, Billie Holliday, Duke Ellington, Joe Will iams, Ella Fitzgerald, and then Benny Goodman, Mel Torme, and George Gershwin. Eventually, without introduction, she asked them to close their eyes while she played a CD of a "special section" in Howard Hanson's Romantic Symphony, with high-quality speakers and at live-volume. "Did anywhere in the music 'get to you'?" she asked. Got it? Nonverbal matching. Self-Expressive music. Engaging learners with the intrinsic rewards of learning expe riences. Intrinsic interest. Respectful communication. Emo tional connection and relatedness. Engaged and sustained attention. Senior learners and learners. Competence. Au tonomy. Graham Welch's Chapter 3 in Book IV, and Anna
have "bull's-eyes". The principle of verbal and nonverbal matching (interactional synchrony or being "in sync" with other people) is a key element in the development of respectful emotional
connectedness between senior learners and learners (see Chapter 8).
An experienced female music educator in the City of New York Public Schools was assigned an evening class of about 15 dropout students who were returning to finish high school. They ranged in age from about 17 to 22 years, most of them were males, and all of them had an unsuccessful school history Nearly all of the students also had a cultural history that was considerably different from the teacher's history The planned course content covered "classical" music history and appreciation. The teacher's primary method was lecture and the play ing of recorded excerpts. A chronological sequence was followed that began in the Renaissance era. For the first two class meetings, the teacher wore traditional teacher attire, for example, a dark blue suit, white blouse, and low-heeled shoes. The students wore informal "street clothes" and sat in two rows offolding chairs. The students never took notes, nearly all heads were bowed nearly all the time so that the teacher's eyes were never met by any student. Her attempts at humor were met with silence, and no student ever asked a question or made a comment. In fact, no student ever spoke to her before or after class. Before class, they engaged in animated conversa tion among themselves in the hallway, then hurried in just before class started, then hurried out when class was dismissed for more animated conversation. They never talked about their in-class experiences while within earshot of the teacher. The teacher knew that "it wasn't happening" and that was ex tremely troubling to her. So she decided to become a senior learner. At the start time of the third class meeting, she walked in wear ing street clothes (jeans, shirt, sneakers), sat down at the piano and played and wailed out a classic rhythm & blues song in a "belted" voice quality. At first, the students were stunned into still silence as they stared at her. Soon, they stood up and began moving and clap ping to the music. When the song was finished, they applauded as they gathered around the piano and made comments like, "Oh, yeah!", "Whooo!", "That was hot!", "That was rockin'!", and "We didn't know
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Langness' Chapter 6 in Book V provide many suggestions
for elaborating musical and vocal abilities in the elemen tary general music setting and for doing so in human-com
patible ways. Their developmental perspective does not in clude a reliance on telling learners what the senior learner's pre-detected patterns are. They suggest that senior learners engage the innate exploratory-discovery, imitative, and selfexpressive abilities of learners so that they are actively in volved with detecting patterns via their visual, auditory, and kinesthetic perceptions, detecting novelty within famil iarity, and figuring out and solving intriguing problems. They recommend engagement with story forms, noncom petitive singing and movement games that enable percep
tual, value-emotive, conceptual, and physical coordination
target practice. Singing expressive music expressively is a primary goal, though. Voice skills are the primary means by which sung music's expressiveness is created.
Frequent inclusion of sound-making, speaking, and out-loud reading in a "feels-easiest" way (see Box V, Chap ter 2), with normal-sounding voice qualities, expressive pitch inflections, and a variety of vocal volumes, can enhance lifelong expressive conversation and speaking and singing
But what about "classroom discipline"? As indicated
in a previous section of this chapter, yes, "limits" on individual behavior are extremely important. The crucial questions are:
abilities. These abilities contribute in a major way to life
How are the limits determined? and Who determines them? When we perceive that learners are not participat ing or are behaving inappropriately, a first reaction is to
long voice health. Classroom teachers and voice educators
examine the learning experience at hand. Is it age-appro
may collaborate to create classroom "playlets" in which learn
priate? Has it engaged learners' pattern detecting capabili
ers portray characters. Songs may or may not be included.
ties? Is it intrinsically rewarding? Ask the learners about their
Language and speaking skills, sociopolitical history, intrin sic rewards and interest, empathic relatedness, constructive competence, and self-reliant autonomy can all be increased if collaboration between senior learners and learners is genu
reaction to the experience, and they just may speak of how they truly feel. Social-emotional and self-regulation is the
ine. These abilities can help youngsters in their future so cial communications and employment endeavors, partly because of their voices' contributions to favorable impres sions. Many people, especially younger inexperienced people, are reluctant to sing, whether they are in a group or alone. Inhibited temperament or previously learned protective ten dencies will inhibit expressive spontaneity or stop it alto
out a questionnaire to her seventh grade students. They were asked to
gether. In-class attempts to sing, especially if coerced by a teacher, are likely to generate unpleasant feelings and likely would be "dissonant with an existing belief" about their
voices and themselves. In order for learners to engage in behaviors that are dissonant with beliefs that have been instantiated by prior experience, perceived free choice must exist in the learning situation. According to the cognitive neuropsychologist Michael Gazzaniga (1985, p. 141), "...a behavior has to be
strongly perceived as freely willed in order for the behavior
goal. How do we get there? An Oklahoma junior high school general music teacher handed
answer the questions on a l-to-7 scale, where one means strongly dis like and seven means strongly like. Two of the questions were: "Do you like music?" and "Do you like school music classes?" Responses were tabulated and discussed. Liking music was rated very high, as long as it was music away from school, and music classes were rated very low. "I hate music class" "Music (class) is dumb", and "I'm here only be cause I have to be", were passionately stated opinions. They described clearly how their two elementary school music programs were taught coercively in a right-wrong answer, accusative, and punitive way. Disrespectful, disruptive, or nonproductive behavior also may be the result of human circumstances that oc curred a long time ago, recently, or just before the class began. For example, low blood sugar from inadequate diet, depression from chemical imbalance in the brain, onset of
infectious disease, or stage of menstrual cycle may have "sapped" bodymind energy. Personal events of emotional intensity may have recently occurred, as in family, teacher, or peer conflict.
to be powerful in participating in a belief change" How can "freedom of choice" be woven into a music education pro gram in such a way that people want to sing and do so unconsciously? Perhaps participation in singing and sing
What will be the result if we assume learners are "just being lazy" or are not showing "proper commitment" to the
ing games can be invited, rather than coerced or "expected". Perhaps that means that the learning experiences that in volve singing need to be engaging to the pattern-detecting
Collaborative, human-compatible learning can hap
class or rehearsal? Do we deliver an accusative emotional ouch or hit, or do we address underlying causes?
capabilities of bodyminds and pleasure-full so that young sters can't help but join in. Inviting learners to engage their
pen when learners are comfortable making choices, express ing creative ideas, taking action, observing and reflecting on feedback (consequences), evaluating choices, altering action,
innate imitative, exploratory-discovery, and self-expressive capabilities during learning experiences is a crucial part of successful music and voice education.
making moral fairness judgements, and so on (Amabile & Gitomer, 1984; Kamii, 1991; Kohn, 1993b). These processes are engaged when learners are involved in creating a mutual
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understanding about "How We Help Each Other with Our
Music-making and Our Voices". When human-to-human interaction problems arise, consider stopping the current learning experience and pose an hypothetical problem:
Respectful, empathic behavior can be displayed by all members of groups when common expressions of cour tesy are used, such as "Thank you," "Please," polite tone and manner, customary forms of address between strangers or
"Suppose...(describe the current or a similar human rela tionship problem), and then ask, "How could those people resolve that problem?" The proposals and discussion may
be enlightening and perhaps lead to creation of the "under standing". So, what if the teacher writes it and asks if the students accept it? What are they to say? Is it not another way to impose forced choice, and assert teacher control in
the domination-control game? If we truly observe human learners and trust our otherthan-conscious parts, we often can "read" the difference, say, between special human circumstances and the kind of un productive or inappropriate behavior that may be a "power test" in a domination-control game. In an atmosphere of mutual trust, singers-students will feel comfortable confid ing when they are ill or "feeling rotten." In private, ask them if they are feeling ill, or if something unusual is happening
Table I-9-11. Four Possible Reactions When Learners Disrupt the Involved Learning of Others 1. When a disruption occurs, avoid direct verbal confrontation or "the evil-eye look". Without "missing a beat", involve the person or subgroup in some part of the ongoing activity-not gratuitously or punitively, but genuinely. Give the person or group an activity or a responsibility in which they demonstrate an already developed compe tence that involves perceptual discriminations, alternative thinking, improvised creation, collaborative decision-making, or leadership. 2. If a disruption is more flagrant, or if emotional ouches are being delivered, come as close as you can to addressing the "offenders" when their "hands are in the cookie jar". How the addressing is communicated can enhance an adversarial mind-set or it can enhance collaborative group cohesion. To avoid an encounter in front of peers, you can "table the motion" by saying, "Something just happened, Pat, and I'd like to talk to you (name a specific time and place)." If at all possible, no changes of facial expression unless the situation warrants it [This reaction adapted from David Dobson, Ph.D., psychologist, in a seminar on "No-fault
or has happened. If there is, give them a caring look with
Psychology".]
hand on shoulder and say something like, "I hope you feel better soon, so take care of yourself in the best way you know how" And sometimes it may be helpful to say, "There are times in life when people have to do things even though they're not feeling too well, or are upset. And sometimes, doing something different can change how you feel and 'lift
whole group, always divorce the behavior from the worth of the person(s). Use an explanatory "tone of voice" and facial-arm-hand gestures. Accusatory or threatening nonverbal expressions bring protective reactions. Include five elements in the verbal communication (one is optional). a. Refer to the class goals that are presently at hand (optional). b. Describe how the behavior interfered with what other people
you up.' Wonder how soon you'll join in and get lifted up?" But when we observe learners disrupting the involvement of others, three possible reactions are described in Table I-
9-11. Have you noticed that after you have "yelled" at a person or group in frustration, there is an awkward time
before "normal" communication resumes? The communi cation pattern in Table I-9-11, #3, which ends with a reaf firmation, usually brings the individual and the group back into communal flow again. Verbal descriptions of disrup tive behavior without reaffirmations of value and discus sion of solutions, are likely to be felt as emotional ouches. Ouches induce protective reactions that reinforce adversarial barriers, and senior learners may deepen a learner's low sense of self-evaluation or sense of rejection by other people, and actually make a repetition of the disruptive behavior more likely.
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3. Whether addressing the disrupter(s) privately or in front of the
were doing or disrupted their concentration. c. Describe how the behavior made you or others feel (frustrated, disappointed, ticked off). [Communicate as a person. Expression of real
feelings usually results in a perception of "human-ness," assuming there is no infliction of emotional ouches or physical pain. Being impassive and not expressing real feelings tends to reinforce a stereotype of "unfeeling teacher", "impersonal controller of students", or alien.] d. Reaffirm the value of the person, of her or his abilities and value to the group, and invite her or him back into the flow of class activities. Mention at least two valuable abilities for every described disruptive behavior. e. In a private meeting, ask the learner: "Is this something you can deal with on your own?" or "Is there anything I can do to help you with this?". Example: "Eric, we are learning how to share musical feelings with other people, and your talking is getting in the way. That's very frustrating. Please join us because you're an expressive person and your voice is important in this group!' If the group has a history of disruptive behavior or most members are from a culture or subculture that is different from the senior learner's, then the wording might be quite different. The age of the learners also would make a difference. A teacher might choose to say nothing about some disruptive behaviors, and communicate with pleasant-faced eye contact. Removal or isolation are absolutely last resorts, and the decision is made only after considerable reflection and discussion between the disrupting learner(s), the other learners, and the senior learner.
older and younger people, allowing others to enter a door
A one-day or weekend retreat might then follow, dur
way first, expressions of regret, asking for permission to
ing which the following events, and initial experiences with
interrupt, and so on. Senior learners may choose to initiate a discussion about the practice of verbal and nonverbal respect and how expressions of courtesy affect human be ings. "How do you feel when you are talking and someone interrupts you?" "Would you feel different if they asked permission to do so, or apologized and explained an im portant reason to do so?" "What happens between people
new music, may be introduced. Meals would be shared
when courteous expressions are used?"
"What happens
when they are not used?" "How do you feel when an adult
says, 'Now what do you say when someone does some thing nice for you?'" In the musical play Man of La Mancha, when Aldonza bursts into Quijana's deathbed room and his son-in-law tries to throw the "guttersnipe" out, Quijana says, "Hold! In this house, there shall be courtesy!" Choral music. The introductory meeting between new conductors (senior learners) and singers (learners) includes both verbal and nonverbal communications. As singerslearners meet new conductors for the first time, they read the arrangement of the senior learners' skeletons (posture), their facial expressions (especially pleasant-unpleasant, smile-no smile), their arm-hand gestures, and their voice qualities for initial feeling-based impressions and those impressions will be compared to implicit emotional memo ries of people who are called choral conductors. Introductions may take place at a before-school-year or before-concert-season meeting with all of the program's
singers and their families. The singers and their families could pass through a reception line made up of the new conductor (and family if there is one), fellow music educa tion faculty, members of the board of education, and your school administrators (superintendent, principal, and so on; other relevant persons if not a school program). A video camera may be focused to capture the faces of the singers and their families so that the new conductor can get to know
and "breaking the ice" games could be played (as described earlier). During the first working meeting of the singers, the conductor might begin by leading them in voiceplaysm, such as, imitative-creative sound-making, speaking, and singing explorations, and movements that enhance body and voice warm-up, flexibility, fluidity of function, and range of mo tion in vocal coordinations (ideas may be gleaned from Table I-9-12, and from most chapters in Book II, and in
Chapters 2, 5, and 6 of Book V). Then, an easy or familiar
selection can be sung that has immediate expressive appeal.
Table I-9-12. Some Ways to Engage the Attentive Involvement of Learners at the Beginning of Choral Group Rehearsals 1. Upon first meeting a group of musically inexperienced learners, before doing anything else, raise your hand as you walk among or around them with a pleasant look on your face and seek eye contact. When they have become silent, play on a keyboard (or sing) either the pitch "middle C-260", or the A-440 above middle C (for unchanged and female voices) and the A-220 below middle C (for some changing and all changed male voices). "Hum that with me" When everyone is humming, say, "Whenever you have used up most of your breath, just breathe in and resume humming, so we can have a continuous hum for as long as we want' If announcements are necessary, present them, but periodically ask the singers to move up or down by a few half or whole steps. Eventually, ask, "Can you remember the original pitch? Go there together on my cue. [response] Is that the (C/A) that we started with? After announcements, or after a few pitch changes and a return to C/A, go immediately into bodymind energizing physical and vocal warmups and the day's other learning experiences.
2. With more experienced singers, ask, "On the syllable /maw/, how close can you come, as a group, to singing the pitch A-440 (for un changed and female voices) or A-220 (for some changing and all changed voices)"? Or ask, "Is there anyone who can sing, or come close to singing, an A-220 or -440?" [a volunteer sings] "Is he/she on it, above it or below it?" [responses, then play it and have everyone sing it on a selected syllable!. When all of the singers are humming a unison pitch continu ously, ask the members of various sections to move above or below the original pitch by half or whole steps so that they can become familiar with singing "dissonant' harmonies a cappella.
them more quickly by reviewing the tape later (idea from
3. After a SATB choir is continuously humming the A, ask the basses to sing the A2 one octave lower (A-110), then ask the tenors to sing the
Susan Zemlin, Director of Choral Music, Blaine High School,
E3 below their original A-220, and finally, ask the altos to sing the C#4 (or C4) below their original A-440. The whole A-major or A-minor
Blaine, Minnesota). The singers and their families might be asked to complete personal and family information forms that include family involvements with music and a brief voice health history of the singer(s) (for ideas, see the Voice Health History form at the end of Book III, Chapter 9).
chord can then be moved around by half or whole steps, or different sections can be moved, by half-whole changes, into other harmonies or into dissonant harmonies, after which the choir can be asked to return to the original A-440/A-220.
4. Ask volunteer learners to plan and lead the engagement of attention and initial bodymind and vocal warmup experiences.
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Being recognized as a unique human being among a
about responses from learners who have not yet expressed
group of human beings elicits empathic relatedness between the recognizer and the recognizee, and gives a boost to the self-worth of the recognizee. In choral groups, conductors tend to focus their gaze in a triangle that gradually spreads left and right from a straight-ahead gaze. Commonly, that
themselves, and periodically summarizes responses.] Just
excludes learners who are to the lateral left and right front. Eye contact that includes the whole group necessitates turning to look at the learners who are located outside the triangle pattern.
can, what do you think my role needs to be? What are my
After about 12 to 15 minutes of introductory voice and singing exploration, suppose the conductor shares a
personal experience of being in a choir that exemplifies herhis deep commitment to creating skilled, expressive choral singing. For example, some of the singers really cared about learning voice and musical skills and making expressive music, but other singers often talked, paid little attention, made fun of other people, and prevented the people-whocared from making music. "I was one of the ones who cared. That experience was very frustrating and unpleasant for me. Right now, in my life, conducting skilled and expressive choirs is my pas
sion. I'd like us to become so expressive in every piece we sing, that the people who listen to us just would not want
to miss a single one of our performances. I'd like the music we sing and the way we sing it to move our hearts and theirs into many levels of human feeling, from dancing cel ebration to heart-rending compassion and everything in between. "Without you, of course, I'd be alone and there'd be no music. Without me, or someone with my training and experience, you might not be able to become the skilled and
expressive singers that you are capable of becoming. As I see it, everyone of you contributes unique value to what we
do together, and so do I. What choirs do is an "us thing". What we do, we do together, and we support and help each other as we become more expressive and skilled as human beings. "That's the way I feel about being in a choir. How do you feel about it? What would you like us to become? [Re sponses are invited, expressed, and discussed; the senior learner or a volunteer learner or parent writes down re sponses on chalkboard, dryboard or flipchart. Senior learner
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for the fun of it, what would choir be like if you didn't like being in it very much? [discussion]
"Choirs rehearse and they perform, right? So, in order for us to become as skilled and expressive a choir as we
responsibilities?" [suggestions recorded, singer comments and
questions are encouraged, follow-up and clarification ques tions are asked: "What do you think about that?" or "What else?" or "How do you feel about that?"] "If we're going to become as skilled and expressive a choir as we can, what do you think your role needs to be? What are your responsibilities as a contributing member of our choir?" [suggestions recorded, questions are asked and encouraged] "What do we need to do in rehearsals? [suggestions recorded] What do we need to do in performances? Will everyone need to sing in them? [suggestions recorded] "So that we can get on to singing in our rehearsals,
would you like to form a group of people to represent you, so that they and I could refine these suggestions into a de scription of what we want to become and how we'd like to get there? This group would use today's ideas to make proposals and then we will all consider them later. Raise a hand if you agree. Disagree? Shall we select them tomor row or day after tomorrow?"
[Author's Note: The opening "monologue'' and the types of questions that are asked by the conductor, would vary with the age,
experience, and setting in which a choral group functions. A full and complete discussion of these questions is important in establishing mutually respectful relatedness between the learners and the conductor senior learner There may not be time, though, for all of these questions to be fully discussed in the first session. At about five to eight minutes before the end of the first rehearsal, indicate that the discussion will resume at the next rehearsal along with more singing. Then, sing one or more easy or familiar and expressive selections to finish the current rehearsal.] In the representative group's first meeting, explain that they are representatives of the full choir and their perspec
tives are equal in importance to the conductor's. Ask them questions, like, "What do you think we need to accomplish for the choir in this meeting?" Make suggestions and pro-
vide vocabulary, when helpful, in order to facilitate their
work, but stay in the background as much as possible to give the learners a chance to communicate collaboratively and for group leaders to emerge. When needed, the senior learner may say, "May I make a suggestion?" In this way, decision-making processes can be facilitated but even the appearance of controlling the discussion needs to be avoided. Take care about appearing to "manipulate" the wording of the document's title, but it may be along the lines of "What It Means to Be in the_________ Choir: How the Conduc tor and Singers Help Each Other in Rehearsals and Perfor mances." Once a draff document is ready, ask what they think would be an acceptable way to present the draff to the choir. Refuse to do so yourself. If appropriate, suggest that the makers of the draff, or their elected representatives, present it and facilitate discussion to shape the draff into a written working understanding. Each year, the understanding could be written from scratch or could be submitted to a com mittee of choir members for possible revision, followed by detailed discussion, and a vote to accept, reject, or modify
all or parts of the document. If the conductor controls the document's writing and then asks the group if they accept it, what are they to say? Could it not be another way to stifle self-expression, im
pose forced choice, and to assert the conductor's control ling power in a domination-control game? When singerslearners have the comfort to make choices, express creative ideas, take action, observe and reflect on feedback (conse quences), evaluate choices, alter action, make moral fairness judgments, and so on, they are learning significant, lifelong,
collaborative, human-compatible abilities, and their emo tional connection to singing is likely to be deepened. A meeting could then be called of the singers and their parents-guardians. A group of the singers could present the final document and engage in a discussion of it with the adults. That way, the importance of this process, the em pathic relatedness of singers and conductor, the general com petence-goals of the group, the importance of attendance at rehearsals and performances, and the autonomous deci sion-making abilities of the singers would be communi cated to the parents-guardians. A parent-singer organiza-
Table I-9-13. Enhancing Attentional Interest and Group Cohesion in Choral Rehearsals 1. After groups of learners have finished singing a section of music, group talking is common. Senior learners often consider this talking to be social talking and unrelated to the experience that was just completed. Commonly, however, the talking is on-task "sense-making" of the experience that just concluded. That kind of talk can enhance perceptual, value-emotive, conceptual, and motor learning Certainly, there are times when such talking is not as productive as another experience would be, but then, the need for no talking can be explained, understood, and agreed to by learners. So, after a learning experience has concluded, senior learners can say, "Discuss among yourselves what you just did for [30 seconds, 45 seconds, one minute...]" Then, "Have you come up with some ways you can sing that music, even more skillfully than before, or even more expressively than before? [responses] "Sing it again and do them" 2. When learners are talking in a class or rehearsal, some conductors increase the volume of their voices as they "talk over the din" to continue their feedback and goal-setting. When frustration reaches a threshold level, louder-voice chastisement for the talking occurs. When learners are singing, some senior learners habitually sing along, or they sing the vocal part that insecure vocalists are singing, and they do so at a volume that is greater than the group's volume. Some conductors shout instructions over the singing and the choir during rehearsals. Talking or shouting while learners are singing will rarely be understood, of course, and is guaranteed to distract their attention away from the singing task at hand. It also will greatly increase the probability of singers missing bull's-eyes. A common consequence of loud talking and shouting by conductors in rehearsals is laryngeal muscle fatigue and chronic vocal fold swelling with increasing limitations on vocal capabilities (see Book III, Chapter 1). Another consequence is that learners learn to not pay attention to the senior learner unless anger is expressed. Their opportunities for vocal and musical ability development are diminished, their opportunities to develop emotional self-regulation (self control) also are diminished, and their emotional connections to singing and the senior learner may remain underdeveloped. Changing those habitual senior learner behaviors is a big challenge. If you are a senior learner who uses any of those behavior patterns, and you seriously want to change them to preserve voice health and increase your effectiveness as a senior learner, you can begin right now. Right now, or as soon as is possible, ask two friends to become official witnesses while you take the LEARNER ENGAGEMENT AND SENIOR LEARNER VOICE HEALTH PLEDGE. Write the pledge down, speak it out loud before witnesses, then date it and sign it along with the witnesses: T (state your name) do hereby swear or affirm, thatfrom this day hence andforevermore, when I am teaching and other people are talking, singing, or otherwise making music, I will become silent immediately" Yikes! What happens then? Chaos? When learners begin disruptive or nonproductive talking, your nonverbal com munication is extremely important. • Become silent and reestablish a comfortable, head-released-upward body alignment (Book II, Chapter 4 has details). • Become still except for head and face. • Survey the group for inclusive eye contact (but not with people from any culture where this would be inappropriate). • Maintain a pleasant, expectant facial expression, perhaps a patient smile, to indicate an expectation that the individual(s) or the group will establish self-regula tion. • Wait until the group becomes silent and attentive. • Resume the goals at hand, but speak with softness that is relative to the acoustic setting and the expressive sense of the music that is being rehearsed.
In summary, (1) never speak when other people are speaking or singing-be still, eye contact, be pleasant, and wait; and (2) always speak softly unless the room acoustics, size of the group, and musical circumstances require otherwise. Be absolutely consistent with this reaction to every single disruption. It will be a gift to yourself, the health of your voice, and to the emotional self-regulation of the learners you are helping. Be determined. It may take a few weeks for old patterns to change, but with it, relatedness, productiveness, and group cohesion will have a chance to grow.
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tion could then be organized to support the choral music program. The organization may present a "family concert"
during the year in which the families of choir members get together, rehearse (with or without help from the conduc tor) and share their music in a community concert (from Jennifer Starr, Woodbury, MN, High School).
What do you do when learners "test" senior learners, or when one or a few learners have a history of disruptive, uncooperative, even disrespectful behavior? Is adversarial, coercive, external control and enforced compliance inevita bly necessary? The nature of some school settings appears to perpetuate learned, habitual, adversarial behaviors by both teachers and students. An us-against-them mind-set has become entrenched and interacting in a different way cannot even be imagined. As previously described, when threats to well being are perceived, bodyminds will produce unpleasant feeling states and will respond with self-protective reactions and behaviors. The neural networks that processed the original experiences also will participate in encoding state-depen dent memories of the people, places, things, and events that were involved. When same or similar people, places, things, and events are re-encountered, some degree of the original feeling state (an unpleasant somatic marker) will be reacti vated, and some degree of the original protective behavior will be reproduced. If the feeling state of the original expe rience was intense, the somatic marker is likely to be indel ibly encoded and a behavioral reaction will be highly prob able. Both explicit and implicit learning will have taken place, and automatic, habitual protective behavior patterns may begin. Changing these behavior patterns does involve a pe riod of target practice on new, unfamiliar bull's-eyes, and a collaborative change process needs to include both "sides". It's quite an adventure. So, what are the most helpful ways for teachers to respond to "testing" or to confrontations involving people who are called students? Is a show of decisive, controlling action ever justified in the face of "discipline problems"? When physical vio lence occurs, (fighting), or seems about to occur, strong domi nating action may be needed immediately. Shouting "Stop!!" very loudly at close range may startle two combatants into a temporary distracted trance, in some cases. Quickly plac ing one's self between them, establishing serious eye con tact, and saying something like, "It's over. Let's talk this 278 bodymind & voice
Table I-9-14. Possible Senior Learner Responses to "Testing" by Learners, and to Disrespectful, Disruptive, or Nonproductive Behavior Possible responses to "testing": Scenario #1: "Sarah, you don't talk to me or any other teacher that way. You've got a bad attitude, and if you do that again, I'll send you to the principal's office for an after school detention; and I don't care whether you've got an after-school job or not. I'm just not going to put up with that kind of disrespect from you or any other student You understand me?" Scenario #2: "Sarah, I have no idea what just went on inside you, but what you just said (or did) felt like you were disrespecting me as a human being. I hope not, but that's how it felt to me. Let's talk right over there after class and see if we can work this out But right now, can we all move past this and get back down to making music with our
voices?" Possible Scenario: "Jack, something just happened that you and I need to talk about Meet me here right after rehearsal (state the place and time)." Possible responses to disruptive, nonproductive behavior: Scenario #1: "You two boys shut up and start singing. You just have no respect for the hard work that everybody else is doing. I've worked hard to prepare this music, and your talking is getting in the way. So, this is your last warning. Next time, you're out of here and no trip to Chicago for you!' Scenario #2: "Maybe you have an upset stomach, or maybe you missed breakfast, or maybe you just had an argument with a friend-I don't know-but you two boys were talking while the rest of us were singing. That feels like you were dissin' us (disrespecting us). We're all human beings here, and if you were dissin' us, my job is to call you on it. Now, if you ever think I'm dissin' you, then you got to call me on it, 'cause I want to know. Let's you and me talk about this after class right over there and figure out what happened!' Possible Scenario: "When we're focused on making music, and a few singers are talking, how does that make the rest of you feel? Don't answer that out loud, but is anybody's concentration disturbed? Is your ability to hear the music interrupted? Does anyone feel frustrated when most of us are really into becoming a skilled and expressive choir, and a few people are holding us back? "Remember, if anyone needs to talk privately about something that is really urgent, then tell me. You don't need to tell me what it's about, but tell me when you need to talk about urgent things, and for how long, and you can go outside the door and talk, and then come back and rejoin us. When you don't tell me, and just start talking while the rest of us are doing what we're here for, that might frustrate the rest of us. We need every human voice. So, come on home and let's make some music at page one of...!' Elements in community-building responses: 1. describe the behavior(s) objectively rather than judgmentally,
indicating clearly that you are not making any assumption about "motive"; 2. contrast the behavior with the goal(s) at hand (optional); 3. describe how the behavior(s) makes you and/or the group feel (if you know);
4. provide some empathy education for social-emotional self regulation (when appropriate);
5. reaffirm the capabilities of the person or the groups; 6. invite the person or group back into the flow of the learning experience; 7. privately, ask the learner(s) if they would like help with any
problems they might be facing or for suggestions about how they could consistently engage with the music.
thing down and out" may defuse the situation. Non-accusatory mediating talk is then a necessity to help the two people take empathic perspective on the sources of their dispute and consider resolution(s). Violence with weapons necessitates immediate protective action, rather than inter vention, and police involvement
If two overriding principles of this perspective had to be written down, they might be these: 1. Instead of interacting with each other in stereotypi
cal dominant-submissive or coercive-compliant roles, may we all attune ourselves as real human beings with fellow real human beings who know what it's like to thrive, to be
Table I-9-15. Four Ways to Develop Emotional Connection With, and Sustained Intrinsic Interest In, Expressive and Skilled Choral Singing During Rehearsals and Performances I. Select only expressive, intrinsically rewarding texts and music from a variety of styles. When many human beings have empathically responded to a song or musical composition over numerous years, that is a good sign that it is well crafted and expressive of core human feeling-flow. When a more recent song or musical composition turns on the feeling juices of the people who are experienced in its particular musical style, then that, too, is a good sign that it is well crafted and expressive of core human feeling-flow. Intrinsic musical reward and interest do not grow when music is selected just because it is composed or arranged by a well known musician, or is glitzy, or fills a need for fast or slow tempo music, or its words happen to be about a particular topic or season of the year. II. Singing expressive music expressively is the number one focus. Rehearsals are occasions to become sensitized to "what it feels like to be a human being on this Earth". Expressing out the intertwined contours of human feeling-flow is the big bull's-eye that is made up of many smaller targets with their own bull's-eyes. Preparation of these expressions begins with expressive lyrics or texts and their intimate marriage with expressive music.
1. Consider beginning the rehearsal of each selection of music by becoming familiar with the inside-out human expressiveness that the poet lyricist infused into the words. Read the text-lyrics expressively, or have a student do so, in order to discover the song's core feeling context. Read the words aloud as a group. Reflect on and begin to discuss the "feeling stuff' that is expressed in the words. Read the words in the rhythm of the music but without pitches. Then sing the music through, on a neutral syllable, as accurately as the singers' abilities allow. Repeat this experience and gradually help the singers discover where the designed contours of human feeling-flow might be in the music. Finally, explore and discover the expressive matching that the composer-songwriter infused into the words and music together. 2. In successive rehearsals, do a human-feeling expressive analysis of the whole text. Based on the text, who is singing the song? For or about whom? What is the song's core feeling context? Explore which words may be the most feeling-charged in each phrase (see Table I-9-3), and how the sounds of those words may be used to paint a picture of their feeling meaning. Explore the expressive phrasing tendencies of each musical phrase and how each phrase is married to the feeling-charged words. In a single rehearsal, these processes may cover only a portion of the phrases in each musical selection. These processes may cover only a portion of the phrases in each musical selection in a single rehearsal. Along the way, use goal-sets and pinpoint goals to explore musical and vocal abilities that enable the music to become more and more "alive". At the end of each selection's rehearsal, sing all of the phrases that have been rehearsed so far, then go to the next selection. These processes also instantiate widely elaborative, explicit and implicit memory encoding, with intrinsic rewards and interest built into body mind neural networks.
III. Even though expressive singing is the number one focus, singers' vocal abilities make expressive singing possible in the first place. When vocal abilities include physical and acoustic inefficiencies, and are thus only partially developed, musical expressiveness is held back from what is possible. As vocal abilities become increasingly efficient and refined, then musical expressiveness can blossom. Working out and making automatic the musical and vocal skill details requires the engagement of conscious, cognitive-analytical, bodymind processing over time. Learning experiences can be devised that engage the visual, auditory, and kinesthetic senses of singers so that their innate pattern detecting, exploratory-discovery, and interactive-expressive capabilities are activated and the intrinsic rewards of self-mastery and self-expression are felt Sensing goal-targets and their bull's-eyes, followed by human-compatible target practice and self-perceived feedback (getting closer and closer to bull's-eyes and centers of bull's-eyes), are crucial to this process. There are no such things as mistakes, errors, wrongs, bads, incorrects, impropers, and other inadequacy concepts. Incredibly capable bodyminds are just taking target practice.
IV We get what we rehearse. Rehearsing musical and vocal skill details is the necessary foundation and framework for expressive music-making, but human expressivity is the whole house. Our neural "wiring" does not enable us to be "spontaneously" expressive and consciously analytical at the same time. When we sing nearly all of the time with an analytical mind-set and we attempt to consciously control the pitches, rhythms, volumes, voice qualities, and word formations of music, then the as-if feeling states that infuse music with "expressive life" cannot be engaged. That means that bodies, faces, and voices will not flow with the expressive qualities that are in the words and music. They will show intense concentration, apprehension, fixed-fake smiling, or be still and "lifeless". If nearly all rehearsal time is spent on musical and vocal skill details, then singers will learn: "When you sing choral music, you have to think and consciously control as many of the musical and vocal variabilities as possible." When singing the music for other human beings, then, bodies and voices will show what has been rehearsed.
Robert Shaw put analytic, technical details in clear perspective: "Knowledge of fundamentals is prerequisite to free flight" and "(Fundamentals) are the things we remember in order to forget" "Free expressive flight" is what singing is about Fundamentals make it possible...unless the fundamentals become so important that they weigh us down.
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rejected, to hurt, to be respected and loved, to love, and to
be passionately interested in one or more of the human knowledge-ability clusters, especially the one called sing ing. 2. Singers of any age, who have learned that solo or choral rehearsals (practice) are occasions to look for what
they've done wrong, can learn to reinterpret rehearsals as an opportunity for their brains to take target practice on
expressive voice and musical abilities, and to celebrate progress toward bull's-eyes. Singing for other people can become an occasion for sharing expressive human moments to the best of developed ability, rather than an occasion when other people can pick out judged inadequacies. One-to-one voice education for singing and speak
cal fold vibratory frequencies and amplitudes, necessitating more fine-tuned and vigorous laryngeal coordinations, as compared to the coordinations that are necessary for con versational speech. Those are the essential differences between speaking and singing. All human beings with normal auditory-vocal anatomy and physiology are capable of skillful and expres sive sound-making, speech-making, and singing. Period. Developing expressive singing skills is just a matter of con
verting those auditory-vocal capabilities into learned earbrain-voice abilities. For many people, that also necessi tates overcoming a learned feeling-bias about their personal inadequate or "nonexistent singing talent". That bias is fre quently traceable to one or more childhood experiences when they were taking target practice on singing abilities,
ing abilities. There is no such thing as a speaking voice and a singing voice (nominalizations, see Chapter 7). Human be ings do not have a speaking larynx and a singing larynx.
they missed pitch bull's-eyes, and were told that they didn't
There are parts of us that we coordinate together to pro duce the phenomenon we call voice. We enact sound-mak ing coordinations, speech-making coordinations, and sing ing coordinations with our one voice. Yes, there are distinct differences in the coordinations, but there are many more similarities than differences. Pitch variation in speech is carried out by continuous lengthener and shortener activity in the vocal folds that
people integrate their speaking and singing coordinations. Accomplishing that goal involves learning to speak and sing
produces a "sliding up and down" of vocal pitch. Pitches
skills for speaking and singing are all the same (addressed in Book II): 1. arrangement of the skeleton for optimum potential movement, actual movement, and efficient voicing;
are rarely sustained, and when they are, only for about a second or two at the most. Socially learned patterns of pitch variability are a key element in the expressive prosody of speech. Nearly all children acquire linguistic speech much earlier than sung speech, mainly because live models of
have good voices (see Book IV, Chapters 1 and 3). A primary goal of all voice education can be helping
more by kinesthetic and tactile sensation than by sound, but eventually linking the two forms of internal and exter nal feedback. Learning skilled speaking or singing by at tempting to create a desired vocal sound quality leads in
evitably to physical and acoustic inefficiencies, voice skill
limitations, and possible voice disorders. Fundamental voice
2. efficient breathing coordinations that supply rela tively steady breathflow between the vocal folds;
speaking are heard far more frequently than live models of
3. efficient coordination of the internal and external
singing are heard. Also, singing coordinations involve more
larynx muscles so that the vibrating vocal folds create op timum, expressive soundflow and an array of contribu tions to vocal pitch, volume, and voice qualities (includes vocal registers); 4. efficient coordination of vocal tract "shaping" so
fine-tuned motor coordinations by the larynx muscles. In singing, pitches are much more frequently sustained
than "slid". Through agonist-antagonist functions, the vo cal fold shortener and lengthener muscles have to stabilize the length, thickness, and tautness of the vocal fold surface tissues so that their vibratory rate is steadied. These stabi lization "settings" are changed in a mixture of slow and rapid adjustments over varied lengths of time during sing ing. Typically, singing involves a much wider range of vo
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that the radiating sound waves (soundflow) are modified to create language sounds and contribute to optimum vocal volumes and voice qualities, and acoustic overloading of the vocal folds is prevented.
Rehearsing vocal skill details is the necessary founda tion and framework for expressive speaking and singing,
but human expressivity is the whole house.
Working
through, and making automatic, the vocal skill details of speaking and singing requires the engagement of conscious, cognitive-analytical bodymind processing over time. Learn ing experiences can be devised that engage the visual, audi tory, and kinesthetic senses of vocalists so that their innate pattern detecting and exploratory-discovery capabilities are activated and the intrinsic rewards of self-mastery are felt.
Sensing goal-targets and their bull's-eyes, followed by hu man-compatible target practice and self-perceived feedback (getting closer and closer to bull's-eyes and centers of bull'seyes), are crucial to this process. There are no such things as mistakes, errors, wrongs, bads, incorrects, impropers, and other ways we rehearse inadequacy-just bodyminds tak ing target practice (see pp. 195-199, this chapter). Speaking and singing expressively is the number one focus. We get what we rehearse. Our neural "wiring" does not enable us to be "spontaneously" expressive and con sciously analytical at the same time. When we speak or sing with an analytical mind-set and we attempt to con
enough. In the one-to-one setting, therefore, learners are
more likely to perceive literal or potential threat to their well being. So, when meeting an individual voice education learner for the first time, senior learners need to be sensitive to the
verbal and nonverbal communications that occur in an introductory exchange (see Chapter 8). As a learner comes
into the presence of a voice educator for the first time, the arrangement of the voice educator's skeleton (posture), fa cial expressions (especially pleasant-unpleasant, smile-no smile), arm-hand gestures, and voice qualities will be read for initial, feeling-based impressions. Those impressions will be compared to implicit emotional memories of all people who have judged the learner's past vocal expressions, espe cially people who are called parents, siblings, peers, music educa tors, choral conductors, singing teachers, speech trainers or teachers, acting coaches, or theatre directors. Senior learners can assume that learners will interpret their initial meeting as potentially threatening to well being, and the sympathetic division of the learner's autonomic
nervous system is toned up (see Chapters 2 or 7). Reducing that interpretation as much as possible in the first meeting
sciously control the pitches, rhythms, volumes, voice quali
will enhance efficient and expressive voice skills in this and
ties, and word formations of speech or song, then the as-if feeling states that infuse our bodyminds with "expressive life" cannot be engaged. That means that bodies, faces, and voices will not easily flow with the expressive qualities that are in the words, or the words and the music combined. Faces, for instance, will show intense concentration, appre hension, fixed-fake smiling, or be still and "lifeless". If nearly
future sessions. The learning space can be furnished with comfort-enhancing colors, lighting, and decor, and the se
all rehearsal time is spent on musical, acting and vocal skill details, then speakers and singers will learn that you have to consciously control as many of the vocal and expressive variables as possible. When speaking and singing for other
human beings, then, bodies and voices will show what has been rehearsed. One-to-one voice education is very personal. In the group setting of a class or choir, there is relative anonymity for individual selves and their voices, but not when singing alone. Typically, learners have already decided that they want to learn how to sing skillfully and expressively, but an unfamiliar voice "expert" might judge the learner's voice to be inadequate, untalented, not very good, or not good
nior learners' attire also can enhance comfortable related ness. "You must be (name). I'm (own name), [hand shake] Happy to meet you (again?). Come in and make yourself at home [indicate a chair]. Would you care for some water to sip?...I'd like to know more about you and your voice. Tell me about what you've done with your [singing, acting, speak ing] in the past, and what you're doing now" [To enhance the possibilities for respectful and comfortable communi cations, observe the principle of matching during the intro duction and first meeting.] Using a created information
form, senior learners can write confidential notes about each learner's responses to the following: 1. Talk about what you've done and are doing with your [singing, acting, speaking]. 2. What would you like to do with your (singing, act ing, speaking) after you finish your experiences here? 3. Do you have any current concerns about your voice or are there any specific voice skills that you would like to improve or learn how to do? human-compatible
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4. What do you currently believe your voice classifi cation to be?
4. Model the sound of a newly born puppy crying after brief separation from mother (hmmm, hmm, hmm;
5. Have you ever had surgery in your neck-throat,
falsetto register for changing and changed-voice males; light,
upper chest, or abdominal areas?
6. Have you ever lost your voice, so that when you tried to speak, only air would come out? 7. Were you once able to perform a voice skill, but now it isn't working as well as it once did? 8. How would you place yourself on a 7-point innate talkativeness scale, where one represents enjoyment of silence and minimal talking-almost a hermit-and seven represents a rich, innate pleasure in social talking with friends, family, and new acquaintances, and choices to engage in many ac tivities in which social talking is anticipated and expected? These questions and responses give learners a chance to talk about themselves, and the senior learner can engage
in nonverbal matching, ask follow-up questions, share re lated human anecdotes from personal history that may in clude humor (not an upsmanship exchange), begin to de
velop a human-to-human relatedness and trust, observe the learner's voice and body use during habitual speech, make a gross assessment of voice health history, assess the possibilities of a "vocal underdoer" or "vocal overdoer syn drome" (see Book III, Chapters 1 and 11). After these ex changes, fundamental voice skills can be assessed in rela tive comfort by beginning with imitative sound-making and speech-making. Singing. In a first meeting with learners of singing,
thin upper register for females and unchanged male voices). Then, convert the puppy cry sound into a sound spiral that moves downward in pitch, and then a spiral that continues upward and upward to wherever it might go. 5. The learner sings repeated 5-4-3-2-1 pitch pat terns on one /mah/ syllable beginning in mid-pitch-range. Each repeated pattern begins one-half step lower than the previous one to assess lower capable pitch range. Then the same pattern is used to assess upper pitch range (ask them to turn away from you and the piano) by beginning each repeated pattern one-half step higher than the previous one. Keep on going to topmost capable pitches, unless there is a vocal health reason not to. 6. The learner sings at least four phrases of a known
song, or recites a poem or a speech from a theatrical scene, or interpretatively reads provided samples. 7. Senior learner discusses observations as a snap shot of what learner's voice did that day at that time only. No judgments, just getting to know the learner's voice. 8. The senior learner presents a brief orientation about
a personal approach to voice skill learning and expressive singing. 9. Collaborative discussion occurs about which voice skills and/or musical goals would be appropriate to begin with, which song(s) may be appropriate, and what will hap pen in upcoming sessions.
the senior learner can optimize comfort and assess funda mental skills by inviting the learners to help you get to know their unique voices. The following tasks may be used: 1. Model "Whoooo are youuuuu?" in lower register, firm and clear mezzo-forte, mellow-warm quality; use several
10. A more detailed voice information and health ques tionnaire may then be given to the learner to fill out and leave in senior learner's mailbox or to bring to next session
different pitch inflections and volume levels, and learner imitates the pattern after each modeling.
Using goal-sets and pinpoint goals, planned and im
2. Model "Yooooooo hoooooo?" in upper register, firm and clear mezzo-forte, mellow-warm quality; use several dif
ferent pitch inflections and volume levels, and learner imi tates the pattern after each modeling. 3. Model a pitch glide that begins in the "yoo hoo"
part of voice and glides downward well into the "who are you? part" of voice; then a glide that begins in the "who are you? part" and glides upward into the "yoo hoo" part. 282
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(for ideas, see the Fairview Voice Center's "Voice Health His tory" form at the end of Chapter 9 in Book III).
provised learning experiences, open and closed follow-up questions, and implicit praise can help singers develop self perceived feedback, collaborative interactions and assess ments, enhanced intrinsic reward and interest, elaborative memory encoding, and integration of speaking and singing
vocal coordinations (see Table I-9-16). Speaking. As noted before, the core fundamental skills of expressive speaking are the same as the core fundamental skills of expressive singing. Both speaking and singing in
volve the creation of pitch, volume, voice quality, and tim
The teaching of voice skills for public speaking, acting,
ing changes. Most of the initial experiences that are de scribed in the singing subsection above can be used when initially assessing speaking abilities. Instead of singing a song, an interpretative reading of a poem or a literary excerpt, or
and singing have existed for quite a few centuries. Many of
delivering a speech from a theatrical scene, would be sub stituted for singing a song.
the teaching methods had to be based on assumptions about
"how voices work" because there was no knowledge of vocal anatomy, physiology, and acoustics. "Voice placement" arose from the assumption that voices moved around inside the body. If you placed your voice in your head (Latin: vox
Table I-9-16. Sample of a Collaborative, Human-Compatible Learning Cycle for One Singing Ability [goal-set and pinpoint goals, self-perceived feedback and implicit praise, enhancement of intrinsic reward and interest, elaborative memory encoding, and the integration of speaking and singing abilities]
Senior Learner: How have those register skills been going? [eliciting a report of self-perceived feedback and self-assessment; also announcing a goal-set] Female Learner: Well, my upper register is clear and strong now, except around that upper-lower register transition, [self-assessment] SL: What happens? L: I know you've said that when I'm in upper register and the pitches are going lower, to invite my upper register way of singing to go lower and lower, but my voice gets weaker and breathier, and then my lower register seems to just take over and I can't seem to stop it. SL: Where in your pitch range does that happen? L: Let's see...bottom half of the treble staff, between about D4 and A4. SL: Notice anything else about transitions between those two registers? L: Well, when I'm in lower register and singing into upper register, the only way I can keep from going into that weak-breathy tone is to keep my lower register going higher and higher, but then my voice starts sounding pinched and edgy. And I notice that when I've done that for a while, my voice starts feeling irritated and tired, [more self-assessment based on self-perceived kinesthetic and auditoryfeedback] SL: Your observations of your voice are really on target [descriptive feedback]. That's impressive. OK, show me what happens when you're in upper register and going down. Sing a pitch pattern, a song snippet, whatever, [pinpoint goal to intentionally demonstrate outside limits of a target-rather than the bull’s-eye] L: [sings as suggested] There! It gets weak and breathy, and I don't know how to make it stronger, [self-perceived feedback] SL: Well, not yet, but...strength in that area of your voice is about to start happening. Lets start with that game of "I-make-a-sound, you-make-asound". Say, "Whoooooooo are youuuuuuuu?" [demonstrates in mid-lower-register, firm-clear but mellow-warm voice quality, volume at about mezzo forte-minus volume, slight upward pitch-slide to "you", then downward pitch-slide] [beginning of a learning experience cycle that uses imitative capability of learner to focus on a bull’s-eye template coordination] L: [imitates pitch, quality, timing! [exchange is repeated about three times with varied pitch inflections in lower register; then, without stopping to explain, the same spoken pitch and volume levels and voice quality are translated into a 1-2-3-2-1 major-scale pitch pattern; that is repeated about three times! [target shift: transfer template coordination from speaking skill into singing skill! SL: What did you notice about your voice during all of that? [open question to elicit general self-perceived feedback] L: Hmmm. My speaking and my singing felt and sounded the same, and there was less "workiness" in the singing. It just happened. That was interesting, [self-perceivedfeedback; indication of elaborative explicit memory encoding and emerging pleasantfeeling-state] SL: How close can you come to singing the pattern that way again without going through the speaking? [pinpoint goal] L: [sings four patterns rising by half-steps! The first one was a little shaky, but then it settled pretty well into the others. SL: If that happens when you're exploring this skill outside of here, I suspect that you will figure out what to do to bring the skill back, right? [sets learner's brain on an anticipatory set and a transderivational search] L: I'm not sure what you mean. SL: If that easy, mellow-warm but clear sound starts feeling "worky", you can go back to the speaking way, and then bring it back into the singing. Make sense? [suggesting a connection between current episodic memory and future experience] L: Gotcha. I've done that before with other skills. SL: Now, come as close as you can to singing the pattern that way, and we'll start on G3. Here's your mission, should you choose to accept it: As the pitches become higher, remain in your full-bodied lower register quality, but allow it to gradually become lighter and lighter, and let's find out what happens. Got it? [pinpoint goal] L: Yes. [as pitch pattern rises, quality gradually becomes lighter, and then at about F4, a noticeable shift to a softer breathiness occurs, and the singer stops! Oops, it happened again didn't it? [self-perceived feedback] SL: So, the bull's-eye got missed. Lets go at it again, and this time, can you invite more of your lower register full-bodied thickness to go with you higher and higher, but still head toward becoming lighter and lighter. Get the drift of that? [refined pinpoint goal] L: I do. [as pitch pattern rises, quality gradually becomes lighter but retains more full-bodiedness; this time, the pitches E4 through A4 display clarity and strength, there is no abrupt change in the volume or voice quality, and when the highest pitch is Eb5, the singer stops! Wow! I'm in upper register and those lower notes didn't go breathy, and I have no idea when I went from lower register to upper register! That was cool! [self-perceived feedback; elaborative explicit memory encoding; expression of more intense pleasantfeeling-state] SL: Do it again! [repeated several times for target practice and memory consolidation]
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captis; head voice), you would feel it coming from there, and if you placed it in your throat (vox gutturis) or chest (vox
pectoris) you would feel it coming from those places. Those concepts are still in common use even though we now know
what really happens (see Book II, Chapters 1 through 3, and 11 through 13). Another assumption was that "good" breathing helped
you place your voice where you wanted it to be. We now know that efficient breathing is a crucial fundamental of skilled speaking, but efficient coordination of the vocal folds by the larynx muscles is an equally crucial fundamental. Skilled flow of vocal sound always results from efficient and coequal integration of the two functions. Variation of vocal pitch, volume, and voice qualities also are co-influenced by breathing and laryngeal coordinations toward inefficient overworking or toward efficient ease. So, "good" breathing
Does that mean that we can be consciously aware of the spatial location of the vocal folds and the muscles and other tissues of the larynx? No. Those structures are loaded with sensory nerves, but none of them "report" to con scious awareness. Voluntarily learned or altered coordina
tions of larynx muscles rely on very generalized degrees of kinesthetic feedback in the neck-throat area, and on audi tory feedback. With that feedback, and external feedback from such sources as experienced teachers or audio record
ings, larynx coordinations can be altered toward efficiency or inefficiency in conscious awareness. Book II, Chapters 8 through 11 and 15 address the explicit and implicit learning
of skilled laryngeal coordinations.
meets the road". And most voice trainers and coaches, and singing teachers as well, seem to know the least about la
Senior learners who teach skilled, expressive speaking abilities also will help learners most effectively when ex pressively crafted stories, poems, polemics, and plays are experienced and "worked through". The human-compat ible use of verbal and nonverbal communications, goal sets and pinpoint goals, questioning skills, descriptive feed back and self-perceived feedback, enhancement of intrinsic reward and interest, elaborative explicit-implicit memory
ryngeal functions and how they are interfaced with
encoding and retrieval can help learners develop empathic
breathflow and vocal tract coordinations. For example,
relatedness, constructive competence, and self-reliant au
many voice practitioners believe that larynx muscles are "involuntary" cannot be controlled "voluntarily" and there
tonomy. Samples of these processes are provided earlier in this section, in other contexts within this chapter, and in
fore, deliberate teaching of laryngeal muscle coordinations
some of the Do This experiences in Books II and V (Chap ter 2).
is not a singular magic potion that guarantees a skilled,
expressive flow of vocal sound. In voice production, the larynx is where "the rubber
is either a waste of time or can actually produce unneces sary laryngeal and vocal tract effort that diminishes opti
A Summary and Conclusion
mum vocal abilities. The facts? When larynx muscles are activated by re
flex motor circuits that originate in parts of the limbic sys tem and brainstem, they are activating involuntarily and out side conscious awareness. A startle-shout is an example.
When larynx muscles are activated by "learning" circuits in
the prefrontal lobes of the cerebral cortex, they are activat ing voluntarily. Speaking and singing are examples. Neural networks that produce habitual larynx coordinations were assembled (learned) during many repetitions of the same or similar coordinations. Areas of the prefrontal cortex trigger the networks, but subcortical networks were programmed to operate the coordinations automatically and outside con scious awareness (see Book II, Chapter 7 for a review and research citations).
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How do human bodyminds function? How do they grow into human selves? How can a relatively in-depth
understanding of the neuropsychobiological sciences help parents and educators interact with less experienced hu man beings, so that they can optimally convert their con
siderable capabilities into the abilities that demonstrate em pathic relatedness, constructive competence, and self-reli ant autonomy? Here is one brief "take" on such an adven ture. Assemble your own take whenever you like. Neuropsychobiological Bases for Human-Compatible Education: I. All human beings, that have "normal" anatomy and physiology, have vast capabilities for sensory reception, in
ternal processing, and behavioral expression. [Human be ings who do not have "normal" anatomy and physiology also have an enormous array of capabilities.] The challenge
is to convert those capabilities into constructive abilities. Ac
cordingly, all human beings who have normal vocal anatomy and physiology have enormous capabilities for skillful, ex pressive speaking and singing.
II. Human bodyminds that have normal anatomy and physiology always create perceptual, value-emotive, and conceptual categorizations in a wholly unified, nearly si multaneous way. As a result, every perception and concep tion is always co-processed with some degree of a pleasant or unpleasant feeling-state. III. The largest "percentage" of bodymind processing capacity is devoted to processing emotion-imbedded im plicit memory and learning (outside conscious awareness). The minority percentage is devoted to processing emotionimbedded explicit memory and learning (either in conscious awareness or easily within). The vast implicit capacities are
capable of processing numerous activities simultaneously. Emotion-imbedded implicit memory and learning is much
more influential on behavioral tendencies, therefore, than emotion-imbedded explicit memory and learning. IV Implicit, other-than-conscious, nonverbal commu nication is more pervasively influential on the internal pro cessing and behavioral reactions of interacting human be ings than explicit, conscious, verbal communication.
V When literal or potential threat to well being is perceived, bodyminds will make sense of their world and gain mastery of it by engaging in three categories of reflex ive or learned protective behavior: (1) withdrawing from, (2) immobilizing in the presence of, or (3) counter-threaten ing or counterattacking the source(s) of the threat. Literal threat to continued life produces the most intense reactions. Literal or implied threat of abandonment (helplessness) can produce quite intense reactions. Learners who have more threat-laden life histories will be sensitized to perceiving potential threats to well being and will tend to engage more frequently in protective behaviors. VI. Constructive self-determination (empathic relat edness, constructive competence, self-reliant autonomy) is enhanced by learning experiences in which intrinsic reward and interest is much more pervasive than extrinsic reward and interest.
VII. Bodyminds are capable of focusing their attentional capacities for longer periods of time when: (1) physical and emotional safety are present, (2) literal or po tential benefit to well being is perceived; (3) intriguing op portunities are currently available for sensory pattern de tection, self-mastery, and mastery of contextual surround ings. Under those conditions, bodyminds will make sense of their world and gain mastery of it by interacting con structively with the people, places, things, and events that they encounter. Learners who have more benefit-laden life
histories will be sensitized to perceiving potential benefits
to well being and will tend to engage more frequently in constructive behaviors. VIII. All human bodyminds have collections of neu ral networks that may be characterized as an interpreter mecha nism. Those networks are located substantially in the left cerebral hemisphere. The interpreter generates "ordered" or "reasoned" interpretative explanations (linguistically ex pressed theories) about people, places, things, and events that have been experienced and "reads deeper meanings" into experiences. It does so even when there is no order, reason, or deeper meaning, and therefore, the interpreter tends to (1) overgeneralize, (2) construct possible past expe
riences (inaccurate or "false" memories), and (3) behave as though these constructs are accurate. The interpreter pro duces protective interpretations or justifications of personal behavior when they are needed for emotional equilibrium.
IX. All human bodyminds have collections of neural networks that may be characterized as a literal observer mecha nism. The networks are located substantially in the right cerebral hemisphere. The observer just observes sensory in puts as they occur and generates literal, accurate memories of people, places, things, and events that have been experi enced. These neural networks do not generate "deeper mean ing" interpretations of experiences. They rarely have direct access to language in order to express their "truthful" awarenesses, but they can comprehend language and they do have indirect access to left hemisphere language abilities. X. When explicit attention, memory, learning, and ac tion are engaged (activities that are in conscious awareness),
bodyminds only have the capacity to accomplish one ac tivity at a time.
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XI. When learning something new, or when changing an habitual pattern of thinking, feeling, or physical coordi
nation, the changes happen more quickly and are encoded in memory more strongly when learners engage in several shorter periods of blocked practice that are distributed throughout a day. Random and massed practice are more productive after basic learning has occurred and deep con solidation and elaborative encoding are needed. XII. One of the most pervasive forms of learning is the implicit learning (outside conscious awareness) that re sults from observing the behaviors that are "modeled" by other people (innate imitative and exploratory-discovery capability-ability clusters), especially those with whom emotional "connection" has occurred. XIII. Games, stories, role playing, reenactment, and intriguing or curiosity-producing unfamiliar situations are implicit-learning-loaded experiences and they engage em
pathic transderivational searches from a wide range of past perceptual, value-emotive, and conceptual experiences. Human beings are born to learn. Brains are our primary organs of learning. Learning is constant and lifelong-always was and always will be. Observe people in any learning situa tion for the signs. PEOPLE WHO ARE HEALTHY, FED, AND RESTED, AND HAVE EXPERIENCED A PREDOMINANT HISTORY
Behaving independently, involved, alert, engaged, reacting inter nally to present circumstances or actively participating in them, ontask, doing by moving, initiating new explorations and discoveries, creating, producing, expressing themselves with empathic regard for the needs of self and others, asking questions, cooperating courteously, making their own decisions, disagreeing respectfully, actively making sense of their world, gaining mastery of it, constructing objects or ex pressions, and enjoying the PLEASURE of same. The usual "rules" about "attention span" often do not apply. How much educational improvement can really hap
pen until we seriously deal with emotional disconnection between the people who are called students and teachers— animals and aliens. Will this most basic of challenges be resolved by developing educational standards, requiring right-answer standardized tests, going "back to basics", as signing more homework, and providing year-long school ing, block scheduling, team teaching, site-based manage ment, and the like?
There are at least four conditions for effective, optimal education of learners that represent a basis for educational reform (adapted from Greenspan, 1997, pp. 224-230). 1. Focus all educational experiences on the develop ment of the three neuropsychobiological needs of all hu
man beings: empathic relatedness, constructive competence, and self-reliant autonomy. 2. Affect and interaction, rather than the acquisition of
OF HUMAN-ANTAGONISTIC SITUATIONS, OR WHO
specific information are the foundation for learning of every kind.
ARE PRESENTLY RESPONDING TO A HUMAN-ANTAGO NISTIC SITUATION, MAY BE:
3. Ensure that every child who enrolls in elementary school has the necessary skills of attention, strong relation
Behaving dependently overly eager to please, actively seeking approval; or they may be passive, unresponsive, "tuned out," with drawing, reticent, anxious, afraid, unable to speak with verbal clarity, avoiding active participation and involvement; or they may be restless, interested in what is interesting to them but not interested in what is imposed on their attention [do they have an "attention span prob lem?"], uncooperative, untrusting, defensive, rebellious, "smart-mouthed," belligerent, cynical, manipulative, controlling, engaged in covert or overt counter-control and/or counterattack behaviors. In other words, most of what they are learning is better and better ways to protect themselves. PEOPLE WHO ARE HEALTHY, FED, AND RESTED, AND HAVE EXPERIENCED A PREDOMINANT HISTORY OF HUMAN-COMPATIBLE SITUATIONS, OR WHO ARE PRESENTLY RESPONDING TO A HUMAN-COMPATIBLE SITUATION, MAY BE:
ships, and communication.
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4. Recognize that individual differences are real, that they matter, and must affect how learning experiences are
planned and carried out. Each child has an individual way of integrating their current experiences that is characteristic of that child's particular developmental tier and experien tial history. "The first step to changing anything is to observe what is." — Galwey (1974) "(Complex bodymind) programs are learned or changed very slowly." — Hart (1983, 1998) "The first sign of progress is confusion." — Thurman
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THURMAN WELCH
bodymind & voice
bodymind & voice: foundations of voice education
foundations of voice education
“ ...only full-voiced, free-singing bluebirds”
(Book IV, Chapter 1)
A REVISED EDITION Co-editors Leon Thurman EdD Graham Welch PhD
2 P U B L I S H E R S The VoiceCare Network n National Center for Voice & Speech Fairview Voice Center n Centre for Advanced Studies in Music Education
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book two how voices are made and how
they are 'played' in skilled singing and speaking
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table of contents Volume 2__________________________________________________________ Book II: How Voices are Made and How They are ‘Played' in Skilled Singing and Speaking Chapter 1 What Sounds Are Made Of ..................................................................................................................... 307
Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
Sound occurs because material objects vibrate and thus create moving chain reaction waves of high-low pressure within air molecules. An object that creates a complex tone vibrates both as a whole unit and in sections of itself. It produces, therefore, a fundamental frequency and overtones in the resulting sound waves.
Amplitude is the reaction to the force applied to an object to initiate vibration. Chapter 2 What Resonance Is....................................................................................................................................... 316
Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim Resonance is defined, described and clarified. Activities and tasks are presented, to experience and experiment with resonance concepts. Schematic illustrations are used to support the information about vocal tract acoustics.
Chapter 3 What Vocal Sounds Are Made Of ......................................................................................................... 321
Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
Sound is produced by the interaction of pressurized airflow, vocal fold motion and resonating structures above the vocal folds. Chapter 4 The Most Fundamental Voice Skill ....................................................................................................... 326
Leon Thurman, Alice Pryor, Axel Theimer, Elizabeth Grefsheim, Patricia Feit, Graham Welch Chapter 5 Creating Breathflow For Skilled Speaking And Singing ............................................................... 339
Leon Thurman, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit This chapter takes you through experiences to explore various breathing coordinations. Read pages 352 to 355 for essential information about breathflow coordination.
Chapter 6 What Your Larynx Is Made Of ................................................................................................................ 356
Leon, Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
The larynx is the main sound producer of the body. Yet it is difficult to see, feel and spatially
iii
sense. This chapter provides information about the structure and function of the larynx. Descriptions, diagrams and experiences are provided for the reader to better understand this elusive structure. Key words: external larynx muscles, false vocal folds (fvf), glottis, internal larynx muscles, larynx scaffolding, larynx suspension system, microarchitecture, primary larynx functions, reach up and squeeze coordination, secondary larynx functions, subglottal area, supraglottic area, true vocal folds (tvf). Chapter 7 What Your Larynx Does When Vocal Sounds Are Created .......................................................... 367
Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
Sound production in the larynx is called phonation. This chapter focuses on the interaction between breath, vocal fold and larynx functions for phonation. Key words: breathflow, external larynx muscles, glottal attack, internal larynx muscles, linguistic vocalization, opening/closing vocal folds, recurrent laryngeal nerves, ripple waves, sound qualities, sound waves, superior laryngeal nerve (SLN), vocal fold closure. Chapter 8 How Pitches Are Sustained And Changed In Singing And Speaking ....................................... 382
Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit To make either spoken or sung pitches, a relatively steady breathflow must be maintained between your vocal folds. Coordinating the length, thickness and tautness of the vocal folds are necessary to sustain or change pitch.
Chapter 9 How Sound Volumes Are Sustained And Changed In Speaking And Singing ....................... 394
Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
Vocal volume does not occur in isolation. As you read this chapter look for the following: Perception of vocal volume Contributions of vocal fold closure and lung pressure to vocal volume The shape of the focal tract Relationship of vocal volume to pitch Feedback associated with Vocal volume changes Chapter 10 How Your Larynx Contributes To Basic Voice Qualities............................................................. 409
Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
The dimensions, structure, and the closure characteristics are three common sources of voice quality generated by your larynx. There are no right or wrong, good or bad, correct or incor rect, proper or improper voice qualities represented in the continuum of voice qualities. Qualities happen, we don't create them. Key words: choral sonority, fundamental vibratory frequency (Fo), harmonic vibratory frequencies, radiated spectra, sound pressure wave, vocal timbre, vocal tone quality, vocal tract, voice quality, voice quality continuum, voice quality families, voice source spectra. Chapter 11 The Voice Qualities That Are Referred To As ‘Vocal Registers' ................................................ 421
Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
iv
What are vocal registers and their breaks? How many registers are there? What is passaggio? What are their names? How are they related to voice quality, volume and the ability to sing pitches accurately? This chapter attempts to answer these questions. Notice the chart on page 427. Chapter 12 How Your Vocal Tract Contributes To Basic Voice Qualities .................................................... 449
Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
The vocal tract is an enclosed, curved tube that extends from the top of the vocal folds to outside the lips. Changing shape and dimension of the vocal tract will result in a change in color and timbre. Notice the guided experiences and diagrams in the chapter that provide hands on opportunities to further explore this material.
Chapter 13 Vocal Tract Shaping And The Voice Qualities That Are Referred To As ‘Vowels'................470
Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
Vowels are voice qualities. Changing shape and position of the jaw, tongue and lips produce voice qualities referred to as vowels. Chapter 14 Consonant Clarities Without Vocal Interferences ......................................................................... 484
Leon Thurman, Axel Theimer, Patricia Feit, Elizabeth Grefsheim, Patricia Feit This chapter explores how consonants can be formed so they are clearly audible without interfering with physical and acoustic efficiency.
Chapter 15 Vocal Efficiency And Vocal Conditioning In Expressive Speaking And Singing ................492
Leon Thurman, Carol Klitzke, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit
Vocal folds are muscles. Conditioning and efficient use of the vocal muscles and tissues are necessary if we desire to speak and sing with optimum expressive skill. This chapter discuss es the characteristics of vocal conditioning and efficiency. Vocal warmup and sequencing series are also included. Chapter 16 Singing Various Musical Genres with Stylistic Authenticity: Vocal Efficiency, Vocal Conditioning, and Voice Qualities .............................................. 515
Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim This chapter brings together vocal efficiency, conditioning and qualities, and how they con tribute to the production of different musical styles. The chapter makes the point: “All human beings with normal vocal anatomy and physiology are capable of learning how to vary their vocal coordination in order to match their produced vocal qualities to the voice quality preferences that people in other cultures have evolved for their music.”
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the big picture he overriding purpose of making vocal sounds is to
ing blocks, then expressive speaking and singing can be
T
express out our thoughts and feelings. The more come more readily accessible to more people (see the Fore skilled our voice use, the more expressive our speak Words at the beginning of the book). The more that hap ing and singing can become. Voice skills are about learning pens, the more we build a strong and credible professional bodily coordinations that make possible a richer diversity house. and expressive depth in our vocal self-expressions. Com Written for Two Audiences ing as close as we can to knowing what bodies actually do to create those expressive voice skills, and knowing how Audience I: People Who Want to Learn expressive vocal sounds are actually transmitted to listen the Fundamentals of How Voices Are ers, can serve as major foundational building blocks in voice Made and Played education. Our goal was to write the first section of almost every Physicians build their diagnostic and medical treat chapter in colloquial, everyday English, using a personal ment house on a scientific foundation of human anatomy, form of address-you, your voice. Only the fundamental con physiology, and biochemistry. For the sake of professional cepts and terminologies of anatomy, physiology, and acous credibility, voice educators need to build their vocal "diag tics are presented, and when they are, the authors attempt nostic and treatment" house, and their teaching house, on a to explain them and compare them to common, real-life scientific foundation, including voice anatomy, physiology, experiences. acoustics, and health, and the neuropsychobiology of teach Offen, vocal anatomy will be named by primary func ing and learning. As always, the overriding goal is to bring tion rather than by the formal anatomical designation (the about more and more skilled, self-expressive singing and cricothyroid muscles are named the lengthener muscles, for speaking among human beings. instance). That designation suggests a practical vocabulary The voice education building blocks that are pre for everyday use with people who also have little or no sented in Book II include the core experiences and knowl background in voice science. An attempt is made to con edge bases of vocal anatomy, function, and acoustics. The au nect the fundamental concepts of vocal anatomy, function, thors - subject to the finite knowing of all human beings and acoustics with their role in skilled human self-expres have done their best to convert past inaccurate assump sion. The first section of each chapter also may serve as a tions and partial perceptions about voices into science-based, model of how to explain complex concepts in terms that accurate descriptions and whole-voice, big-picture integra vocal novices can comfortably understand. tions. As voice scientists continue to learn more about how Before most major concepts are presented in the text, voices are made and played, some of the facts and theories a related sensorimotor experience is suggested for the reader. in this book may eventually be judged as inaccurate or They are in italics, bordered by thin lines, and labeled Do incomplete. this:. Their presence follows one of the tenets of human Nevertheless, when teaching-learning methods for compatible learning, that is, have an experience first, then skilled vocal self-expression are built on science-based build the
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do conscious analysis, then reexperience. Expert informa tion is gathered when appropriate. So, when you can, give the Do this experiences a go before reading on. Readers of this more colloquial section will be helped by knowing the following information: 1. Indications for pitches in this book follow the guide lines recommended by the Acoustical Society of America for uniform international designation of musical pitches. The lowest C on the keyboard is labeled C1, and all the pitches within the octave above C1 use the same numbered designation, that is, D1, Eb1, and so on. Succeeding octaves begin with C2, C3, C4 and so on. Pitches below the lowest C are designated with a zero, thus B0, Bb0, A0, and so on. Middle C is C4. 2. Air flows from areas of higher pressure toward ar eas of lower pressure.
skeletal parts to which they are attached, with the origin skeletal part named first followed by the insertion skeletal part. Thus, in the thyroarytenoid muscles, the arytenoid
cartilages are moved in the direction of the thyroid cartilage (assuming no antagonist activation by other muscles). 3. Vocal fold vibration or oscillation refers to complex
almost-periodic motions of vocal fold tissues that include chaotic elements. These terms will be used in the For Those Who Want to Know More... sections of the chapters in this Book. Mucosal waving refers only to the gross waving motion of vocal fold surface tissues, and does not imply vibratory complexity. The term vocal fold ripple-waving is used in the opening sections of this book's chapters. The intent is (1) to use familiar concepts and vocabulary to introduce com plex vocal fold vibratory motion as different from a piano string "shaking back and forth", (2) to comfortably move novice readers of voice science into increasing complexities,
Audience II: People Who Want to Go Beyond the Fundamentals of How Voices Are Made and Played The final section of each chapter is labeled For Those
Who Want To Know More... It is written more formally and presents more details of scientific concepts and vocabulary. Sources of scientific theory and research are cited in this section and listed in the References and Selected Bibliog raphy at the end of each chapter. Readers of this more detailed section will be helped by knowing the following information: 1. The words used for anatomical directions will help you visualize the spatial locations of body parts: • Superior toward the top; • Inferior toward the bottom; • Anterior toward the front; • Posterior toward the back; • Medial toward the body's midline; • Lateral away from the body's midline and out ward toward the body's sides.
2. Muscles are attached to skeletal parts. Their point of origin is regarded as the attachment point toward which another skeletal part is moved when the muscle contracts. The point of insertion is regarded as the attachment point which draws a skeletal part toward the other end of the muscle. Many muscles are named by combining the names of the
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and (3) provide a vocabulary model that might be used with children. The first two chapters of Book II provide very basic
concepts and vocabulary for what sounds are "made of' Chapter 3 makes basic connections between what sounds are made of and what vocal sounds are made of. Those chapters dig the foundational trench into which the stones and mortar of the foundations will be laid. Equipped with those basic concepts and vocabulary, chapters 4 through 15 present the foundational knowledge of voice anatomy, function, and acoustics; chapter 16 points toward the use of fundamental skills in the singing of many styles of music.
Preparing the Way Vocal athletes are people who must use their voices extensively or vigorously in accomplishing their career work, or who do so in noncareer expressive pursuits. For in
stance, voice use is essential in the careers of people who
are actors, singers, teachers, clergy, lawyers, physicians, leg islators, executives, managers/supervisors, sales represen tatives, receptionists, auctioneers, aerobics instructors, and so forth. Participating in a school or community theatre production or singing in a school, church, or community choir, or cheerleading would involve extensive and vigor ous voice use within comparatively limited time frames.
Sports athletes use skilled coordinations of the body to do something that is rewarding. That is exactly what
pitch changes, loudness variations, and your larynx's con tribution to what your voice sounds like—your voice qual
Physically, sports performers are
large muscle athletes. Vocal performers are small muscle
ity or timbre; • shape your throat and mouth in many different ways,
athletes, mostly. To perform coordinated movements, many
which effects the way the air molecules—which are con
areas of your brain have to "tell" a large number of neces sary muscles to contract, in what sequence, to what degree of intensity, and how fast. Sometimes, your bodymind may perform coordinated movements that prevent you from do ing what you want to do as well as you would like to do it. For instance, some of the muscles that are necessary for speak ing or singing may be contracted too much and other muscles may not be released enough. When that happens, the efficiency of your coordinated brain-muscle programs is less than it could be, and your voice may sound strained, or it may produce out-of-tune pitches. In learning skilled coordinations, muscles that are unnecessary for the coordinations must be "told" to reduce or stop contracting, so that the necessary muscles can do
tained therein—compress and expand in chain reaction
vocal athletes do, too.
their job with more efficiency. With repeated "target prac tice," the necessary brain-to-muscle "messages" become more and more fine-tuned. With sufficient repetition, the coordi nations become "programmed", and the muscles increase their conditioning. The coordinations are then called skills or habits. When you speak and sing, your brain tells selected muscles to do these things: • arrange your skeleton (to which your voice muscles
are attached) in relation to the force of gravity which has you pinned to the earth; • breathe a supply of air into your lungs; • close your vocal folds to trap air inside your lungs [in everyday language, your vocal folds are called vocal cords; they are located inside your larynx (pronounced lair-rinks), commonly called the voice box; the terminology difference is addressed in Chapter 6]; • "squeeze" on your lungs to "pressurize" the air therein, so that the air streams up between your vocal folds to set them into the complex ripple-wave motions that are called vocal fold vibrations; • produce many subtle coordinations in your larynx, which result in the creation of sound waves that transmit
sound waves; those effects also contribute to your voice's overall sound quality, and also creates the sound qualities that are called vowels and consonants (words). If you learn the fundamental skills of expressive sing ing and speaking, then you can have your vocal destiny in your hands. Learning them begins with what your voice feels and sounds like when you speak and sing with physical
and acoustic efficiency. You come as close as you humanly can to: • using only the muscles that are necessary, and re leasing those that are unnecessary; • using the necessary muscles with only the appropri ate amount of energy-not too-much and not too little—for
the vocal task at hand; and • optimally releasing your vocal sound waves through your vocal tract.
How do you do that? How do you help other people learn how to do that? That is where Book II begins. Chapter 1-What Sounds Are Made Of Chapter 2-What Resonance Is Chapter 3-What Vocal Sounds are Made Of
Chapter 4-The Most Fundamental Voice Skill Chapter 5-Creating Breathflow for Skilled Speaking and Sing ing Chapter 6-What Your Larynx Is Made of
Chapter 7-What your Larynx Does When Vocal Sounds
Are Created Chapter 8-How Pitches Are Sustained and Changed in Speak ing and Singing Chapter 9-How Sound Volumes Are Sustained and Changed in Speaking and Singing
Chapter 10-How Your Larynx Contributes to Basic Voice
Qualities
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Chapter 11-The Voice Qualities that Are Referred to as 'Vo cal Registers' Chapter 12-How Your Vocal Tract Contributes to Basic Voice
Qualities Chapter 13-Vocal Tract Shaping and the Voice Qualities that Are Referred to as 'Vowels' Chapter 14-Consonant Clarity Without Vocal Interference Chapter 15-Vocal Efficiency and Vocal Conditioning
Chapter 16-Singing Various Musical Genres with Stylistic Authenticity: Vocal Efficiency Vocal Conditioning, and Voice
Qualities
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chapter 1 what sounds are made of Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
killed speakers are interesting to listen to because they
vocal sounds (introduced in Chapter 2). You then can be in the driver's seat when you study the most efficient ways to ume, their voice quality, and the timing-pacing-paus coordinate your larynx, vocal tract, breathing, and all of the ing aspects of speech. Singers do, too. In fact, all expressive parts of you that produce skilled, expressive singing and speaking and singing skills are brought into existence by interesting speech; and you can help other people do the the individual voices of unique human selves. In 1966, same. Robert Shaw, the world renowned choral conductor, face Sound occurs when an object shakes back and forth tiously said to his Cleveland Orchestra Chorus that singing very fast; it has to be made of materials with certain charac is simple. All you have to do is sing the right pitch, at the teristics and it has to be surrounded by air. The fast shak right time, at the right dynamic level, with the right diction, ing is called vibration. For instance, the force of one piano
S
expressively vary their vocal pitch, their sound vol
the right tone color, the right style, and the right vocal pro duction (Shaw, 1964; Personal rehearsal notes, R. Shaw, Cleveland Orchestra Chorus, 1966).
Do this: Go to a piano. Open its cover so you can see the strings and the mechanism that creates the piano's pitches. Press and hold down the key that produces the pitch C2 (two octaves below middle C). When you do that, you can see the keyboard's mechanism push a hammer against a string, which immediately bounces back. The pitch continues to sound for some seconds before it gradually softens into silence. Press the C2 key again and touch the struck string while the pitch is sounding. Feel what the string is doing?
When you appreciate how sounds are started, trans mitted, changed, and perceived by bodyminds, you then
can more richly appreciate how you create and "shape" your
hammer's impact causes a whole string to vibrate. Imagine the hammer hitting the string in slow motion.
At first, the string moves away from its at-rest location be
cause of the hammer's force. But then its elastic characteris tics slow it down and cause it to reverse its direction. Its moving inertia causes it to pass back through its former atrest location and it then reaches its limit of compliance in that direction. Its elasticity reverses its direction again. Unless
these vibratory movements are damped or stopped, they
will continue to repeat themselves for quite a number of
seconds. But in order for you to hear the sound made by a vi brating string, something about the vibrations has to be transmitted to your ears. What transmits the "something", and how does it get there? Air molecules surround that piano string. Air mol ecules are both compliant and elastic. That means they can be compressed even more than atmospheric pressure has what
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compressed them. When they are compressed more than atmospheric pressure, they are more compacted and dense, and are said to be under higher pressure. When air mol ecules are under less than atmospheric pressure, they are less compacted and less dense, and are said to be under lower pressure. Before the piano string was struck, the air molecules that surrounded it were in their random atmospheric pres sure state. The first movement of the string after being struck
When the sound waves caused by the piano's vibrating string reached your ears, the alternating high pressure-low
caused a microscopically small "sliver" of air molecules to
nerve impulses that traveled to various parts of your brain for "interpretation" (see Figure II-1-2). In order to be per
be compressed. The compressed sliver of air molecules then "sprang back" and expanded larger than their former
pressure sound waves impacted on your ear drums and caused them to vibrate in a way that "mirrored" the pres sure characteristics of the sound waves. That ear drum motion, in turn, caused the vibration of a series of con
nected tiny bones in your ears, which caused the fluid in
the cochlea within each of your ears to vibrate. Each co chlea then transduced that complex vibratory motion into
atmospheric pressure state. When the lower-pressure sliver
ceived as sound, vibrating objects must shake at least 20 times per second. Human auditory systems can only hear
of air molecules expanded, they pressed into another sliver
pitches up to about 20,000 vibrations per second.
of air molecules and compressed them, then those molecules
expanded to compress another sliver, and so on. Can you conceive of chain reaction waves of compressed-then-expanded air molecules radiating away from the string?
Chain-reaction, wavelike motions in air molecules are called sound pressure waves, or the shorter expression, sound waves. If you could see them, they would resemble the waves created in a still pool of water when a pebble is dropped into it (see Figure II-l-l). Sound waves radiate away from an original vibrating source, through the sur rounding air molecules, at the speed of sound, which is about 1,130 feet per second at sea level. An object that continues its vibratory motion produces
a new sound wave every time it moves back and forth.
Do this: Press the same piano key as before but with minimal force. Yes, the force with which the hammer hits the string also is minimal. How would you describe the sound volume level?
Minimal striking force on the string means that the back-and-forth distance traveled by the vibrating string also is minimal. A string that vibrates with smaller-distance vibratory motion is said to have less amplitude. The string's smaller amplitude created lower air pressure in each sound wave. The lower sound wave pressures caused minimal motion of your ear drum and inner ear mechanisms, and
the resulting nerve impulses sent to your cerebral cortex led
Figure ll-1-1: Two illustrations of sound waves: (A) is an illustration of concentric waves of compression and rarefaction away from a vibrating object with no barriers to alter it. (B) is an illustration of simple sound pressure changes in air molecules in response to a simple vibrating object, and of the waveform produced by a sound analysis machine. [A is from Daniloff,
Schuckers, & Feth, The Physiology ofSpeech and Hearing, Copyright © 1980 by Allyn & Bacon. Reprinted by permission. B is reprinted from Skinner & Shelton, Speech, Language and
Hearing, Copyright© 1978 by the authors. Used with permission.]
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you to a "soft" or "low sound volume" interpretation. Softer
degree of amplitude in a vibrating object and the amount
sounds are said to have less intensity than louder sounds-
of pressure intensity in the resulting sound waves. When
a reference to the lesser degree of air pressure in the sound waves.
sound wave pressures are increased beyond their original levels, we say that the sound has been amplified.
Noise and Tone Do this: Now, press the piano key with strong force. When you do that, the force with which the hammer hits the string is much greater compared to a minimalforce. How would you label that sound volume level?
A strong hammer force striking the string means that
it is set into vibration with a sharp, abrupt force, and the distance it travels during vibration is greater. A string that vibrates with larger vibratory motion will have a greater
amplitude. The string's abrupt movement and greater am plitude created a higher amount of air pressure in the sound waves. The higher sound wave pressures caused greater motion of your ear drum and inner ear mechanisms, and that resulted in more nerve impulses per second being sent to your cerebral cortex. All of these events lead to the inter pretation of "loud sound" or "high sound volume." Louder sounds are said to have more intensity than softer soundsa reference to the greater degree of air pressure in the sound waves. Your perception of sound volume is based on the
Figure II-1-2:
The sound chain. [From Denes & Pinson, The Speech Chain.
Do this: Locate a party noisemaker and make noise with it (or remember the last time you made noise with one). With some noise makers, you turn a dial and stiffplasticflaps are rapidly driven against a small metal rod. With others, you blow through a mouthpiece and tiny plastic or metal tines of various sizes vibrate rapidly to make the noise. Did the noisemaker sounds have a pitch that you could match with a piano or your voice? Some of the blown party horns do make pitches, but they don't apply for this experience-only noisemakers.
Noise is sound that results when objects vibrate in chaotic, irregular, unpatterned motions. When visually rep resented, the vibratory pattern of a noisemaking object shows its conflicting irregularities (see Figure II-1-3).
Do this: Locate a metal tuning fork (or remember a time you used one). Tweak the two tines with your fingers or tap them on a hard surface. Hear the sound? Does it produce a pitch that you can find on a piano or sing with your voice?
Copyright ©, 1963, American Telephone and Telegraph Company.
Reprinted by
permission.]
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Tone is sound that results when objects vibrate in regularly timed, patterned, or harmonic motions. When vi sually represented, the vibratory pattern of a tone-making object shows its patterned regularities (see Figures II-1 and 4). Two general types of tonal vibratory motion occur, depending on how the vibrating objects are constructed: simple harmonic vibratory motion, and complex harmonic vibratory motion. Simple Harmonic Vibratory Motion Simple harmonic motion can be compared to "swing
ing" a child on a "swing" at a playground. The swing moves back and forth as a single uncomplicated physical unit, and in a regularly timed pattern (as long as you keep pushing).
A tuning fork vibrates like that, too (see Figure II-1-4).
If one tine of a tuning fork had a stylus attached to it so that it could make ink marks on paper, and if paper were moved at a steady rate underneath the stylus while the tine was vibrating, then it would draw a simple, predictable, wave design as illustrated below. The earliest ways of studying
the vibrational aspects of sound used similar recording and display equipment. With proportionately larger paper and
movement, and the reversed inertia causes it to move back through its former at-rest location to an opposite-side dis placement. The cycle is completed when elasticity again sends the tine back through its original at-rest location (Figure II-1-4).
Tuning forks are constructed to always vibrate a spe cific number of cycles per second so that they can be used to tune musical instruments reliably. A tuning fork that is made to produce 440 vibratory cycles per second will pro duce what we perceive as the pitch A4 (the A above a keyboard's middle C). That pitch also can be referred to as A-440, because the tuning fork produces a fundamental fre quency of 440 cycles per second. Scientists abbreviate the term fundamental frequency with the symbol F0. Scien tists also use an abbreviated label for cycles per secondHertz-named after a 19th century physicist, Heinrich Hertz. His name is abbreviated as Hz, so that the A-440 tuning fork also can be said to produce a F0 of 440-Hz. Complex Harmonic Vibratory Motion While tuning fork tines vibrate in a simple back-and-
cally, one vibratory cycle begins when a force displaces a tine away from its at-rest location (tapping the tine on a
forth motion, vocal folds and nearly all musical instruments vibrate in complex harmonic motion. That makes their sounds much more interesting to bodyminds; there are many more possible interpretations. So, what are complex sounds "made of?" Complex vibrating objects move in many regular, pe
table). The tine's strong elastic properties quickly reverse its
riodic, or nearly-periodic ways. They may be thought of as
a machine to move the paper in the appropriate direction, a moving child's swing would create a similar pattern.
Each complete tine vibration is one cycle.
Specifi
Figure II1-3: Recorded sound waveform of noise, produced by chaotic motions of a vibrating object. [From Daniloff, Schuckers, & Feth, The Physiology ofSpeech and Hearing. Copyright
© 1980 by Allyn & Bacon. Reprinted by permission.]
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Figure II-1-4: A tuning fork recording its simple harmonic motion waveform. [From Vennard, Singing: The Mechanism and Technic. Copyright © 1968 by Carl Fischer, Inc., New York. Used by permission.]
generating multiple simple sound waves simultaneously. For
ous areas in the brainstem which then distributes them to
example, when you previously pressed the C2 piano key and its string vibrated at 65 cycles per second (65-Hz), the string also vibrated in sections of itself. Over 3,000 years ago, the Greek scientist Pythagoras discovered that strings do not just vibrate as whole strings; they also vibrate in sections of themselves. He discovered that they vibrate in halves, thirds, fourths, fifths, sixths, sevenths, and so oncomplex tonal vibratory motion. He found that the two
many areas of the brain for further processing and inter
halves of a string vibrate twice as many times as the whole
preting (see Book I, Chapter 6 for details). When a string is vibrating as a whole and in sections of itself-producing overtone frequencies-how is it that you
only hear one pitch instead of several? Answer: The am plitudes of the string's sections are not great enough to pro duce sound pressure levels that will generate auditory sys tem signals that will reach the threshold of conscious audi tory perception. In other words, your brain will not "inter
string. The three thirds of the string vibrate three times for every one whole-string vibration, and the four fourths of
pret" overtone frequencies as discrete, consciously heard
the string vibrate four times for every whole-string vibra tion, and so forth. The whole-string vibration produced the fundamen
produce enough sound pressure to generate conscious in terpretation of a discrete pitch. But wait! When you strike a piano string, your ears
tal frequency (F0) and its amplitude-intensity. Vibrations that result from sections of a whole string produce the com ponent frequencies of a tone or a tone's harmonics. Com monly, a complex tone's harmonics are referred to as over tones (tones sounding "over" the fundamental). The first harmonic above a fundamental frequency also is its first overtone and so on. Partials is a term used to talk about all the "parts" of a complex tone (see Figure II-1-5). The first partial, therefore, is the fundamental frequency itself; the second partial is the first overtone, and so on. In other words, if the fundamental frequency of the whole piano string in those three Do this experiences was 65-Hz (C2), then the first overtone was 65-Hz times 2 = 130-Hz (C3). The second overtone was 65-Hz X 3 = 195 Hz (G3), and the third overtone was 65-Hz X 4 = 260-Hz (C ), and so on. So, objects that vibrate in complex periodic or nearlyperiodic ways produce multiple pressure patterns in the surrounding air molecules which then radiate away from
do pick up all the subtle pressure variations produced by the string's sections, and your ears do "report" them to your brain's auditory interpretation areas. Even though you con
the vibratory source. The pressure patterns have varied or complex frequency and intensity characteristics. When those characteristics are measured by scientific instruments, they produce what is called a spectrum of frequencies/intensities. When sound waves impact on ear drums, the ear drums begin to vibrate in a pattern that reflects all of the frequency/ intensity characteristics of the radiating sound waves. In ner ears, then, transduce that mechanical motion into pat terns of nerve impulses in the right and left auditory nerves. The auditory nerves transmit the patterned signals to vari
pitches. Only the amplitude of the whole string (the F0) can
sciously heard only one pitch, your brain used all of the partials of the tone to form a whole-pattern interpretation of the timbre or sound quality or tone quality of the per
ceived sound-what a tone "sounds like" The perceived quality
of a tone can be changed by (1) changing the sound pres-
Figure II-1-5: The harmonic (overtone) and the partial series. The fundamental frequency
(F0) is C2 (about 65-Hz). [From Vennard, Singing: The Mechanism and Technic. Copyright ©
1968 by Carl Fischer, Inc., New York. Used by permission.]
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sure levels ("volume") of some of the tone's partials so that they are received more prominently or less prominently by ears and brains, (2) adding or subtracting overtones from
the sound's spectrum of frequencies. Sound spectrum refers to: 1. all the vibrational frequencies generated by a com plex tonal vibrating source (fundamental frequency and all overtones); and 2. the respective amplitudes-intensities of each fre quency (see Figure II-1-6). A radiating sound wave can cause the ear drums of listeners-or a microphone-to vibrate in a "mirror image" of all of its pressure wave patterns. Voice scientists use elec tronic machines that can respond to the variable pressure characteristics of sound waves to record and measure them, and then create visual displays of sound wave spectra. Spec trograms and sonograms are two ways to observe sound spectra visually.
Summary Sound occurs because material objects vibrate and thus create moving chain reaction waves of high-low pres sure within air molecules. The sound pressure waves mir ror the vibrational characteristics of the original vibrating source. An object that creates a simple tone vibrates only as a whole unit, and not in sections of itself. It only creates, therefore, a fundamental frequency (F0) in the resulting sound waves, but no component frequencies (harmonics or overtones).
Figure II-1-6: Illustration of a sound spectrum—a complex periodic tone produced by a voice. The first vertical line represents the fundamental frequency and all the others represent the succession of overtone frequencies above the fundamental. [Reprinted from
Titze, (1994), Principles of Voice Production, Allyn & Bacon. Used with permission.]
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The greater the force applied to an object to initiate
vibration, the greater the distance it will travel as it vibrates (amplitude). The greater the amplitude of vibration, the greater the amount of pressure will be created in the sound waves that travel away from the source (amplitude-inten sity). The amplitude-intensity of the sound waves decay over time as they encounter inhibiting forces that diminish their vibratory excursions. An object that creates a complex tone vibrates both as
a whole unit and in sections of itself. It produces, therefore, a F0 and overtones in the resulting sound waves (sound spectra). The perceived pitch and the quality or timbre of a tone is based on the bodymind's whole-pattern "interpre tation" of the tone's sound spectrum characteristics. Differ ent complex objects that are sustaining the same vibratory frequency will have different spectrum characteristics be
cause the amplitude of their various partials will differ. Listening bodyminds will perceive those differences, and process and interpret them as unique tone qualities. For instance, the more a vibrating object produces a sound spec trum with prominent high-frequency partials, bodyminds tend to describe a brighter or brassier sound quality. When a vibrating object does not produce prominent high-frequency partials, bodyminds tend to describe a more mellow or flutier sound quality.
For Those Who Want to Know More... The science of sound is called acoustic physics. Sound occurs when any object sharply disturbs the inertia of a solid or the density (pressure) of a gas or liquid. For in stance, increased pressure in gasses above a current pres sure state is called condensation. Decreased pressure be low a current state is called rarefaction. In air molecules, radiating waves of condensation (positive pressure) and rarefaction (negative pressure) above 20 per second are called sound pressure waves. Air is the most common medium for the propagation of sound waves through space and time. Psychoacoustics is the study of the perception, cat egorical processing, and interpretation of sound by human beings. Acoustic energy received by the auditory mecha nism is not necessarily the same as what a bodymind will
"interpret" it to be.
Experiments have demonstrated, for instance, that under certain circumstances musicians will "hear" and identify three distinct pitches in a chord when
ment of its tines. The more forcefully a piano string is struck by a hammer, the greater the string's vibratory am
or alternating phenomena oscillation. Referring to sound,
plitude. Intensity refers to the amount of pressure power that a vibrating object generates into the sound waves it makes (see Figure II-1-7). As sound waves travel through the air, they encounter forces such as friction with other air mol
they also use the more common term, vibration. The num
ecules that cause the distance of their excursions ( ampli
ber of oscillations completed per second is a sound's fun
tude) to decrease as well as the pressure in the waves (inten sity). Decreases of amplitude-intensity are called damp ing and result in sound decay. Amplitude, intensity, and sound pressure level are terms that describe mathematically measurable physical phenomena. Loudness, softness, volume, and musical dynamics are words used to describe a brain's contextual interpretation of per ceived amplitude, intensity, and sound pressure level. They are two related but different groups of phenomena. The greater the amplitude of a non-enclosed oscillat ing object, the greater will be the:
only two pitches are actually sounded (Ward & Burns, 1978).
Acoustic scientists call all continuing "back and forth"
damental frequency, abbreviated as F0. What bodyminds perceive as pitch begins as the fundamental frequency of a vibrating object. Currently, the international unit of mea sure used by scientists for the number of times any event occurs per second is Hertz (abbreviated as Hz; named after Heinrich Hertz, a 19th century pioneer in electromagnetic physics). So when C2 is played on the piano, that string is said to vibrate at a F0 of 65-Hz. Frequencies above 20,000-
Hz are ultrasonic, and frequencies below about 20-Hz are infrasonic. Ultrasonic sounds are above the threshold of human pitch perception, and infrasonic sounds are below
the threshold of human pitch perception. Frequency of oscillation refers to mathematically measur able physical phenomena. Pitch refers to a brain's contex
tual interpretation of perceived frequency of oscillation. They are two related but different phenomena. Amplitude can refer to the spatial extent of the movement excursions of (1) an oscillating object or (2) air pressure waves. For instance, the more force that is applied to a tuning fork to initiate vibration, the greater the amplitude in the move-
• amount of pressure generated in the sound waves, • measurable spatial dimension of each high-low pres sure cycle of those sound waves, • perceived loudness by listeners, • distance the sound waves will travel away from the oscillating source. In acoustic physics, the most convenient unit of mea
sure for intensity in sound waves is tenths of Bels or decibels (dB) (the basic unit is the Bel, after Alexander Graham Bell). One dB of sound pressure is the threshold amount of pres sure that is necessary to displace the human ear drum. Con
versational speech averages about 60-dB. The scientific la bels for intensity of sound are sound intensity level (SIL) or sound pressure level (SPL). They are essentially the same. Frequency of oscillation can remain the same while the amplitude increases or decreases. Musical crescendi and diminuendi result, therefore, from changes in the ampli tude-intensity of tones (see Figure II-1-8). Objects that vibrate with repeated, regular cycles are said to vibrate in harmonic motion. Periodic cycles are always perfectly consistent, having regularly timed and
Figure II-1-7: (A) Decrease of intensity in recorded sound waves (damping and sound decay). (B) Increase of intensity in recorded sound waves. [Reprinted from Titze, Principles
spaced patterns in the vibratory motion. They produce sound wave patterns that are heard as tone. Aperiodic cycles are chaotic, having no regular time-space patterns in
of Voice Production Copyright ©1994, Allyn & Bacon. Used with permission.]
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the motion. They produce irregular, chaotic sound wave patterns that are labeled noise. Vocal sounds are nearlyperiodic. Vocal fold tissues have irregularities in their struc ture and produce oscillations that are slightly less than pe riodic. Acoustic scientists measure oscillations in repeated
Complex vibrating objects may be thought of as pro ducing several-to-many simple sound waves simultaneously, thus, complex harmonic motion results in an "averaging" of
cycles per unit of time. When a human brain interprets the pitch, volume, and
all the simultaneous simple sound waves. Sound measur ing instruments, then, will display more complex waveforms. The vibrating sources of musical instruments oscillate in complex harmonic motion, as do human vocal folds (see
timbre of sounds, the interpretation is based on the physi
Figures II-1-9 and 10).
cal properties of radiating sound pressure waves. Acoustic physicists have devised several ways to analyze and record the varied physical properties of simple and complex sound waves. The most common way is to use an instrument that transforms sound wave pressure characteristics into a math
ematical-spatial display of: (1) each oscillation frequency, and (2) the relative intensity of each frequency. One way to display the frequency and intensity char acteristics of simple and complex sound waves adds time to the frequency displayed along a horizontal axis. Using a process called Fourier transformation (after the French math ematician Joseph Fourier, 1768-1830), scientific instruments
can transform sound pressure characteristics into a math
ematical-spatial display that forms a continuous succes sion of oscillating lines called a waveform. A vibrating object that produces simple harmonic motion creates a con tinuous succession of simple curved lines called a sine wave form (see Figures II-1-1, 4, 7, and 8, for a variety of sinusoid waveforms).
Figure II-1-9:
tone.
(C) represents the sinusoidal fundamental frequency of a complex
(A) and (B) represent sinusoidal portions (overtones) of the complex tone.
Portion (B) has three times the frequency of (C), and portion (A) has five times
the frequency of portion (C).
(D) is the non-sinusoidal sum of (A), (B), and (C)
and represents the complex tone's summated waveform.
Pinson, The Speech Chain. Telegraph Company.
[From Denes &
Copyright ©, 1963, American Telephone and
Reprinted by permission.]
Figure II-1-10: The complex, nearly-periodicwaveform ofa human voice saying/ah/. [From Figure ll-1- 8: Recorded sound waves showing different amplitudes with the same frequency
Daniloff, Schuckers, & Feth, The Physiology ofSpeech and Hearing. Copyright© 1980 by
of oscillation.
Allyn & Bacon. Reprinted by permission. ]
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Another way to display the two sound wave charac teristics is on a two-dimensional scale that was invented by the 17th century philosopher-mathematician Rene Descartes. The Cartesian scale has a horizontal plane (the X-axis) and
a vertical plane (the Y-axis). Frequency is always shown on the X-axis and intensity is always plotted on the Y-axis (see Figure II-1-6). All of the frequencies and their respective intensities that are parts of sound waves are called a sound spectrum and the display of same is called a spectrogram. Sound spectrum refers to mathematically measurable physical phenomena. Tone quality, timbre, and tone color are terms used to describe a brain's contextual, whole-pattern interpretation of a perceived spectrum. They are two re lated but different groups of phenomena.
References and Selected Bibliography Askill, J. (1979). Physics of Musical Sounds. New York: Van Nostrand. Deutsch, D. (Ed.) (1982). The Psychology of Music. New York: Academic Press.
Dooling, R.J., & Hulse, S.H. (Eds.) (1989). The Comparative Psychology of Audition. Hillsdale, NJ: Erlbaum.
Dowling, W.J., & Harwood, D.L. (1986). Music Cognition.
New York: Aca
demic Press. Gulick, WL., Gescheider, G.A., & Frisina, R.D. (1989). Acoustics, Neural Encoding, and Psychoacoustics.
Hearing: Physiological
New York: Oxford University
Press. Hall, D.E. (1980). Musical Acoustics: An Introduction. Belmont, CA: Wadsworth.
Kinsler, L. & Frey, A. (1962). Fundamentals of Acoustics (2nd Ed.). New York: Wiley
Morse, PM. (1947). Vibration and Sound. New York: McGraw-Hill.
Roederer, J.G. (1975). Introduction to the Physics and Psychophysics of Music (2nd Ed.). New York: Springer-Verlag.
Rossing, T.D. (1990). The Science of Sound (2nd Ed.). Redding, MA: Addison-
Wesley. Shaw, R. (1964).
Letter to members of the Cleveland Orchestra Chorus.
October 22, 1964.
Wagner, M.J. (1994).
Introductory Musical Acoustics (3rd Ed.).
Raleigh, NC:
Contemporary Publishing.
Ward, W.D., & Burns, E.M. (1978). Singing without auditory feedback. Jour
nal of Research in Singing, 1, 24-44.
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chapter 2 what resonance is Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
nglish speaking people use the terms resonance or
by the bottle's rim and at least half of the air molecules resonation in several ways. For example, an ev were forced into the bottle. Those moving air molecules eryday, colloquial use would be: "What you said is compressed the molecules that were already there. They, in in resonance with my thinking"-a metaphoric use of the turn, reacted by expanding and pushing outward, but they term. were deflected by the bottle's walls and thus set into con densation-rarefaction patterns (high pressure-low pressure A musical use would be: "He has a very resonant voice" In this context, resonant usually refers to a tone quality in sound waves). The fundamental waving frequency that you which the lower partials have been noticeably amplified. heard was determined by the bottle's fixed dimensions. Ev ery time you blew air over that container's opening, the This use of the term can be confusing and even inaccurate.
E
Every vocal sound a person makes is resonant in the sense that resonance always occurs during speaking and singing.
Do this: (1) Find a common bottle-glass or plastic-a fruit juice bottle, for instance. When you blow air over the bottle in just the right spot and with enough force, you will hear a sustained pitch as long as you continue blowing air. Can you change the pitch that you and the bottle make? (2) Fill the bottle halffall with water. Blow over the bottle's top again. Is the pitch the same as before? Pour out half of the water and blow over the top again.
The bottle has enclosed dimensions-length and rounded width. It is open at one end and closed at the other, and air is inside it. When you forcefully blow air molecules across the bottle, the airstream was abruptly split
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sound waves generated a fundamental frequency that was always the same because the bottle's fixed dimensions al ways made sound waves of the same pressure pattern. In other words, the bottle forced the air molecules within it into a repeated pattern of high-pressure to low-pressure oscillation, thus, the same perceived pitch and sound qual ity.
That frequency is called the bottle's resonance fre quency. Tapping a glass bottle also will produce the same effect on its interior air molecules. In fact, all "containers" have a resonance frequency. The resonance frequency of larger containers will be lower than containers that are smaller, and vice versa. The only way to change the reso nance frequency of a rigid container would be to change the dimensions of its interior area by partly filling it with water, for example.
3. there is an amplification or strengthening of the
Do this: Use the same bottle as before, but this time place its top just outside your lower lip. Sigh-glide your voice on an easy /ah/ vowel, beginning with a "high-ish" sound and sliding slowly downward to a "low-ish" sound. Listen closely for subtle changes in the sound that you hear. Do it several times if necessary. Hear any changes?
What happens when a complex harmonic tone enters
the open end of a container that is closed at the other end? The sound waves that enter the container from outside, ra diate into the air molecules that are located inside the container's fixed borders. How does the container's fixed resonance frequency treat "outsider" frequencies? Well, the container will "like" some outside vibration
frequencies more than others. As the outside sound's fun damental frequency gradually gets closer to the container's resonance frequency, there will be a gradual amplification of the outsider sound's F0. In other words, there will be an
increase in the pressure intensity of the outside fundamen tal frequency, and it will be perceived as having more sound volume. When the outsider sound's F0 is the same as the container's resonance frequency, the following events occur [These descriptions are simplified in order to stay focused on voice acoustics. The acoustics of containers that have one closed end are different from those that have two or more open ends.]: 1. the dimensions of the outsider sound waves match the dimensions of the container; 2. the amount of pressure in the outside sound waves' fundamental frequency is boosted;
outsider sound's fundamental frequency; and
4. you perceive more sound volume.
Do this: Touch the tip of one of your index fingers to its own opposing thumb-tip. See a kind of circle? Curve your other three fingers alongside your index finger. Now slide your index finger down the fingerprint side of your thumb, bringing your other fingers along, until all four of your fingertips touch the heel of your hand. They should form a kind of tube that you can look through from the thumb end to the pinky-finger end. Now, sustain a comfortable pitch with your voice, and while doing so, move the thumb end of your hand tube to your lips. Press your hand onto your lips to make a "seal" between them. Notice a change in the sound of your voice?
When "outsider" sound waves pass into or through
containers, all or some of their sound spectrum character istics will be altered due to various restrictions imposed by
the size, shape, and wall density of the containers. Some partials of those sound waves may pass into or through a container unchanged. Some may be amplified by a con tainer, that is, their sound pressure levels will be increased, strengthened, or reinforced because of the characteristics of the container (the cheerleader's megaphone, for example). On the other hand, some partials of the sound waves may be damped, that is, their intensity may be reduced, weak ened, dissipated, or absorbed because of the characteristics of a container-a car muffler for example.
Figure II-2-1: Simple schematic illustration of the resonance effect of an open-ended tube on sound waves that are introduced into one of its ends. The resonancefrequency of thetube changes the pressure characteristics of the original sound wave. [Reprinted from Daniloff, Schuckers, & Feth, The Physiology ofSpeech and Hearing, Copyright© 1980, Allyn & Bacon.
Used with permission.]
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When outside sound waves are generated at one end of a container and pass into or through it, the container
to a vibrating object. Suppose a metal string was attached over the top of a violin "box," and another absolutely iden
then can be called a resonator. So, partials in "outside" sounds may be made stronger or weaker by the nature of any resonating space that they pass through (see Figure II2-1). How does that happen? Remember the effect of swing
tical string was attached over a 'cello box. Even though the strings play the exact same pitch, the perceived sound qual ity would be different. Simply put, the smaller violin box
ing a child on a playground swing? If the child in the swing asks to be swung very "high" (more amplitude) you can either apply great physical force to the initial "swings," or you can achieve the same effect this way: Each time the child swings back to you, if you time your pushes to begin at the exact moment the swing begins to go forward again, each gentle push will boost (amplify) the distance traveled by the swing, and the child will gradually swing higher with each push. If you mis-time and push before or some what after the peak of the swing, the excursion of the swing will be stifled to some degree.
That's kind of what happens to "outsider" generated sound waves when they pass into the air inside containers. If there is a match of spatial dimension between the outside sound's frequency spectrum and the container's dimensions (resonance frequency), then the sound pressure levels of the fundamental frequency and other partials in the outside sound waves will be increased (swing higher), thus more sound volume will be perceived. If there is a mismatch be tween the dimensions of the outside sound spectrum and the container, then the sound pressure levels of partials in the outside sound waves will not be increased, and in some cases, stifled (damped).
would amplify higher partials more than lower ones, and the 'cello box would amplify lower partials more than higher ones. You might describe the "violin sound" as "higher" or "brighter" compared to the "lower" or "darker" tone qualities
that were influenced by the 'cello box. Anytime the sound pressure levels ("volume") of a complex tone's partials are changed, you will hear a change in the tonal quality. If the changes are minimal, then there will be minimal change in the perceived tonal quality. If the changes are significant, then there will be significant change in the perceived tonal quality. Different musical instruments create unique sound
qualities because: 1. the vibratory source of each instrument has unique
physical characteristics (producing unique complex sound waves in the air molecules that immediately surround it); and
Do this: Close your eyes and use your "inner hearing" (audi tory memory) to imagine a flute playing the melody of a short song. Then, taking your time, imagine-each in turn-a violin, oboe, and French horn, playing that same melody in the same key Did they all "sound the same?" How were you able to distinguish between each of the instruments? Yes, the fundamental frequencies are the same, but their sound qualities are noticeably different.
The sound pressure levels (sound volume) of over
tones can be amplified (increased), damped (decreased), or not changed at all by any structure that is in near proximity
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Figure II-2-2: amplitude-intensity levels of fundamental frequencies and overtones of a
tuning fork and five musical instruments playing the concert tuning pitch A4 or 440-Hz.
[From Vennard, Singing: The Mechanism and Technic. Copyright © 1968 by Carl Fischer,
Inc., New York. Used by permission.]
2. each instrument that is attached to the vibratory
1. the vibratory reaction of any material object to the
source has unique material and dimensional characteris tics that have unique resonance effects on the sound spec trum that is generated by the vibratory source. Those are the reasons why the sound qualities of a tuning fork, flute, violin, oboe, and French horn will be
impact of sound pressure waves upon it (a piano's wooden sounding board), and any transfer of those vibrations to adjacent objects (objects sitting on the piano); and 2. any circumstance that alters the sound pressure levels of a sound wave's partials, such as shouting into a mega phone (increases the sound pressure levels in most partials of a voice's spectrum, the higher partials most of all, thus the shouting is perceived as louder).
different when they each are playing A-440 (see Figure II-2-
2). The tuning fork produces a simple tone, that is, a fun
damental frequency with no overtones in its spectrum. Be cause of this, it sounds comparatively plain, dull, "color less," and uninteresting to listeners. The musical instruments, however, produce complex tones. An oboe is often de scribed as having a somewhat "reedy," "edgy" or "piercing" quality. Look at its spectrum. The 4th, 5th and 6th over tones (A6, C#7, E7), and then overtones 9 through 11 (B8, C9,
D9) have even greater amplitude than the fundamental frequency. Together, those overtone frequencies produce "pitch clusters" that are perceived and described as the char acteristic "reedy" tone quality of an oboe. In the flute spectrum, the second partial has compara tively more amplitude than any other partial, including the fundamental. Why are flutes described as sounding very "high" and "light" in quality? Look at its spectrum. There
are no amplified pitch clusters.
For Those Who Want to Know More... The English word resonance is from Latin and French
(Latin: resonare; French: resonnance = to sound again or re sound). Although it may have several colloquial meanings, its root reference is to a transfer of original vibratory events in one material to other materials, or to an alteration of oscillatory events. Resonance is a re-vibrating, resounding, or echoing. So, when a physical object begins vibrating
The resonance effects of containers on sound waves
that pass through them are determined by: 1. Size (length, width): The smaller a container's di mensions, the higher its resonance frequency will be. When complex tones are introduced into a smaller container, it will amplify the higher overtone frequencies within sound
spectra of the "outside" tones. The larger the container, the lower its resonance frequency will be. When complex tones are introduced into a larger container, it will amplify the lower overtone frequencies within sound spectra of the "out
side" tones. 2. Shape (configuration, contour): A cone-shaped, megaphone-like container with a vibrating source at the smaller end will amplify higher frequencies. A cone-shaped container with a vibrating source at the larger end (similar
to a voice shaping the vowel /oo/) will amplify lower fre quencies within sound spectra. 3. Degree of density in materials which constitute a con tainer: Harder, more dense surfaces will amplify higher fre quencies and reflect higher sound spectra frequencies more efficiently than lower frequencies. As a general rule, softer, less dense surfaces will absorb higher frequencies within sound spectra more efficiently than lower frequencies (cur tains in rooms and clothes on people, for instance).
(such as a piano string), and any nearby gas, liquid, or solid
responds to it by vibrating, "re-sonance" has occurred. So, resonation is any reaction of physical materials to an original vibrating physical object. For instance, a piano string is set into vibration by the force of a hammer, caus ing the surrounding air molecules to move in ways that "mirror" the vibratory characteristics of the string. Air mol ecules are the most common materials in which resonance occurs. Resonance can refer to such circumstances as: what
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References and Selected Bibliography Askill, J. (1979). Physics of Musical Sounds. New York: Van Nostrand. Deutsch, D. (1982). The Psychology of Music. New York: Academic Press. Hall, D.E. (1980). Musical Acoustics: An Introduction. Belmont, CA: Wadsworth.
Kinsler, L & Frey, A. 1962). Fundamentals of Acoustics (2nd Ed.). New York: Wiley.
Morse, P.M. (1947). Vibration and Sound. New York: McGraw-Hill. Rossing, T.D. (1982). The Science of Sound. Redding, MA: Addison-Wesley.
Wagner, MJ. (1994).
Introductory Musical Acoustics (3rd Ed.).
Contemporary Publishing.
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Raleigh, NC:
chapter 3 what vocal sounds are made of Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
iano strings are made of metal.
P
Your vocal
folds are made of living tissues. Piano strings are set into vibration by impact forces. Your vocal
surface produces irregular or chaotic high and low pres sure changes in the flowing air. The flag's surface, then, follows a chaotic rippling pattern. Anything that is rippling
folds are set into vibration by the response of their tissues has moving high points followed by moving low points, to the force of pressurized air that is flowing between them. followed by high points, and so on. When you make vocal While your voice produces all of the complex tonal charac sounds, the outer tissue layers of your vocal folds ripple in teristics described in Chapters 1 and 2, the physical pro a way that is sort of like two flags that are beside each other, cesses by which it does so are substantially different from and the wind is only blowing between the flags. Unlike the any type of string. chaotic ripples of a flag, vocal fold ripples are more cyclic, that is, they ripple with a much more regular pattern (nearly
Creating Vocal Tone To initiate vocal sound, you breathe air into your lungs,
close your vocal folds, and compress your lungs to pres
surize the air in them. When the degree of vocal fold clo sure, and the pressure of the air underneath them, reach a certain relationship, your lung-air begins to flow out be tween your two vocal folds. The pressurized airflow in duces the surface tissue layers on both of your vocal folds
into very rapid, complex, ripple-wave motions. The ripple wave motions are referred to as vocal fold vibrations. These vibrations are the originating source for vocal tone (Chap ters 5 through 7 have details). A vibrating string is the tone production source for a piano tone. Ripple-wave motions of the vocal folds are the tone production source for voices. When a flag or a ribbon strand is rippling in a strong
periodic) and they can be much faster. They produce com plex harmonic motion and tone, not chaotic motion and noise. The number of times your vocal folds ripple-wave per second is what produces the perceived pitches of your voice. Vocal pitch is changed by coordinations of your larynx muscles that change the length, thickness, and taut ness of both of your vocal folds (in relation to the degree of air pressure underneath them). When your two vocal folds
are in good health, their length, thickness, and tautness are all changed at the same time so that both vocal folds are rip pling at the same rate. The longer, thinner, and more taut they are, the more frequently they ripple-wave. That pro duces a perception of higher pitches. The shorter, thicker,
and more lax they are, the less frequently they ripple, and that produces a perception of lower pitches. Pitch accuracy in singing involves, therefore, interrelated adjustments be
wind, for instance, the force of the wind along the flexible what
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tween the amount of air pressure underneath your vocal
your lungs and preparing for the next collision. When you
folds and somewhat precise larynx muscle coordinations (Chapter 7 has details). During speech, the lengths and rippling rates of your
are sustaining C4, therefore, your vocal folds collide and open 260 times per second. Every 260th of a second, there fore, the collisions create a new sound wave in the air mol ecules. In order to speak or sing loudly, your vocal folds must be closed strongly into one another. That requires
vocal folds are in continual flux and your pitch inflections are perceived as pitch-sliding patterns. When you learned to sing, you learned how to stabilize the length, thickness, and tautness of your vocal folds at various precise "set tings" in order to match the pitches of the song melodies that you sang (Chapter 7 has details). When C4 is sung, for instance, the length of your vocal folds must be precisely
adjusted so that they ripple-wave at a F0 of about 260 times per second.
When they are healthy, your two vocal folds ripple at
the same rate during speech and song. If viewed in video taped slow motion, you would see that your vocal folds have closed and are ripple-waving in response to outward breathflow. Vocal fold ripple-waving motion is a bottomto-top succession of wavy ridge-to-valley-to-ridge-to-val-
ley undulations (imagine the flag waving in a wind).
If
your vocal folds are closed completely, then every time two
simultaneous ripple-valleys move over your vocal fold sur faces, the fleshy parts of your vocal folds open slightly. Then
the folds snap shut again as the two ripple-ridges move over your vocal fold surfaces. As long as your lung-air is flow ing, so do the ripples. When the two ridges move through, your vocal fold tissues collide into one another. Each collision creates a "shock wave" that travels through the air molecules that are located in your throat and mouth. The force of the colli sion compresses a small sliver of air molecules that, prior to the collision, had been "just hangin' out" at the bottom of your vocal tract (immediately above the vocal folds). Sud
more air pressure in your lungs to initiate and continue their ripple-wave motions. When that happens, the am plitude of your vocal fold ripple-waves approaches maxi mum, the impact force of the shock waves approaches maximum, and the air pressure in each sound pressure wave approaches maximum. As you speak or sing more softly,
your vocal folds are closed into one another less and less strongly, and less lung-air pressure is required for ripple waving. That means that your vocal fold amplitude is less, their shock wave collision forces are less, and there is less air pressure in your voice's sound waves (Chapter 9 has details). The complex wave motion of your vocal folds intro duces sound spectra into the air molecules in your throat and mouth, that is, fundamental frequencies and overtone frequencies with their various pressure intensities (Figure II-3-1). Sound spectra that are produced by your vocal folds are referred to as voice source spectra and they are your larynx's contribution to the sound qualities that you can produce with your voice (Chapters 10 and 11 have details). Just as thicker strings produce a different sound quality compared to thinner strings, so, all other factors being equal, congenitally thicker vocal folds contribute to a thicker, more full-bodied voice quality and thinner vocal folds contribute to a lighter-thinner quality. Within these congeni tal realities, however, vocal folds can be adjusted to increase
denly, the sliver of compressed air molecules is under in
creased pressure. Because they are elastic, those compressed air molecules react by quickly expanding (lower pressure), and when they do, those on the outer edges of the sliver collide with an adjacent sliver of air molecules just above them (higher pressure again). A chain reaction sound pres sure wave (shock wave) begins that way, traveling at the speed of sound through the air molecules located in your throat and mouth (see Chapter 1 for a review).
When the valleys of your vocal fold ripples move through, your folds are releasing a tiny puff of air from
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Figure II-3-1:
A theoretical illustration of a sound spectrum produced by
the vocal folds before it travels through a vocal tract. (1994), Principles of Voice Production, Allyn & Bacon.
[Reprinted from Titze,
Used with permission.]
or decrease the lightness versus full-bodiedness of voice quality (see Chapter 10).
Vocal Resonance
are commonly called radiated spectra. The effects of your vocal tract on your voice source spectra also are accurately referred to as vocal resonation, and the vocal tract is often referred to as "resonating space" or the vocal resonator(s). The resonating effects of your vocal tract can be com
Your throat and mouth (including your lips) form a
pared to sound waves passing through a series of linked
curved tube that is open at one end (your mouth) and closed at the other, with a vibrating sound source at the closed end (your vocal folds). That tube is your vocal tract (Figure II3-2). It begins with the top of your vocal folds and extends to just outside your lips (occasionally your nose cavity joins in). The size, shape, and, to some extent, the density of the vocal tract walls can be "shaped" in a multitude of promi nent and subtle ways. How we shape the vocal tract will determine which of your voice's sound wave partials will be amplified, which damped, and which will remain un
containers, each with a different size and shape. When a tone is introduced at one end of the containers, the tone that emerges from the final opening of the last container
changed. The sound wave spectra that radiate away from your mouth during sound-making, speaking, and singing
will have the same fundamental frequency as the original
tone, but it will have a noticeably different sound quality. Each different-sized container, with different resonance fre quencies, will have amplified particular groups of partials within the voice source spectra that your rippling vocal folds originated. That means that several intensity peaks (some times called energy peaks) have been introduced into the sound spectra that radiate away from that last "container" (see Fig ure II-3-3; Chapter 2 introduces these concepts; Chapters
12 and 13 have details).
So, when your vocal tract is "shaped," it functions as though it was a series of containers, thus creating several resonance frequencies within the original spectra. When you speak and sing, you change vocal tract shapes. Each shape "forms" different resonance frequencies. When vo cal-fold-produced sound spectra travel through your vo cal tract, the overtone frequencies that are nearest those reso nance frequencies are amplified, and the sound spectra that were originally produced by your larynx are thus changed. Listeners then perceive changes in your vocal sound qual ity. When talking about voice, the sound spectra intensity peaks are not called resonance frequencies.
They are called
formant frequency regions, or the shorter term, formants. The name originated from the fact that the lowest two reso
nance frequencies in the vocal tract form the sound qualities known as vowels (Chapter 13 has details). The radiated
spectra include both larynx and vocal tract influences on what listening brains interpret as the sound qualities of your voice.
Just as larger containers amplify lower partials and smaller containers amplify higher partials, so, all other fac
tors being equal, congenitally larger vocal tracts contribute Figure II-3-2:
X-ray of the human vocal tract. [Courtesy of Frances MacCurtain
and Graham Welch.]
to the perception of fuller voice qualities and smaller vocal tracts contribute to the perception of brighter qualities. Within what
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Summary Human beings perceive the total sound spectra of
voices as having pitch, sound volume level, and tone qual ity or timbre. Tone quality changes when either the vocal folds change the way they vibrate, or when the resonating tube above the vocal folds changes its size, shape, and/or wall density.
Just as larger "boxes" that are attached to strings will amplify the strings' lower partials more and produce a com paratively fuller perceived sound quality, so larger vocal tracts will amplify the lower partials that the vibrating vo cal folds have produced, and a comparatively fuller voice quality can be perceived. And, just as smaller boxes will
amplify higher partials more, and produce a comparatively brighter perceived sound quality, so smaller vocal tracts will amplify higher partials more, and a comparatively brighter voice quality can be perceived. Habitual coordina tions of the larynx and vocal tract, learned over all the years of life, produce unique combinations of voice qualities. Those are some of the reasons why all human beings have unique "vocal signatures", that is, unique sound qualities (Book V, Chapter 3 has more details).
References and Selected Bibliography Appelman, R. (1967). The Science of Vocal Pedagogy. Bloomington, IN: Indiana University Press. Figure II-3-3: A model of how voices produce sound waves and then modify them as they radiate through a vocal tract. [From 'The Acoustics of the Singing Voice" by Johan Sundberg.
Borden, G., & Harris, K. (1980). Speech Science Primer. Baltimore: Williams and
Wilkins.
Used with permission of Gabor Kiss and Scientific American, Inc. Copyright© 1977. All rights reserved.]
Bunch, M. (1995). Dynamics of the Singing Voice (3rd Ed.). New York: Springer-
these congenital realities, however, vocal tracts can be ad justed to increase or decrease the brightness versus fullness of basic voice qualities (Chapter 12 has details). There is one resonating area that is fixed in size, shape, and density when it is in health-the nasal cavity. In most normal voicing, it completely joins the vocal tract as a reso nator only when producing the nasal consonants /m/, /n/,
Verlag.
Crelin, E.F. (1987). The Human Vocal Tract. New York: Vantage Press. Daniloff, R., Schuckers, G., & Feth, L. (1980). The Physiology of Speech and Hear
ing. Englewood Cliffs, NJ: Prentice Hall. Denes, P.B., & Pinson, E.N. (1963). The Speech Chain: The Physics and Biology of Spoken Language. Holmdel, NJ: AT&T Bell Laboratories.
Denes, P.B., & Pinson, E.N. (1993).
The Speech Chain (2nd Ed.).
New York:
or /ng/, or the nasalized vowels of other languages such as
W.H. Freeman.
the French nasal vowels (Chapters 12 and 14 have details).
Ryalls, J.H. (1996). A Basic Introduction to Speech Perception. San Diego: Singular.
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Speaks, C.E. (1992).
Introduction to Sound: Acoustics for the Hearing and Speech
Sciences. San Diego: Singular.
Sundberg, J. (1977). Acoustics of the singing voice. Scientific American, 236(3), 82-91.
Sundberg, J. (1987). The Science of the Singing Voice. San Diego: Singular Pub
lishing Group.
Titze, I.R. (1994). Principles of Voice Production. Needham Heights, MA: Allyn & Bacon. Vennard, W (1967). Singing: The Mechanism and Technic. New York: Carl Fischer.
Vennard, W., Hirano, M., & Ohala, J. (1970). Laryngeal synergy in singing.
The National Association of Teachers of Singing Bulletin, 27(1), 16-21.
Zemlin, W. (1988). Speech and Hearing Science (3rd Ed.). Englewood Cliffs, NJ: Prentice-Hall.
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chapter 4 the most fundamental voice skill Leon Thurman, Alice Pryor, Axel Theimer, Elizabeth Grefsheim, Patricia Feit, Graham Welch
ou're going to design and build an 8 feet long by 5
Y
feet wide by 3 feet high table. Earth's gravitational
Do this: Stand up. Remember a time when you were deeply tired
field will impose limitations on the design of your
and fatigued, when you were sick with a cold or flu and your nose was
stopped up, maybe your muscles ached mildly and you were a little table. If the table's legs are too close together, the tabletop's depressed. Remember how you felt then? Let your body show how you greater mass and weight are likely to cause it to topple over. In other words, if its center of gravity is too high, eating
from it might be a challenge. There is more anatomical mass-density in your upper
body than in your lower body. In Earth gravity, your body
is top-heavy, so your body's standing center of gravity is rela tively high. If you are to have a dependable, stable body balance, that high center of gravity must be accommodated.
Various areas within your body have greater mass density than others. For instance, your head, chest, and pelvis areas have more mass-density than your neck, ab
dominal, and leg areas. The relational alignment of those areas, therefore, will affect your body's center of gravity, and therefore, your balance. Body balance and body alignment are not really two
different processes, but are two aspects of equilibrium in upright standing, sitting, and movement. Even though your body may seem to be still at times, it is not. Your body continually adapts its equilibrium to your changing sur
roundings and to your changing internal states. That is the prime function of your bodymind's vestibular system, inte grated with all of the sense and movement functions of your nervous system (see Book I, Chapter 3).
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felt by standing the way you stood then. Notice your head, neck, and upper torso; your spine, your rib cage. Now, tilt the weight of your body to one foot. With your body arranged that way, sing your national anthem (or any other song you know well). Observe and remember how your body feels while you sing, and how your voice feels and sounds.
Do this: Speak the following sentences out loud and simulta neously do what they suggest:
"Your posture is not as good as it should be. You can't possibly
sing well standing like that. So, stand up straight. How many times do you have to be told to do this? Now, plant your feet firmly on the floor, shoulder-width apart. Hold your head up high like you have a lot ofpride. Remember the puppet string that pulls your head up. Circle your shoulders around three times and then keep them in the back and down position. Don't let your sternum cave in-hold your chest up in pride. Put another puppet string on your sternum to hold it up. Don't let your chin go up when you sing the high notes. Hold it in. Now, remember to squeeze your buttocks muscles to help with good posture and good breath support."
With that arrangement of your body, sing the song you sang
before. Remember how your body feels this time, and how your voice feels and sounds.
and weight sitting above a small, pointed base. Your pelvis is the base of your lowest upside-down pyramid, and when your feet are together and touching, your legs form its point.
Your upper chest-shoulders-arms form the base of the middle upside-down pyramid and your lumbar vertebrae form the What is "good posture?" How is it "good?" Can "good
point. Your head (base) and cervical vertebrae (point) form
posture" be not good? What do singers or speakers do when they are asked to "stand up straight with good posture," or "sing with your shoulders back and down?" In your own talking, singing, teaching, or conducting, is posture some
the uppermost pyramid. When standing upright, Feldenkrais suggests that your
thing you've "put" your body into, or "made" your body do? Is it something that you pay attention to only when singing is going to happen? How might efficient upright standing and movement enable expressive speaking and sing-
large amount of potential energy is stored in the topside of your body. In fact, standing still is almost impossible. Your
ing?
unstable structure and high storage of potential energy en ables fast, multidirectional movement, with comparatively minimal expenditure of neuromuscular energy. You have, of course, neuromuscular and connective structures that constrain your pyramids so that their un
Balance-Alignment of Your Body in Upright Standing, Sitting, and Movement
body's three "pyramids" function like three upside-down pen dulums. Your center of gravity is high in your body and a
body must continually use muscles to adjust its balance alignment during upright standing. Fortunately, your body's
stable potential energy is checked and a dynamic equilib
The way your body is made means that it is inherently
unbalanced and unstable. Feldenkrais (1949, p. 69) pictured your body's basic structure as being like three upside-down pyramids stacked on top of each other. All three are con nected by your double-curved spinal vertebrae. Rightside-up pyramids are widest and heaviest at their base and are extremely stable in Earth gravity. An upside down pyramid would be extremely unstable, with large mass
rium can be established in your whole body. In other words, during upright standing, sitting, and movement, various muscles in your body always will activate to continually adjust your pyramids for balance and alignment of your
body in Earth's gravity. Any movement we make involves the sequenced co ordination of many neuromuscular events. Efficient move ment that proceeds from upright standing needs a body
that is balanced and aligned in such a way that: 1. movement can be initiated with physical ease in any direction; 2. any movement can be started with very minimal prior preparatory movement; 3. the movement can be accomplished with a mini mum of necessary muscle effort. (Feldenkrais, 1949, p. 75).
As people experience life's stresses, become fatigued, get sick, and so forth, their body's innate neuromuscular
programs for efficient upright sitting, standing, and move ment tend to "devitalize" and "give in" to gravity. We then
sense a "downward pressure" in the three pyramids as we
assume what is commonly called a "slump". If the devital
ized slump state of the body occurs frequently enough, it Figure II-4-1:
A figurative drawing of Feldenkrais' three bodily pyramids.
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can become the habitual program for body balance and alignment Has your body learned an inefficient, habitual program for upright standing, sitting, or movement?
Upright Standing
Do this: Stand up. Place your feet together so their inner sides touch. Is the greatest concentration of your body's weight nearer your feet or nearer your torso area? Imagine what would happen if someone were to push you sideways on one of your shoulders. Would you be able to keep your balance without having to move yourfeet? If you have a friend or acquaintance who could do the pushing, then you can expe rience this first hand. How might you arrange your body so that the push would not force a big adjustment to regain your balance?
Do this: While standing with your feet comfortably apart and one in front of the other, shift the weight of your body onto only one of your feet. Then, just pay attention to your pelvis and rib cage as you shift your weight to the other foot. Shift back and forth several times slowly. Do your pelvis and rib cage move in response to your weight shifts? Distribute your weight evenly to both feet. How are your pelvis and rib cage related?
Yes, when you put your weight on one foot, that side of your pelvis is squeezed upward a bit, and its other side is lowered. Did you sense any counterbalancing between your
pelvis and your chest? Guess where your breathing muscles
are attached? How would they be affected by this way of balancing?
When you are standing in one place to sing or speak,
your body needs a stable balance. If your feet are together, your center of gravity will be quite high; you will be topheavy and, thus, unstable. Without stable balance, your breathing, larynx, and vocal tract muscles are at risk for unnecessary use that will interfere with skilled voicing. Your body's center of gravity needs to be "lowered" One way to do that is to separate your feet to a location that gives you that stability and is comfortable for you.
Do this: Stand up. Again, place yourfeet together so their inner sides touch. Imagine what would happen if someone were to push your shoulders backward (or your friend could do the honors). Would you be able to keep your balance without having to move your feet? How might you arrange your body so that the push would not force another big adjustment to regain your balance?
Another way to lower your body's center of gravity for a more stable balance is to place one of your separated feet forward-whichever foot "feels right" for you. Just as
you are right- or left-handed, you are right- or left-footed, too. The foot that feels right will be related to your foot preference. How far forward? Not very far, but, again, what is comfortable for you?
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Do this: Stand with your feet arranged for comfortable balance and center of gravity, and your body weight evenly distributed to both
feet. Then, notice what your abdominal and neck muscles do when you slowly shift the weight of your bodyfurther and further backward to the heels of your feet (please retain your upright standing).
If your body's center of gravity is low enough, but is
moved to the rear, your abdominal muscles will have to contract to prevent your torso from falling over backward and straining your back. Would that interfere with your breathing coordinations? Your neck muscles also will con tract, to some degree, to keep your head from falling over
backward and straining your neck. That, of course, would interfere with your larynx coordinations. You've already
figured out the principle of stable balance at work here, and what to do about it. When your weight is distributed a bit more to the front of your feet than to the back of them, your
abdominal muscles are free for breathing. Muscles that ar range your spinal column retain your body's stable upright balance. Those muscles do not interfere with breathing or voicing.
head-random and even distribution. You cannot sense the points of
Do this: Stand with your feet arranged for comfortable balance and center of gravity and your body weight distributed slightly to the front of yourfeet. Then, move your knees backward as far as possible to "lock" them. Notice what happens to the arrangement of your skeleton and how that feels. Then, "unlock" your knees and observe. Shift back and forth from locked to unlocked several times. Observe pelvis and spine sensations while you shift. Do your neck and head move? Which of those knee locations allow you more potential for move ment than the other? Does one inhibit pelvis and spine mobility for you?
attachment, so they are very comfortable. At some point, suppose that enough balloons have been attached to all of those places so that you can feel them affect your body. As the balloons are added, what's happening? As your body is relieved of the downward influence of gravity, how is your body reacting? If your feet literally start to push your body upward, you imagined too many bal loons. Remove some, so that you just notice the effect on your body alignment. What does "antigravity" feel like? With your body arranged that way, sing a phrase of a song that has some high and loud pitches in it. Take your time to select one. Sing it and remember how your voice felt and sounded.
The rearward action of knee-locking tilts your lower
pelvis backward and upper pelvis forward. Can you feel
When you sing higher pitches, if your head tilts back
how that alters the location of your spine, therefore your rib cage, therefore your shoulders, therefore your breathing muscles, therefore your neck and head? Might some people with "swayback posture" have a history of knee-locking, too?
ward to raise your jaw upward, then the thin, ribbonlike
"Soft," flexible knees, with all of the other features of ready balance, mean that normal, dynamic equilibrium can occur
in your body, and readiness for movement is possible in any direction.
Summary So Far: A body that has a high center of gravity will be top-heavy and unstable. You can lower your
center of gravity, have a more stable standing carriage, and facilitate efficient use of breathing and voicing muscles if you: 1. increase the size of your body's base-separate your feet in a way that feels right to you, with one foot a bit in front of the other; 2. vertically align your pelvis and chest-body weight evenly distributed to both feet; 3. minimize the use of abdominal and neck muscles
and increase the use of foot and leg muscles in upright stand ing to optimize balance and movement potential, that is, weight slightly more to the front of your feet than to your
heels, with soft, flexible knees.
Do this: While standing, balance your body comfortably so that mobility potential is optimum. Now, use your imagination (even the impossible becomes possible). Imagine that helium-filled balloons are being attached to your shoulders, upper chest and back, and to your
layers of external larynx muscles that attach to and overlay your larynx are stretched vertically. Did you feel that in the previous Do this? That stretch exerts a binding pressure on the two larynx cartilages that must "rock" when you are changing pitches (see Chapter 7). The binding forces your pitch-changing muscles to work harder and fatigue faster. The binding also can interfere with in-tune singing and may
increase impact and shearing forces on the surface tissues of your vocal folds.
Do this: Experiment with distributing your balloons: 1. How would the "feel" in your body change if the balloons were still randomly distributed but with 4O°/o attached to your shoulders, chest, and back, and 60% attached to your head? Do that now, and take your time. 2. How would the balance-alignment of your head change if nearly all of the balloons on your head were bunched together and at tached to your forehead? With your forehead noticeably floating up and back, sing the phrase with the high-loud notes. Notice any changes in your neck-throat area? 3. How would the balance-alignment of your head change if 80% of your head's balloons were bunched together and attached onto the crown of your head (on top, near the back)? Do that, and sing that high-loud phrase as before. Sense any changes in your neck-throat area? Any changes in the amount of sound you produced? Changes in your voice's tone quality?
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If your whole head moves forward instead of just chinup, another form of inefficiency happens. Singers who sing
with a microphone commonly do that The base of your larynx is attached to your windpipe. When your jaw moves forward, the top of your larynx is shifted forward with it. That move stretches your shortener-lengthener muscles (and
other muscles) out of their at-rest locations and forces all of them to work harder than necessary. Muscles that are stretched (passively elongated) when they are contracted work harder than muscles that are not stretched while contract ing. Both the chin-up and jaw-forward head locations will deform your vocal tract out of its at-rest, optimum configu
ration. In particular, (1) the "circumference" of the throat part of your vocal tract will be flattened, (2) the neck part of your spine will be flexed forward and the size of the back of your mouth will be reduced. That will result in loss of "full
ness" in vocal tone quality unless you compensate by using unnecessary throat muscles to balloon it open more. But
wouldn't that be inefficient voice use? (see Chapter 15)
Do this: Now for a final standing experiment. 1 Arrange your body in the way you did in the veryfirst Do this (the tired slump) and sing the phrase that had the high-loud notes in it. 2 Then, sing the phrase with your body arranged the way you did in the second Do this (stand up very straight, shoulders back and down, and so forth). 3 Finally, sing the phrase with your body balanced and your helium-filled balloons arranged for antigravity upward release. How do the different "body-feels" compare? How was breathing different? How was the feel in your neck throat area? What else was dffferent?
Upright Sitting When seated, your legs and feet no longer carry all of
the weight of your body and have much less influence over the stability of your body's balance-alignment. When sit ting with your torso away from a chair's back, most of your
body's weight will be borne by two bony extensions on the bottom of your pelvis-your "sitting bones". You can locate them by sitting on a firm-surface chair and "sitting on your fingers".
Figure II-4-2: X-ray photographs of three male countertenors singing E4 (330-Hz) on an leel vowel. Compare the configurations and dimensions of the throat (larynx and pharynx). (A) shows appropriate head-neck alignment with the hard palate horizontal and the spine vertical—an approximately 90° relationship. (B) shows the head-chin elevated as though "reaching
up for a high pitch". (C) shows the head-chin pulled in to compress the larynx. [Xeroradiographic photographs courtesy of Graham Welch and Frances MacCurtain.]
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vertebrae and your larynx, and will orient the throat part of
Do this: Sit on a firm-surface chair, perhaps one that is or could be used in a choral rehearsal room. Sit the way vocally inexperienced choir singers might sit. Sit with your buttocks on about the front 12 to 18 inches of the chair and lean your back onto the chair's back. Notice how your body is arranged and how itfeels. Cross your legs, if you like. Sing that favorite song as you did before and sense your breath ing and vocal coordinations. Then, stand up. Now sit again on about the front 12 inches of the chair. Can you feel your two "sitting bones" against the chair? Is your weight evenly distributed to both of them? Finally, attach your helium-filled balloons and let your body respond. Did the shape of the chair create a need for adjustments of your sitting bones so you could be balanced with more stability? Sing the song again and compare your breathing and voicing sensations with the other body arrangement. Which was easiest and allowed the greatest release of sound from your voice?
your vocal tract toward flattening. Those changes will force your larynx muscles to work harder than necessary and
will contribute to a reduction of fullness in your voice qual ity. C. In change 2, your alignment muscles will fatigue more quickly, leading to change 1. If that alignment is main
tained anyway, the continual contraction of your back muscles will result in reduced blood flow to them, lower back discomfort, and possible muscle spasms.
Solution?
Find a way to slope the seat of your chair so that its rear portion is higher than its front-about a 15 to 20 degree slope. That will allow your upper leg bones to be at an angle and your pelvis and spine will align themselves very near to their upright standing alignment. A seat pad with such a
sloped angle can be purchased. [See ordering information at the end of this chapter's references.] A disadvantage of seated singing is that folded legs rotate the bottom of your pelvis forward and its top is ro tated backward-even if you are seated in a chair with a seat
that is parallel to the floor and you are otherwise sitting well. If you are seated in a chair and the rear of the seat is lower than its front, then your pelvis will be rotated even farther. In both cases, one of two changes will occur in the align ment of your body: 1. your lumbar vertebrae will extend backward and eliminate its innate inward curve, while your upper spine
and shoulders will slump somewhat forward, to create a curved, C-shaped spine; 2. you will continually contract a number of your ab dominal, hip, and back muscles to hold your torso erect.
Consequences? A. Both changes will create pressure on your interver tebral discs and other connective structures of your spine, and increase the possibility of lower back discomfort or pain. B. In change 1, your rib cage will fold forward and
your abdominal contents will be pressed upward, thus seri ously inhibiting the ability of your respiratory pump to ex pand for optimal inhalation and to exert fine-tuned control of your breathflow. Your neck and head will tilt forward
but you will hold your head upward in order to see in front of you. That alignment will place pressure on your cervical
Do this: (1) Sit in a frequently used chair. Just relax in your usual way of sitting to watch TV or converse with someone. Pretend the phone rings. Use only your arm-hand to pick it up, greet the caller, and carry on an imaginary conversation. As you talk, notice your abdomi nal and neck muscles. Were your abdominal and neck muscles tense, or were they free for efficient breathing and speaking? How might your voice be affected if you talked on the phone that way a lot? (2) Tuck your "buns" (your "bottom") into the crease between the chair's seat and its back. Attach your helium-filled balloons and orient your torso very slightly forward. Now, carry on that phone conversa tion again. Difference? [Chair shapes and materials make a difference, of course.]
Summary of Effects on Voice of a Restricting Balance-Alignment of Your Body The second most fundamental skill of expressive speak ing and singing is creating a steady breathflow between your A
vocal folds so your voice can produce a steady soundflow. If your head and upper torso move forward and down to
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ward a slump, then your rib cage will collapse to some ex tent That move will reduce your air volume capacity, and
you will not have as much "leverage" in your breathing muscles to pressurize the air in your lungs and create breathflow and soundflow The forward tilt of your shoul ders and upper chest will mean that your head will have to move up in order to look forward and see those with whom you are communicating. That position of your head will scrunch your cervical spine and place pressure on the rear
side of your larynx. The muscles that overlay the front of
your larynx will be stretched so that they exert pressure on the frontside of your larynx. Those pressures will force your larynx muscles to work harder to make sound and change pitches, the upper and lower ends of your pitch range will be limited to some degree, and vocal agility will be dimin ished. Your vocal tract also will be narrowed so that opti mal resonance will be reduced and your range of expressive voice qualities will be limited. If your shoulders are held back and down, your upper
2. Next, just before you step off to walk, tilt your upper body just
a bit behind your legs. Now walk with your body-weight distributed that way, and again, observe how your body feels. 3. Then, just before you step off to walk, tilt your upper body just a bit in front of your legs. Now walk with your body-weight distrib uted that way, and again, observe how your body feels. 4. Stand up very straight and proud, chest up, shoulders back and down, and then walk and sense how your walking is affected. 5. Finally, walk in your habitual way and observe whether or not any of the sensations you felt in (2) through (4) are present in your habitual walking.
The unstable structure of your body, with its high cen
ter of gravity and high storage of potential energy, makes it possible for you to move in innumerable ways. When you move forward to walk, you can use your body's potential energy with the least necessary neuromuscular energy. If your head and upper body are balanced and aligned as
spine will be arched backward, your upper chest will be
described before, then you can allow your upper body to
held up and out, and the mobility of your lower rib cage will be reduced to support that posture of your skeleton.
incline forward and use its potential energy to start moving.
That almost removes your rib cage from use for breathing.
Almost automatically, one of your legs will lift forward to counterbalance your body's advancing center of gravity, while
The backward pull of your shoulders and upper chest will mean that your head will have to tilt forward in order to
your other leg is extended backward to direct and stabilize your forward movement. When your forward leg straight
look ahead and see those with whom you are communicat ing. That position of your head will scrunch your larynx
ens at the instant it takes your body's forward-motion weight,
and force its muscles to work harder to make sound and to change pitches, thus vocal agility will be reduced, and your uppermost pitch range will be limited to some degree. Again, the throat part of your vocal tract will be narrowed to rob your voice quality of fullness.
Upright Movement
Do this: 1. In a space that is large enough to walk around in, walk in your usual, habitual way, as though you had experienced nei ther the preceding Do this sections nor the information presented with them. While you walk, just sense how you feel throughout your bodyhow much ease or freedom and effort or tension. Now, walk and ob serve for about 20-30 seconds and then stop (do the samefor each of the following experiences).
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your upper body's potential energy is restored. The use of your upper body's potential energy for forward propulsion
means that use of leg muscles can be minimized. That move ment can seem almost effortless, compared to common ha bitual walking movement. A common reaction to the expe
rience is, "It feels like I'm floating through space about three inches above the ground" In order to walk, widely distributed sensory and neu romuscular activation is necessary, including your visual and
vestibular senses and all of your brain areas that activate locomotion. There is an orchestration of agonist-antagonist
postural and locomotion muscles as they alternately con tract and release to move your various skeletal parts (see Book I, Chapter 3). During efficient, "fluid" walking, your nec essary muscles are activated only when needed, and only with a contraction intensity that is necessary for the walking task at hand. When muscles become unnecessary to the
task, their contraction intensity approaches resting tonus lev
For instance, when picking up a book on a nearby table
els. In inefficient walking, your necessary muscles are nearly
from a seated position, many people compress their spine
always contracted with excessive intensity, and as they re lease, they can maintain some unnecessary tension. Easy,
downward as they reach forward with an arm-hand. Or, when drinking water from a glass, they extend their head
fluid, graceful movement results from an integrated unity of action involving the least necessary effort-that is efficiency.
forward and compress their neck vertebrae. Picking up the
Your vestibular system operates continually to pro vide basic body balance so that you don't fall down when standing, walking, or running, and so that you can protect
yourself when you must. For instance, if you slip on a slick surface and start to fall down, your automatic "righting" re action will activate. You will become consciously aware of what happened only after the automatic reaction has done its work. Your vestibular system's direct interconnections with the automatic functions of your brainstem provide you with a very high-speed, reflexive rebalancing reaction when your
body's balance is disturbed. The righting processes that operate in conscious awareness use your visual, auditory, and kinesthetic senses much more extensively. Various ar eas of your cerebral cortex are then involved, with visual, auditory, and somatic senses routed through the thalamus (see Book I, Chapter 6). Left/right rotation of your body on the axis of your spinal column is the gross movement that appeared earliest, required the least muscular involvement, and is still the fast est. According to Feldenkrais (1981, p. 104), "...in our upright posture the proximity of the weighty matter to the axis of rotation reduces the effort to a minimum" The head-neck is fairly weighty. The easiest head rotation is left-right. Most of the weighty matter is balanced around the spinal axis. The easiest torso rotation also is left-right for the same rea son. The two spinal areas that possess the greatest capacity for rotation are: (1) the top two cervical vertebrae at the spine's joint with the skull (the atlas and the axis vertebrae),
and (2) the five lumbar vertebrae located in the lower back just above the pelvis (Feldenkrais, 1981, p. 134). Prebirth babies rotate themselves and "swim" in the womb's amni otic fluid as early as the 8th week of womb life. Newborn babies rotate their heads left-right to locate the sound of mother's or father's voice, and the first gross movement fol lowing birth is to rotate the body to lie on the front or back sides. Moving only the body parts that are necessary for a purposeful task is another facet of efficient, easy movement.
book is so much easier and efficient if the whole torso leans forward, using the joint where the upper leg joins the pelvis. Drinking water is so much easier when the arm-hand brings the glass all the way up to the lips, without moving your head forward toward the glass. Drinking that way, you can preserve an easy, fluid head-neck relationship (without dis
turbing your beautiful helium-filled balloons). Physical efficiency: optimum balance-alignment of your body involves a dynamic accommodation to Earth's gravitational field that enables the widest range of possible movements with the least neces sary engagement of muscles.
Life-span Alterations of Body Balance-Alignment Form follows function and function follows form. That is a fundamental principle of anatomy and physiology. In other words, the way your body has been formed (physical-ana tomical structure) can inhibit or facilitate your functional capabilities (physiology). And over your life-span, the way you have postured and moved your body (function) can alter your physical-anatomical structure (form). A sunken, constricted chest versus an upright, "wide" or "open" chest affects several breathing and oxygen supply functions. Ex tremely sedentary living versus frequent activities that ne
cessitate extensive breathing affect the formation of the chest
wall and lungs. How is that principle observable in body growth, de velopment, and use? Your brain has several genetically inherited programs
that ensure its own well being and the well being of the body that carries it around. Most of these programs are automatic and outside conscious awareness (see Book I, Chapters 2, 3, and 7). Regarding postural arrangements of your body, your nervous system will tend to choose pos tures that are in the best interest of well being and efficiency of function. The vast adaptive capabilities of the cerebral cortex, how ever, are purposeful-not rational-and they can be "programmed" to activate behaviors that are not in the best interest of well being. fundamental
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So, various life conditions can program brains to ha bitually arrange your body in ways that are not in the best interest of your well being. For example, under circum
stances that produce threat to well being, the autonomic nervous system activates genetically prescribed, bodywide protective reactions . For instance, if a human baby were to fall suddenly from a high place, the baby's postural extensor muscles would release and the flexor muscles contract to fold the front of the baby's body into itself That flexor action would: 1. bring the head forward (chin toward chest) and hold
it there; 2. raise the larynx and close the vocal folds tightly; 3. bring the shoulders forward and up with arms in front of the torso; 4. tense the abdominal muscles to arch the spine and tilt the top of the pelvis backward and its bottom forward; and 5. bring the knees toward the head. If there is time, the baby's body will orient so that it will land on its backside where more impact force can be absorbed with less possibility for brain-threatening injury.
organs under greater pressure (including the respiratory or
gans), adversely affecting their function. Some of the pe
ripheral nerves that emanate from the spine will be "pres sured" between vertebrae, and their optimal function will be reduced. There will be an adverse effect on the function of their target organs. As a result of underuse, the "antigravity"
extensor muscles that contribute to optimal upright stand ing will eventually lose tonus. Ligaments and skeletal joints will undergo physical "reformation" in a slump configura tion. That program for upright standing will become "rec ognized" by the sensory network as "standard and familiar" (see Book I, Chapter 7 for review) Mild-to-intense, emotional-state bodymind programs are interdependent with body balance and alignment func
tions. The bodily swagger of the macho-man bully and the protective bodily "closure" of a clinically depressed person
are obvious examples of such interdependence. Long-term distress can reduce the vitality of the nervous system, result ing in release of the antigravity postural extensor muscles and possibly some contraction of the flexors. A fatigued person or one who is experiencing "burnout" will show a slump unless stimulated to consciously override the slump. After years of "running" a constricting postural pro
These actions are taken to protect the more vulnerable vital
gram, a return to optimum requires a transforming decision
body parts that are located toward the front-eyes, nose, mouth, neck/throat, abdomen, and reproductive organs.
to change, and much patience, persistence and, above all, perspicacity. A conscious orienting of the body toward opti mum upright standing, then, will seem awkward, effortful,
An adult brain, under conditions of illness, fatigue, and/ or threat, will induce those same direction tendencies in an upright body. They produce what can be sensed as "down ward pressure," or what is commonly called a "slump'' When
and uncomfortable. The most interesting challenge is find ing a balance between: 1. a restoration of the "forgotten" bodymind vitality
slumped, the erector spinae muscles (and others) release and
that constructive experiences (pleasant physicochemical
the pectoral girdle tilts forward and down, bringing the head, upper spine, and rib cage with it. The eyes commonly orient
states) can still give us; and
toward the horizon so the rear areas of the neck vertebrae
of "downward pressure slumping" and a voluntary choos
are "scrunched" into each other creating pressure on the spi nal nerves. Many other micro-changes occur as well. Under conditions of longer-term illness, fatigue, and/ or mild threat, a learned posture program can be formed slowly over time in tiny increments of change that are not noticed in conscious awareness. Eventually, the nervous system will habitually choose that program over the innate one. As a result, the skeleton can become formed in a quasi-collapsed, grav ity-oriented, downward configuration that places internal
ing of optimum upward release.
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2. conscious awareness of the sensations of all degrees
During experiences that release a bodymind's restora
tion responses, a reorientation of body alignment happens.
It can be described as a return toward innate, reflexive pos ture, that is, your body feels lighter and moves with more
fluidity, your head and torso release upward, and so on.
That is the optimum bodily posture that enables the widest possible choices for flexible, agile, confident, and graceful movement. In other words, the erect and flexible walk of a
person who has a predominant history of constructive ex periences also shows the interdependence of emotional-state
bodymind programs and balance-alignment of the body When optimum dynamic balance and alignment of your body is present, your postural extensor muscles (in cluding the erector spinae muscles) arrange your head and
cervical vertebrae in what may be described as a sensation of upward release or a sense of relief from the constraints of gravity, a "floatiness". When that happens, your pectoral girdle (shoulder bones and shoulder blades) and your spine are moved to optimum location. A more "open" state of your rib cage and its sternum, then, enable your muscles of respiration and voicing to be used with optimum physical
efficiency when you speak and sing (see Book V, Chapter 1,
4. Over time, learn how to balance your bodymind's energy expenditure with energy restoration processes (see Book III, Chapter 14).
5. Remove or change any circumstances that may be producing distressful reactions, or loss of nervous system vitality (burnout-depression). 6. Create experiences that are unplanned, spontane ous, spur-of-the-moment fun. Go somewhere you've never
been before, for instance, or find a way to laugh yourself silly (which also releases the pleasant physicochemical states; see Book I, Chapter 2).
For Those Who Want to Know More...
"The Alexander Technique").
Here are some suggestions for release of an habitually constricted bodily posture: 1. Enjoyable physical movement, such as relatively brisk walking, or swimming or jogging, can increase your pleas ant, restorative physicochemical states and help "re-form" your skeletal arrangement (see Book III, Chapter 13).
2. Seek appropriate help to relearn what it feels like to release your gravity-oriented postural flexor muscles and to
invite your gentle, "antigravity" postural extensor muscles into an easy, allowed, comfortable, released, lengthening and widening of your body. Alexander Technique teachers can guide habitual posture and movement changes toward op timum efficiency (see Book V Chapter 1). Physical therapists
The vestibular organs, which are continuous with the cochlea or "inner ear", are prime contributors to the sense of
balance. Vestibulocochlear nerve processing (cranial nerve VIII) becomes integrated with the auditory and balance ar eas of the brainstem before birth and before integration with optic nerve processing (Kelly, 1991). The skin and its nu
merous sensory receptors for touch-pressure covers the head and the rest of the body, and significantly contributes to spatial orientation. Muscle and joint receptors also provide sensory information about orientation in the gravitational field and the environmental surroundings (Ghez, 1991).
Feldenkrais wrote that nervous systems continually seek "...to restore equilibrium rather than to keep it....A posture is good
know specific exercises for postural muscles that can bring the skeleton toward optimal formation. Over many centu
if it can regain equilibrium after a large disturbance."
ries, yoga has helped people of many cultures in these mat
Your head is the primary locus of your body's balance-align ment and movement. Alexander (1984, p. 59, 60; Jones, 1976, pp. 16-18) observed that a gentle upward release of the head was the most important influence on body balance and align ment. He called it the "primary control". Feldenkrais (1981, p. 133) wrote that the head was "...the most important part of the body, the position of which causes the distribution of
ters.
3. Learn how to release your restoration response in your whole bodymind (see Book III, Chapters 8 and 14).
Ultimately, this is a process of trusting those parts of you
that function outside your conscious awareness and allow ing them to do what they were born to do-protect you in a relative state of well being. As your distressed or fatigued posture programs become relaxed, pleasant sensations may occur in your body, and your breathing and posture may
involuntarily change. That's just your innate restorative pro cesses engaging. Let them go. Analyzing or judging them
may stop them. Go with the flow of the releasing and re storing.
(Feldenkrais, 1981, pp. 43, 44)
tonus to the entire musculature in standing and all other movements of a person." The head carries the brain. The visual, auditory, and odor sense receivers are located in the head. They are prime direction-finders that interface with the vestibular system to maintain a sense of location and of balance in an immediate setting (Gahery & Massion, 1981). They contribute to sur fundamental
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vival and to movement interaction with the surrounding
When seated, the primary areas of contact with a chair
world. Various neural networks in the brain, including ar eas within the brainstem, midbrain, diencephalon, and ce
are small extensions of the two "sitting bones", called the ischial tuberosities. They are prominences of the ischium bone that is part of the pelvis. When seated on a flat-seated chair, the upper leg bone-the femur-is moved 90° away from the location that it assumes during upright standing (see Figure
rebrum, integrate all such processing to provide a unified "map" of the body's state relative to gravity and surround ings. Balance and alignment are in constant dynamic flux when people are in an awake state, and in intermittent flux
II-4-5). That change of angle causes the inferior aspect of
when asleep.
pelvis to move forward and the superior aspect to move
When bodyminds have normal anatomical configu ration, are in health and reasonable neuromuscular condi
backward so that the entire pelvis is at about a 30° angle.
tioning; and when life experiences have remained mostly pleasant and constructive; then the body's vestibular system
automatically contracts the postural extensor muscles such that the head assumes an optimally elevated but easily mo bile state-Alexander's primary control. When normal bodyminds, however, are in ill health, are in sub optimal neuromuscular condition, and life experiences have been
more threatening than beneficial so that protective behav iors predominate; then the body's vestibular system signifi cantly reduces automatic tonus in the postural extensor muscles. Under those conditions, the uppermost thoracic
vertebrae of the spine are tilted forward, along with the cervical vertebrae and skull, so that the anterior torso is col lapsed and compressed, and the thoracic vertebrae are com pressed in their anterior aspects. In order to focus the eyes ahead, muscles in the back of the neck contract to level the skull, creating considerable compression in the cervical ver tebrae. The forward location of the body's center of gravity then necessitates a compensatory pelvis adjustment-a rota tion of the upper pelvis backward and the lower pelvis for ward. The inward curve of the lumbar vertebrae is then straightened, compressing their anterior aspects.
Conscious adjustment of the above slumped posture into a "stand up straight" configuration, results in postural extensor muscles contracting with excessive intensity to hold the body erect. When muscles remain contracted for longer periods, there is a gradual reduction of nourishing bloodflow
to the muscles and an increase in muscle fatigue. Under those conditions, there is a high probability that the slump posture will be resumed. Discomfort in the postural exten sor muscles of the upper back and neck are possible if such postural effort is continued for a long enough time (Caillet,
Figure II-4-3:
Illustrations of leg, pelvis, and spine angles when seated.
standing and sitting.
(B-middle) illustrates center of gravity location when
seated in a flat-seat chair.
1983, p. 214).
(C-lower) illustrates center of gravity location
when seated in a chair with a sloped 20° elevation to the rear of a chair.
[From Mandal (1985), The Seated Man, Copenhagen: Dafnia Press. with permission.]
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bodymind
(A-
upper) compares the angles of pelvic tilt and spinal lumbar curves when
&
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Used
That angle change causes the lumbar vertebrae of the spine
to move backward, eliminating their normal curve. It also locates the torso's center of gravity about three inches be hind the ischial tuberosities (Mandal, 1985, p. 33). A coun terbalancing adjustment is then made when the upper torso tilts forward, compressing the thoracic vertebrae, and the posterior neck muscles tilt the head for straight-ahead vi sion and compress the cervical vertebrae. The torque cre ated by that alignment in the lumbar, thoracic, and cervical vertebrae results in increased pressure on intervertebral discs, and on the affected spinal nerves, and a stretching of other connective spinal tissues (Nachemson, 1966, 1970). In an attempt to relieve the torso collapse produced by the seated "slump" alignment, muscles that are attached to the pelvis, spine, and rib cage can continually contract to hold the torso in an upright, "sit-up-straight" position. Again, when muscles remain contracted for longer periods, there is a gradual reduction of bloodflow to them and an increase in
fatigue. When the torso is held up for longer time periods, lower back discomfort commonly induces resumption of
the slump, or muscle spasms can increase the back discom fort (Caillet, 1983, p. 214). Typically, groups of people who sit in either the slumped or the sit-up-straight alignments for longer time periods over several weeks or months have a high incidence of upper and lower back pain (Middlestadt
& Fishbein, 1989).
People who must sit for longer periods of time can rotate their pelvises into its upright standing location, and
tracting observers from the music? Would there be a differ ence in movement between solo and choral singing? Do we stand still when we sing "classical" music, but become fa
cially and bodily animated when we sing "popular" music? If so, how did we learn to make those differences?
Do this: "Stand still when you sing. We don't want anybody in the audience getting seasick from a lot of movement."
Stand or sit perfectly stillfor one minute-sixtyseconds-and closely observe your body. Use a nearby clock or your wristwatch to time your self. Do not read ahead. Do it now.
Were you able to do it?
Of course not. You moved when you breathed, plus other very subtle movements-various fibers in all of our muscles are fired continually as long as we are alive. Being still is much more difficult to achieve than moving. Ideally
efficient movement engages only the muscles that are neces sary for the movement while others are engaged to stabilize
skeletal parts that facilitate the muscles that move us. The rest of the muscles are not engaged. Movement indicates degrees of vitality, energy and "aliveness" The only perfectly
still people are dead. Stillness is antithetical to life. Move ment is a necessity of life.
Can using the very word "posture" trigger inefficient
align the spine and torso accordingly, if they elevate the rear portion of their flat seat so that the seat is sloped at an angle
balance-alignment in bodies?
of about 20°. The femur can then reduce its 90° angle to
tion; which is a stem of pono, ponere, positum = to put, place, set, fix, stake, or post). So, posture has roots in a rigid setting, fixing, or holding of one's body in a place. Current com
about 45°, so that the pelvis and lumbar vertebrae can be rotated to a more favorable location. There are several ways
to achieve that sloped chair seat (see the above section on upright sitting, and Norris, 1992).
The word posture is rooted in Latin (positura = forma
mon posture expressions like, "Stand up straight," "Chest up,"
"Keep your shoulders back and down," or "Hold your head up high," appear to be consistent with the etymological roots
Questions and Issues
of posture.
Can standing still help musical or verbal self-expres
Could the words we use to describe body posture be part of a history of unpleasant feelings when parents or
sion? Is expressive body movement desirable during sing-
teachers frequently correct "poor posture" and insist on "good
ing?
posture." If you believe they are crossfiled more with un
When conversing comfortably with friends, do we stand still and use no facial expression? Do we do that when we sing? Is too much movement possible-to the point of dis
pleasant feelings, what word or words might be used that refer to body balance and alignment, but do not have the unpleasant associations that often influence behavior out fundamental
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side conscious awareness? Can we arrange learning situa
Laban, R. (1947). Effort. London: MacDonald & Evans.
tions in such a way that no reference word for "posture" is needed, but people balance and align themselves well any way? What in the world might we do? (see Book V, Chapter
Laban, R. (1960). The Mastery of Movement. London: MacDonald & Evans. Mandal, A.C. (1985).
The Seated Man.
Copenhagen: Dafinia Press.
Middlestadt, S.E., & Fishbein, M. (1989). The prevalence of severe muscu
1).
loskeletal problems among male and female symphony orchestra string players. Medical Problems of Performing Artists, 4(1), 44.
Do this: Assemble video recording equipment and place it so you can unobtrusively video yourself as you teach, conduct, or sing. View it privately Do you notice any posting, posturing, or giving in to gravity in yourself? Is your body modeling what you suggest to others? After viewing the video, was it a learning experience, so that you can become an even more skilled and effective teacher, conductor, or singer than you already are?
Morris, R.N. (1992). Laryngoscope: Seating problems of vocalists. National Association of Teachers of Singing Journal, 48(5), 26-27, 45. Nachemson, A. (1966). The load on lumbar discs in different positions of the body.
Clinical Orthopedics, 45, 107-122.
Nachemson, A. (1970).
Intervertebral dynamic pressure measurement in
lumbar discs. Scandinavian Journal of Rehabilitative Medicine, Supplement 1. Peterson, B.W, & Richmond, J.F. (Eds.) (1988).
Control of Head Movement.
New York: Oxford University Press. Roland, P.E., Larsen, B., Lassen, N.A., & Skinhof, E. (1980).
Supplementary
motor area and other cortical areas in organization of voluntary move
References and Selected Bibliography
ments in man. Journal of Neurophysiology, 43, 118-136. Stein, R.B., & Capaday, C. (1988). The modulation of human reflexes dur ing functional motor tasks. Trends in Neuroscience, 11, 328-332.
Alexander, F.M. (1985). Constructive Conscious Control of the Individual (Reprint). Long Beach,
Sundberg, J., Leanderson, R., von Euler, C., & Knutsson, E. (1991).
CA: Centerline Press.
Influ
ence of body posture and lung volume on subglottal pressure control
Alexander, F.M. (1984). Use of the Self (Reprint). Long Beach, CA: Centerline
during singing. Journal of Voice, 5(4),
283-291.
Press.
Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Beloozerova, I.N., & Sirota, M.G. (1988). Role of motor cortex in control of
locomotion.
Mechanisms of Body Functions (6th Ed.).
In V.S. Gurfinkel, M.E. Ioffe, J. Massion, & J.P Roll (Eds.),
Stance and Motion: Facts and Concepts (pp. 163-176). New York: Plenum Press.
**[Ergo Cush #1177 sloped-seat cushions may be ordered from:
AliMed, Inc., 297 High St., Dedham MA 02026, USA Brooks, V.B. (Ed.), (1981). Motor Control.
(Handbook of Physiology, Section 1,
Vol. 2, Pt. 1). Bethesda, MD: American Physiological Society.
Caillet, R. (1983). Low Back Pain Syndrome. Feldenkrais, M. (1972).
Philadelphia: F.A. Davis.
Awareness Through Movement. New York: Harper &
Row.
Feldenkrais, M. (1949).
Body and Mature Behavior.
Madison, CT:
Interna
tional Universities Press.
Feldenkrais, M. (1981). The Elusive Obvious.
Cupertino, CA: Meta Publica
tions.
Gahery, Y., & Massion, J. (1981). Coordination between posture and move ment.
Trends in Neuroscience, 4, 199-202.
Ghez, C. (1991). Posture. In E.R. Kandel, J.H Schwartz, & T.M. Jessell (Eds.), Principles ofNeural Science (3rd Ed., pp. 596-608). East Norwalk, CT: Appleton
& Lange. Hoit, J.D. (1995). Influence of body position on breathing and its implica
tions for the evaluation and treatment of speech and voice disorders. Jour
nal of Voice, 9(4), 341-347. Jones, F.P (1976).
Body Awareness in Action: A Study of the Alexander Technique.
New York: Schocken Books.
Kelly, J.P. (1991).
T.M. Jessell (Eds.),
The sense of balance.
In E.R. Kandel, J.H Schwartz, &
Principles of Neural Science (3rd Ed., pp. 500-511).
Norwalk, CT: Appleton & Lange.
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Human Physiology: The
New York: McGraw-Hill.
bodymind
&
voice
East
(800) 225-2610 (toll-free call)]
chapter 5 creating breathflow for skilled speaking and singing Leon Thurman, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit
ish "breathe" in an ocean of water. You breathe in
F
an ocean of air. Without oxygen from your air
ocean, you would die in about 2 to 3 minutes. Your body operates an "air pump" to sustain your life. The pump creates an inflow and an outflow of air within your lungs, thus, "breathflow" Your lungs extract oxygen (O2) from the air. O2 is one of the major "fuels" for your body's metabolic processes. Your pump then expels the resulting waste gas, carbon dioxide. That is the life-sus taining, primary function of breathing. Neural networks lo cated in your brainstem automatically make you breathe a minimum of about 7 to 15 times per minute, and you breathe more times if your bodywide need for oxygen in creases. During peak strenuous exertion, you may breathe 100 times per minute or more. The same respiratory pump helps you create spoken and sung communication-secondary functions of breathing. You draw air into your lungs, close your vocal folds over the top of your windpipe, and your respiratory pump com
presses your lungs to pressurize the air. When the degree of vocal fold closure and the amount of air pressure reach a critical relationship, breath-air begins flowing between
your closed vocal folds. The flowing air sets the surface tissues of your vocal folds into very fast, complex ripple wave motions. Those ripple-wave motions create tiny chain-reaction waves in the air molecules that are located above your vocal folds. The sound waves first travel
through the air molecules located in your throat and mouth,
and then radiate away from you into your air-ocean. Those sound waves are the sound of your voice and your outflowing breath provides the first creative energy for expressing yourself.
Efficient Breathing Coordination For hundreds of years, Italian singing teachers have referred to skilled breathing with the word appoggio. It means the most appropriate balance of opposing forces for the
task at hand. Efficiency in the physical coordinations of breathing produces just the necessary breath pressure and airflow for skilled singing and speaking.
Do this: For about 30 seconds, slump your shoulders and just observe how your breathing feels.
Next, allow your head and upper body to rise in a sense of up
ward release as your whole body feels lighter and more buoyant (as presented in Chapter 4). Just breathe that way for another 30 seconds and observe. Notice differences in the feel of your rib cage area?
Your breathing muscles are attached to your skeletal
frame. If your skeletal frame is out of balance or alignment
creating
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to some degree, or if it is moved with some restriction, then
your body cannot do skilled breathing coordination with peak efficiency. The way you arrange your skeleton is the first fundamental skill of expressive singing and speaking. Very simply put, there are four main ways to breathe. If you compare your chest cavity to a room, it has a ceiling, a floor, and walls. You can breathe by: 1. raising and lowering your chest cavity's ceiling; 2. lowering and raising its floor; 3. expanding and contracting its walls; or
4. by some combination of the above three. Ceiling Breathing
Do this: Become aware of your neck-throat muscles and your shoulders and upper chest. Deliberately breathe air into and out of your lungs very quickly as though you had been running very fast. Did your upper chest and shoulders move? Were your neck-throat muscles engaged?
Those breaths were ceiling breaths, of course. To breathe that way, some of your neck-throat muscles-particularly
your largest neck muscles, the sternocleidomastoids-had to contract in order to raise your upper rib cage and ex pand your upper lungs. Tightness in your unnecessary neck throat muscles can put your necessary larynx muscles in some degree of a bind, narrow your vocal tract, and thus interfere with your ability to speak and sing with physical and acoustic efficiency. Also, there is considerably less lung tissue in their uppermost area, compared to their lower
most area. All experts on breathing agree that, while ceil ing breathing is necessary during high physical exertion, it interferes with skilled speaking and singing.
Floor Breathing You can invite air into and out of your lungs by low ering and raising the floor of your chest cavity, the dome shaped diaphragm. It is made of the diaphragm muscle and the central tendon. Your lungs are attached to its top
side, and your abdominal contents are immediately below it (stomach, liver, intestines, and so forth).
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Do this: (1) Stand balanced. Allow your head to release up ward for a gentle sense of body lengthening and allow your shoulders and rib cage to release open and wide (as described in Chapter 4). Move your hands to your knees, and as your torso, neck, and head angle forward, instead of bending your spine forward at your waist, allow your hips, knees, and ankles to adjust easily so that you can preserve the upward lengthening of your torso-neck-head. Continue that upward lengthening and the open release of your body as you just touch your hands onto your knees. Finally, while continuing the upward lengthening, wiggle your neck-head, shoulder-elbow-wrist, hip, knee, and ankle joints up and down and around just a bit to reexperience their easy flexibility and range of motion. (2) Now, without breathing, easily engage your abdominal muscles (the ones in front of your stomach and intestines), then let them go. Do that several times. Engage, then release; engage, then release. (3) This time, when you engage your abdominal muscles, make the sound you would make if you were insistently asking people to be quiet- a fairly strong /shhhhhhh/ sound for several seconds (4) Now, make a series of those sounds with those abdominal muscle contractions and releases: /shhhhh (release) shhhhh (release) shhhhh (release) shhhhh (release). (5) Do that again and this time notice what happens to your breath-air each time your abdominal muscles release.
The above Do this is floor breathing. Actually, you cannot sense your diaphragm. It has no sensory nerves in
it that report its spatial location to conscious awareness. But you can feel the effects of its action in the surrounding organs that can report those kinesthetic sensations. When your diaphragm is at rest, it extends up into
your lower rib cage (see Figure II-5-1). When your dia phragm muscle is activated, its fibers shorten, and that ac tion pulls the whole diaphragm dome downward so that it flattens toward the bottom of your rib cage. When that happens, your lungs are lengthened, creating a negative pres sure inside them, and air is automatically drawn into them through your nose and/or mouth. The air inflow is auto matic because the air pressure inside your lungs is less
than the atmospheric pressure outside your body. When
you expand your lungs, the outside air pressure forces air
Figure II-5-1: (A-above) is the diaphragm; (B-right) is the chest and abdominal cavities
divided by the diaphragm. [From RESPIRATORY FUNCTION IN SPEECH AND SONG, 1st edition, by T. Hixon & Collaborators, © 1987. Reprinted with permission of Delmar, a division of Thomson Learning. FAX 800 730-2215.]
into your lungs to equalize the interior and exterior air pressure-a law of physics. There is absolutely no need to use neck-throat muscles to take a breath or suck air in. That produces constriction in your upper airway and actually
reduces the amount of air you can breathe in. It also cre ates overly noisy breathing, and commonly results in in
terference with vocal tract and larynx efficiency.
Your abdominal contents are enclosed in a ligamen tous, fluid-filled sack. While air molecules are elastic and
can be compressed and expanded in the lungs, fluid mol ecules are not elastic and cannot be compressed in the ab domen. So, if your diaphragm is to descend, your abdomi nal contents must be displaced from their at-rest location by the downward diaphragm movement.. Where can they go? Your abdominal contents cannot
be moved to the rear of the abdominal cavity. A spine and some strong, large muscles are in the way (the left and right quadratus lumborum muscles, for instance). Abdominal contents can be moved some to your sides, but that is limited by hip bone and ribs. There are no skeletal ob structions in front of your abdominal cavity, so abdomi
If they are strongly engaged, then you will be forced into ceiling and wall breathing. Try it. Keep your abdominal
muscles strongly contracted and try to breathe deeply. Re peat the preceding Do this and compare. Your diaphragm muscle cannot- by contracting-send air out of your lungs. When it contracts, it can only lower your diaphragm or tense itself in one location. The only
way it can create outflow of air is to release its downward contraction and return upward to its at-rest location. That is what it does during ordinary, automatic, everyday breath
ing-called tidal breathing. But tidal breathing cannot create enough air pressure in your lungs to create an adequate breathflow through your vocal folds for even conversa tional speaking-certainly not for singing. In floor breathing, appropriate contraction of the ab
nal contents can be moved noticeably down and out by your lowering diaphragm-an expanded feeling. But even
dominal muscles provides the necessary driving energy for exhalation during speech and song. When they engage,
that avenue of abdominal displacement can be stopped if
they move the abdominal contents in and up, which moves
your abdominal muscles are engaged at the same time you are trying to lower your diaphragm. There are four strong
the diaphragm up, and the attached lungs are "squeezed" to
abdominal muscles arrayed against one diaphragm muscle.
cal folds. And that's just floor breathing. There's more.
create a positive air pressure for airflow between your vo
creating
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Wall Breathing You can invite air into and out of your lungs by ex panding and contracting the chest cavity's "walls"-your rib
Does it feel a bit different from the hands-on-knees breathing? Isn't it interesting how gravity influences your body in different ways,
and how you are capable of noticing the differences?
cage-to which your lungs also are attached. Your upper
five ribs have very limited range of motion for breathing.
Comparatively your lower seven ribs have considerable range of motion for expansion and compression of your
Combination Breathing When speaking or singing, most people breathe with
some combination of ceiling, floor, and wall breathing. But
lungs-wall breathing.
is there a most efficient combination for skilled speaking and singing?
Do this: Place your hands easily on the right and left sides of your rib cage-on their lower area near the top sides of your pelvis. Your hands can then follow your lower rib cage as you raise it upand-out, then let it fall back in. Do that. Notice air moving in and out of your airway? Make a series of/shhhh/ sounds. Breathe with your rib cage a few times vigorously-bring in a fairly large amount of air. Can you sense your rib cage expanding more than you are accus tomed to? Or is that movement familiar to you?
Developing Fundamental Breathflow Skills
Do this: Stand and lean your torso forward and place your hands on your knees in the way that was described in an earlier Do this: head releasing out and away and hip-knees-ankles adjusting
easily. Pay special attention to how your body feels when you inhale.
(1) Making no special sound, send nearly all of your breath-air out.
Feel the engagement of your abdominal and rib cage muscles, especially at the end of your air expulsion? (2) After a breath-air expulsion, allow your abdominal and rib cage muscles to just let go as you inflate your lungs fully. You may feel as though you fill with air from the bottom of your abdomen up (like a glass fills with water). First the "floor", then immediately your rib cage walls open out and up-like a small umbrella might spread open over your abdomen. Do that several times so you can do it smoothly. (3) Now, stand erect, head releasing upward, rib cage released open. How close can you come to repeating the inhalation process (2) while standing?
Breathing experts give that prize to a combination offloor and wall breathing. You also could call it midsection breath ing (see Figure II-5-2). There is considerably more lung tissue for O2 and CO2 exchange at the bottom of your lungs compared to the top. Both the diaphragm and lower rib cage have remarkable movement capability for inflation and deflation of the lungs, whereas the upper rib cage is
considerably less mobile. Also, when your torso is up right, there is more blood in the lower area of your lungs than in the upper area because of the interesting influence of gravity.
Do this: Lay one hand on the upper area of your abdomen, centered just beneath your rib cage. Place the thumb of your other hand in your belly button and lay that hand on your lower abdomen just below your belly button (no need to keep your thumb in your belly button). (1) Make a fairly strong /shhhhhhhh/ sound for several sec onds, as described before, and engage your entire abdominal wall, top to bottom, like you would if you were doing exercise sit-ups. Repeat that a few times. (2) While doing a series of short, fairly strong /shh/ sounds, how close can you come to engaging only your lower abdomen (the part below your belly button) so that your upper abdomen bulges out a bit at the same time? Repeat several groups of fairly short /shh/ sounds-the same way-until you've fairly well mastered it. Feel the difference between the two uses of your rectus abdominis muscle segments?
If you did the previous Do this, your hands were placed near the upper and lower ends of your abdomen so you could increase your sense of how it was moving. Specifi-
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is continuous throughout exhalation. The diaphragm is
gradually rising with gradual lung compression by the abdominals. The downward move of your diaphragm during inhalation, and its engagement during exhalation, also pulls your lungs, windpipe, and larynx slightly down
ward and can help stabilize that larynx location. The slight lowering of your larynx aids your external larynx muscles in a slight lengthening of your vocal tract and a slightly fuller voice quality can then be heard. Without that slight lengthening of your vocal tract, the slightly fuller voice quality will not be present and your voice quality could be described as slightly brighter (Chapters 6 and 12 have details).
Figure II-5-2: Illustration of combined "floor" and "wall" breathing (midsection breathing) from (A-left) front view and (B-right) side view. C=clavicle; E=epigastrium; P=pelvis;
Do this: Be aware of muscle sensations in your midsection as you...
R=first rib; S=scapula. Solid lines = position of organs at completion of forced exhalation;
dashed lines = maximum inhalation; dot/dash line in (B) = illustrates simultaneous engagement of both diaphragm and lower abdominals producing a bulge in epigastrium
region. [From Vennard, Singing: The Mechanism and Technic. Copyright © 1968 by Carl
Fischer, Inc., New York. Used by permission.]
cally, your hands were located near the top and bottom of your paired and vertical rectus abdominis muscles. These muscles are divided into segments by ligament tissues. You, therefore, are capable of contracting all segments simulta neously (as in a sit-up) or contracting each segment inde pendently. Middle Eastern belly dancers are able to re
peatedly ripple their abdominis rectus segments from bot tom to top by very rapidly engaging just the lowest seg ment (below the belly button), then releasing that segment as they engage the next segment, and so on.
(1) ...very softly sustain a long-lasting/shhhhhhhhhhhhhhhhh hhhhhhhh/ sound. (2) Sustain it again, but very loudly Did you notice a difference in what your midsection muscles do? Did you sense the different degrees of energizing in your midsection that sends your breathflow through the small opening at your front teeth? (3) This time, start the sound softly and crescendo it to a loud sound over about 10 seconds. (4) Then, start loudly and decrescendo to soft. Was the energizing of your midsection muscles even and gradual, or did they surge unevenly along the way? Did your soundflow reflect your midsection actions?
When you engaged your lower rectus abdominis seg
ment (along with some other abdominal muscles, too) and felt the slight bulge of your epigastrium area, the bulge was a sign that your diaphragm muscle had engaged at the same time as your abdominals (see Figures II-5-2 and 7). The co-contraction of your abdominal and diaphragm muscles during exhalation enables optimum leverage by your respiratory muscles for finely-tuned variations of air pressure in your lungs. These finely-tuned variations of lung-air pressure enable both subtle and obvious changes in vocal volume levels, and participate in other fundamen tal speaking and singing skills. The co-contraction usually
As you sing with more vocal volume, you will feel more contraction energy in your midsection muscles. When you sing more softly, a lesser amount of "breath energy" is
needed, and your midsection muscles will engage less. If you choose to gradually increase your vocal volume (cre scendo), your midsection muscles will ever so gradually in crease their contraction energy, and the opposite is true for a gradual softening (decrescendo). When performed with ef ficient skill, the gradual changes of contraction energy are quite subtle and may be barely noticeable.
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Do this: Like you did before, begin with a sustained middleloud /shhhhhh/for about two seconds, and then, while your jaw and tongue easily remain where they are, allow your voice to just melt into the airflow for a /shhhhhzzhhhhhhhh/ sound. Feel the vibrations of your voice in your neck, mouth, and face?
When you melted your voice into the airflow, your vocal folds closed, your breath-air flowed between them,
and they started ripple-waving to create your voice's sound waves. The sound waves were transferred into the tissues of your neck and head. The tissues started vibrating too, and your sensory nerves reported those vibrations to your conscious awareness. Variably steady flow-singing is a staple of many mu sics in the world-certainly Western musics. In "classical"
(4) How close can you come, now, to singing the song's words with that same flow engagement of your midsection that creates a smooth, flow sound in your voice?
During skilled singing, there is a continuous core of breathflow that creates a continuous core of soundflow. The consonants and vowels of the words are like indented frescoes on the core soundflow. In essence, the word sounds do not stop the sound flow except for expressive reasons. Certainly, some music needs a surging, accented, marcato way of singing. Less common are songs that need a literal separation of brief silence between the notes of a song (stac cato). Midsection activity is the engine of such expressive qualities, in cooperation with your larynx and vocal tract.
Flow-steadiness can be surged, depending on the music.
singing, the Italian term legato (continuously connected to gether with no audible separation) is used to refer to flow singing. It helps us express a large range of feeling qualities
in songs. A balanced, steady-state pressurization of air in your lungs creates a steady airflow through your vocal folds, and that creates steady ripple-waves in the surface layers of vocal fold tissues. The lengthening and shortening of your vocal folds that change your vocal pitches, are very fast
pitch slides-so fast that the ears of listeners never identify
the slides as such. What listeners hear is very smooth
transitions between discrete pitches. The breathing coordi nations that have been described so far, "support" the steady flow of your vocal sound. That is what the term "breath
Do this: The following sentence has two meaning chunks that are somewhat different in both their dictionary-meaning and their feeling-meaning. Read the sentence silently to become familiar with it. "Each day is a grand adventure, that ends in quiet sleep." Read the entire sentence aloud on a single breathflow. Did your voice express the contrasting feeling-meanings? How? Did your breathflow participate? Did your midsection breathing muscles change their action as you spoke? Did your voice use flow-speaking or surge-speaking? Check it out and speak it some more.
support" is really about. Some people also call that your "breath connection."
In skilled speaking, exactly the same breathing coordi nations are used, whether in conversation or in acting, or
Do this: Using only a /zzzz/ sound, sing the song "Happy Birthday". Can you "flow" the song so that (a) any repeated notes are just sustained on the same pitch and (b) all the notes between phrase breaths are smoothly connected to one another? Got it? (1) Do that. (2) Do that again and notice your breathing. Was your midsection continuously engaged, or did you feel surges in its engagement. If you felt midsection surges, did you also hear the results of them in the sound of your voice? (3) How close can you come to singing the song again on /zzzz/ with nothing but flow? Give it a go.
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in public presentations. The major difference is that your larynx slides your pitch inflections around in speech, but
creates variably sustained pitches in singing (Chapter 8).
Do this: With a seemingly passive larynx and throat, sing "Happy Birthday" again on /zzzz/. (1) Sing the first phrase with smooth flow. Beginning with the second phrase, use your midsection to gently surge each note while keeping all the notes connected (marcato).
(2) Sing the song only with flow again, and find out what
happens when the first phrase is on /zzzz/ and then you open your mouth into an /ah/ to flow out the rest of the song. Can you add the consonants and vowels into the flow? Sing it with the words.
Anything can be overdone, and anything can be un derdone. Balance is where IT is AT. Go for the least amount
of effort you need to get the expressive task done. When balanced, efficient, midsection breathing becomes an ha
bitual skill, you will not have to think about how much of
motions (see Figure II-5-2). When your lower abdominal muscles engage and you notice a slight outward bulge in your upper abdomen (just under the front lower rim of your rib cage), that is a sign that your diaphragm muscle
has co-contracted simultaneously with your abdominal muscles. The co-contraction of your abdominals, dia phragm, and rib cage muscles makes possible fine-tuned adjustments in the pressurization of lung-air that enables subtle variations of vocal volume.
For Those Who Want to Know More....
this or that, or where or when. Your brain will do it auto
matically. Your energized, flowing breath-air can "gather
up your voice and flow it out" so that "the world" can hear you speak and sing expressively.
Summary of Fundamental Breathing Skills • Skeletal frame is arranged in a released-up-and-open carriage, as described in Chapter 4. • During breathing, upper chest and shoulders remain "quiet" (they will move in very tiny amounts in response to midsection movements).
• When you breathe in, feel as though you fill with air from the bottom of your abdomen up (like a glass fills with water). Your chest wall floor lowers and fills first, and then immediately your rib cage walls open out and up like a small umbrella might spread over your abdomen (see Fig
ure II-5-2). [Air does not enter your abdomen, of course. The expression feel as though is a way of acknowledging that
the suggested action is imaginative rather than literal. The entire expression suggests a "filling" sensation-an expan-
sion-in your abdominal area during inhalation. The ex pansion results from the downward and outward displace
ment of your abdominal contents.] • When you have comfortably replenished your air supply, your outward breathflow and soundflow begin si multaneously, with no holding of air between inhalation and the start of your vocal sound. Your lower abdominal and rib cage muscles begin a balanced compression of your lungs that sends airflow upward through your windpipe to "energize" your vocal folds into ripple-wave vibratory
Respiratory Anatomy The torso or trunk of the body is divided into upper and lower sections by a dome-shaped muscle and tendon structure called the diaphragm. The upper section of the torso is called the thorax or chest cavity. The thorax is made up of a skeletal frame and its muscle-ligament at tachments, the heart, and the pulmonary system. The lower It contains a skeletal frame, the stomach, liver, kidneys, intes tines, and other organs (see Figure II-5-1). The skeletal frame of the thorax is composed of the following parts (see Figure II-5-3). 1. The spinal column consists of about 34 vertebraeseven cervical (neck), 12 thoracic (rib cage), five lumbar (lower back), and a disputed number of fused sacral and coccygeal vertebrae ("tail" bones). 2. The rib or thoracic cage is made up of 12 pairs of costal bones (ribs). Posteriorly, they are attached to the 12 thoracic vertebrae of the spinal column. From there, they extend laterally, and angle downward; they then curve anteriorly to their anterior attachments. Ten of them curve all the way around and course into the costal cartilage "bars" by which they are attached to the sternum. Each of the upper five ribs have individual cartilage attachments. The next five share an attachment with one cartilage "bar". The lowest two ribs do not curve all the way to a joint with the sternum and are unattached in the front. Both the spi nal and sternum joints of the upper five ribs have a mini mal range of motion for outward and upward movement. Compared to the upper five ribs, the lower seven ribs have considerable range of motion. section is called the abdomen or abdominal cavity.
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Figure II-5-3: (A-left) Front and (B-right) back views of the skeletal framework of the adult torso. [From RESPIRATORY FUNCTION IN SPEECH AND SONG, 1st edition, byT. Hixon & Collaborators, © 1987. Reprinted with permission of Delmar, a division of Thomson Learning. FAX 800 730-2215.]
3. The pectoral girdle, the spinal column, and the sternum function as a suspension system for the rib cage.
upside-down tree. Exchange of oxygen and carbon diox
The pectoral girdle is located at the top of the rib cage. It is
alveoli. There are about 150 million in each adult lung (Greenberg, 1983).
the skeletal and connective tissue framework for the shoul ders and includes the right and left clavicle bones. At
tached to the rear side of the clavicles, on the left and right,
are two quasi triangular bone plates that commonly are
called the shoulder blades; anatomically, they are called the scapulae (scapula is singular). Collectively, the internal organs of the thorax are re ferred to as the respirocardiovascular system (from Latin: respirare = to breathe; Greek: kardia = heart; Latin: vasculum = little vessel). The respiratory system refers to all anatomical elements that enable breathing. The upper air way of the respiratory system includes all the channels through which air travels on its way past the vocal folds. It includes the nasal cavity, the oral cavity, and the phar ynx (to the inferior border of the vocal folds). The lower airway begins at the top of the trachea, just past the vocal folds (see Figure II-5-4). The lower end of the trachea divides into the two main-stem bronchi (bron chial tubes). There follows some 20 divisions or branchings into smaller and smaller units to form the detailed struc tures of the lungs. Together, they are referred to as the tracheobronchial tree because of a resemblance to an 346
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ide gasses takes place in tiny sacs of specialized tissues-the
The pulmonary system (from Latin: pulmoneus = lungs; see Figure II-5-4) refers to the lungs, within which O2/CO2 exchange takes place. The lungs can be described as delicate, airtight, elastic sacs, with the right lung having three lobes and the left lung having two lobes (an accommodation to the leftward location of the heart). The lungs are covered externally by an airtight membrane
called the visceral pleura. It is interfaced with the parietal
pleura which lines the inner surfaces of the chest wall and the superior (upper) surface of the diaphragm. The bot tom surfaces of the lungs rest on top of the diaphragm. A thin layer of fluid lubricates the pleural membranes for easy movement of the two surfaces during respiration, and
is an important part of the sealed connection between the
two. If the lungs were removed from the thoracic cage, they would collapse like a balloon and hold no air. If the tho racic cage was removed from the thorax, but kept intact, it would be expanded beyond the size it has when it is inter
faced with the rest of the thorax. When the lungs and the thoracic cage are coupled together, they exert an opposing
Figure II-5-5: (A-top) When a structure is compressed, elastic recoil forces, directed
outward, cause an expansion of the structure toward its resting size. When a structure
is inflated, elastic recoil forces, directed inward, cause a collapse of the structure toward
its resting size. (B-bottom) Illustration of the dynamic balance between the thorax and the lungs that produces resting expiratory level (REL). [From Daniloff, Schuckers, & Feth, The Physiology ofSpeech and Hearing. Copyright ©1980 by Allyn and Bacon. Reprinted by permission.]
Figure II-5-4: Front view of the major structures of the pulmonary system. [A small section
of the double-walled pleural lining is cut away from the right lung. The left lung is sliced
obliquely to reveal the lower airway, a small segment of which is shown greatly magnified.] [From RESPIRATORY FUNCTION IN SPEECH AND SONG, 1st edition, byT. Hixon & Collaborators, © 1987. Reprinted with permission of Delmar, a division of Thomson
birthing function-females tend to use about 15% more rib cage involvement than males in speech respiration (Hixon,
1987).
Learning. FAX 800 730-2215.]
but complementary influence on each other (see Figure II-
5-5). The lungs are expanded by the inherent expanding force of the thoracic cage, and the thoracic cage is "drawn
in" by the "collapsing" force of the lungs. When coupled and at rest, therefore, a dynamic balance is created between the two opposing forces. When the respiratory system is
in its at-rest balance, the lungs are 37% filled with air. That is their resting expiratory level (REL). Muscular forces must be engaged to move the chest wall and lungs in order to change the amount and the pressure of air in the lungs, and thus operate the "respiratory pump." The abdomen is positioned skeletally by the lower spinal column and the two coxal bones (hip bones), which are known as the pelvic girdle (see Figure II-5-3). Two sheets of ligamentous connective tissue (the abdominal apo neurosis in front, and the lumbodorsal fascia in the rear) are interfaced with several large muscles and the bones to cre ate a "belly girdle" that supports the abdominal contents. The abdominal contents are encased in this fluid-filled cav ity. Because of differences in the size of the pelvic girdle between females and males-larger size in females due to
Respiratory Activation The respiratory system is activated by networks of motor and sensory neurons within the central and periph eral nervous systems. In the brainstem's medulla oblon gata there are several clusters of neurons that simultaneously activate to trigger automatic, involuntary inhalation (tidal breathing). These neuron clusters are called medullary inspiratory neurons. They are connected through the spi nal cord to the motor neurons of the respiratory muscles. After they activate, they are then inhibited by input from various areas just above the medulla (within the pons) and by sensory input from pulmonary stretch receptors that are located in the lining of the lungs. Breathing rate and
the volume of tidal breathing are increased or decreased by sensory chemoreceptors that monitor levels of oxygen (O2), carbon dioxide (CO2), and hydrogen (H+) in the blood (Hilaire & Monteau, 1997; Vander, et al., 1994, pp. 500508). Voluntary control of breathing is initiated by groups of neurons in the motor areas of the cerebral cortex. They, too, are connected to the motor neurons of the respiratory creating
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muscles. When concentrations of CO2 or H+ are elevated highly enough, however, voluntary control is "switched off" and involuntary breathing takes over (Harper, 1997; Vander, et al., 1994, p. 508). For example, singing longer, continu
The phrenic nerve, a branch of the fourth cervical
ing process. For instance, during inhalation and exhala tion, the vagus nerve carries to the central nervous system the sensations associated with displacement of abdominal contents. Inhalation. During quiet tidal inhalation (automatic breathing that almost always occurs outside conscious awareness), the diaphragm is moved downward to a rela tively small extent and its action slightly expands the lower rib cage and expands the lungs downward. Tidal move ment most commonly begins and ends at REL and is car
nerve, is the major final motor nerve conduit for the dia
ried out by the mild muscular driving forces and elastic
phragm muscle. The lower thoracic nerves provide some innervation as well. The diaphragm does not have any
recoil forces of inhalation (Hilaire & Monteau, 1997; Hixon, 1987).
sensory innervation of the type that enables conscious awareness of its spatial location in the body, or of its con traction per se. Various other peripheral nerves extend from the brainstem (vagus nerve X) and the cervical, tho racic, and lumbar portions of the spinal cord to provide motor and sensory innervation to the muscles and other
During speaking and singing, diaphragm movement
ous musical phrases while moving vigorously-as in very active choreography-will elevate CO2 levels in the blood and trigger involuntary breathing in order to restore O2 CO2 and H+ balance. Musical phrasing, in other words, will be sacrificed.
organs of the chest and abdominal cavities. The vagus nerve (tenth cranial nerve) branches in many ways to vari ously provide motor and sensory innervation for the ex ternal ear, some taste buds, palate, pharynx, larynx, heart,
lungs, esophagus, stomach, small intestines, and other or gans of the abdominal viscera (Book I, Chapter 3 has de tails). Its contribution to breathing is sensorimotor when
movement occurs in any of those organs during the breath
expands the lungs downward more extensively (see Figure II-5-1). The rib cage also can be expanded by the external intercostal muscles, located between each of the ribs, along with contractions by secondary inspiratory muscles (see Figure II-5-6; Hixon, 1987; Titze, 1994). When the upper airway is open, expanding the lungs creates a negative (low) pressure inside them (compared to the atmospheric pressure of the air outside them). Simul taneously, air flows inside the lungs to maintain equal in side-outside air pressure. When the inhalation muscles release contraction, however, the dynamic forces of the re leased muscles and the collapsing force of the chest wall create an elastic recoil force. The thoracic cage and lungs
Figure II-5-6: (A-left) External intercostal muscles. (B-center) front view of the secondary muscles of inhalation. (C-right) Rear view of the secondary muscles of inhalation. [From RESPIRATORY FUNCTION IN SPEECH AND SONG, 1st edition, by T. Hixon & Collaborators, © 1987. Reprinted with permission of Delmar, a division ofThomson Learning. FAX 800 7302215.]
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then move toward the equilibrium of resting expiratory
coil forces can provide, and (2) the air pressure within the
level and a positive air pressure will be created in the lungs, and air will flow out of the respiratory tract (see Figure II-
lungs goes below REL. Singing and speaking require active exhalation (Griffin, et al., 1995; Leanderson & Sundberg, 1988; Sundberg, 1993). Exhalation muscles can contract in
5-5). Physically efficient inhalation for athletic voicing can
be optimum only when the rib cage is carried in a flexible "up and open" manner. That skeletal configuration is an
varying degrees of intensity to regulate air pressure and
optimum postural arrangement of the skeletal parts to which the breathing muscles are attached (Hixon, et al., 1988; Sundberg, et al., 1991).
lungs pass REL, any continued exhalation must be carried out with some degree of muscular driving force-whether it
Exhalation can occur passively or actively (Hixon, 1987). During passive exhalation, the muscles of inhala tion cease contracting and elastic recoil begins to return the thoracic cage toward REL. The rib cage moves inward and a little downward and the diaphragm moves in an upward direction. A positive (higher) air pressure is created inside the lungs (compared to the atmospheric pressure of the outside air), and air is expelled. This form of exhalation occurs during the automatic, involuntary, tidal breathing that sustains life (Harper, 1997). Passive exhalation, how
Active exhalation is required during skilled speaking and singing, but in widely different degrees depending on
airflow beyond what elastic recoil can generate. Once the
is recognized consciously or not.
the vocal volume level needed for the expressive purposes at hand (Sakamoto, et al., 1997; Holmberg, et al., 1988; Sundberg, 1987). For physically efficient inhalation and
the creation of subglottal air pressure during exhalation, the stabilized "up and open" rib cage is necessary for opti mum voicing (Sundberg, et al., 1991). That arrangement of the thoracic skeleton places the active exhalation muscles in a location in which they can produce optimum regula
ever, cannot produce the degrees of air pressure that are
tion of air pressure for skilled speaking and singing. Also,
necessary for adequate sound volumes in conversational speaking and soft singing, much less louder voicing.
as F0 is increased (so-called "higher" pitches), gradual in
Exhalation can be active when (1) there is a need to
produce greater air pressures in the lungs than elastic re
creases in subglottal air pressure are necessary because the larynx is creating more necessary resistance to the air pres sure (Titze, 1994; see Chapters 8 and 9).
Figure II-5-7: Primary (A-left) and secondary (B-right) muscles of exhalation. [From RESPIRATORY FUNCTION IN SPEECH AND SONG, 1st edition, byT. Hixon & Collaborators, © 1987.
Reprinted with permission of Delmar, a division of Thomson Learning. FAX 800 730-2215.]
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The primary sources of driving force in active exhala tion are the muscles of the abdominal wall and the rib
cage, but other muscles also are involved (see Figure II-57; Bouhuys, 1977; Fried & Grimaldi, 1993; Hixon, 1987; Hoit, et al., 1988; Miller, et al., 1997; Watson, et al., 1989;
West, 1990). The primary muscles of exhalation are: 1. The paired rectus abdominis muscles form a ver tical abdominal sheath that parallels the abdominal mid line. They originate from the lower front edge of the coxal bone and extend upward to insert into the 5th, 6th and 7th costal cartilages and lower sternum. They are encased in a tendonous sheath-the abdominal aponeurosis. Each of these muscles is divided into three segments by two tendonous intersections. Each segment can function inde pendently or all three segments can function simultaneously. The rectus abdominis muscles can be thought of as an extension of the sternum that forms an anchoring post along the front midline of the torso. Contracting them exerts a
downward force on the lower ribs and exerts an inward force on the abdominal contents. 2. The paired external oblique muscles are large, flat muscles that originate from several locations on the lower eight ribs. The fibers that relate most to voluntary expira tory function extend in an oblique angle downward from the ribs and insert into the abdominal aponeurosis, a tendonous tissue sheet that is prominent at the lateral edges of the rectus abdominis. Upon contraction, they exert a downward force on the lower ribs and exert an inward force on the abdominal cavity. 3. The paired internal oblique muscles also are large, flat muscles, and they lie under the external obliques. They have a complex origin that includes the upper coxal bone
and the rear area of the abdominal aponeurosis. Their fi bers fan out across the abdomen in such a way that their
bone and the costal cartilages of ribs seven through twelve. They also insert into the abdominal aponeurosis. Con tracting them exerts an inward force on the abdominal con tents. 5. The internal intercostal muscles, located between each pair of ribs, are the primary muscles that contract the rib cage during exhalation. They lie underneath the exter
nal intercostal muscles that expand the rib cage. The exter nal and internal intercostal muscles also form an X con figuration that can stabilize the degree of rib cage expan sion. Other rib cage muscles assist with exhalation. The international standard for measuring pressure is
the Pascal (Pa), so named for the French scientist Blaise Pascal (1623-1662). One Pa of pressure can be compared to the weight of an average-sized apple that is distributed
over a 1 meter by 1 meter surface. Because that is a very small amount of pressure, a more useful unit for measur ing the aerodynamic pressures that are used in speaking and singing is thousands of Pascals or the kiloPascal (kPa). One kPa is like the weight of that apple distributed over a 10 cm2 surface. In conversational speech, lung-air pres sure varies between 0.3 and 1.2 kPa, with 0.7 kPa as a typi cal average. Moderately loud conversational speech pro duces about 1.0 kPa of lung-air pressure. During singing, lung-air pressures have been measured as high as 6.0 kPa (Bouhuys, et al., 1968), and that pressure may also apply to very high-effort voicing, such as shouting for help in an
emergency. Most singing, however, rarely goes beyond about 3.0 kPa (Titze, 1994). As indicated earlier, the diaphragm muscle is a pri mary muscle of inhalation. By contracting, however, it can not create a positive air pressure for exhalation. It can
lique muscles. An X configuration of muscles produces greater contraction power than paired muscles that have
contribute to the exhalation process, however, in two ways: (1) elastic recoil when it is released from contraction and returns to its REL location during passive tidal exhalation (Hixon, 1987), and (2) by simultaneously co-contracting
the same angle. When contracted, these muscles move the
with the abdominal muscles to provide an antagonist check
abdominal wall inward.
ing force against the driving force of the abdominals dur ing active exhalation for speaking and singing (Sundberg,
angling forms an "X" configuration with the external ob
4. The paired transversus abdominis muscles form a kind of horizontal girdle around the waist. They are located underneath the internal oblique muscles, forming a third, deepest layer of abdominal wall muscle. Their ori gin is complex, including the upper surface of the coxal
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1993). When co-contracting with the abdominals, it exerts a lesser degree of driving force than the four strong ab dominal muscles.
This unequal but variable balance of co-contraction
forces between the diaphragm and abdominal wall muscles can enable fine-tuned, subtle variability of air pressure in the lungs and airflow through the larynx, and that enables fine-tuned, subtle voice volume changes, such as a long, slow, and even crescendo and diminuendo. A "bulge of the epigastrium" (the abdominal area in front of the stomach) is a sign that this coordination is occurring (see Figure II5-2; and Vennard, 1967, pp. 28-32). Co-contraction of the diaphragm muscle during exha lation also effects a slight lowering of the larynx. When the diaphragm is lowered, it creates a downward pull on the tracheobronchial tree. The larynx is attached to the top of the tracheobronchial tree (Leanderson & Sundberg, 1988; Sundberg, 1993). A slight lowering of the larynx increases
the length of the vocal tract and contributes to a slightly fuller sound quality (Chapter 12 has details).
Figure II-5-8: Graph of lung capacities andvolumes from spirogram data. [After
Pappenheimer, J., etal., (1950), Standardization of definitions and symbols in respiratory
physiology. Federation Proceedings, 9,602-605. Graphic is from Daniloff, Schuckers, &
Feth, The Physiology of Speech and Hearing. Copyright ©1980 by Allyn and Bacon. Reprinted by permission.]
There are several other muscles that are less involved in active respiration, but are nonetheless important to the
Tidal Volume (TV) is the amount of air inhaled or exhaled during automatic, involuntary breathing, commonly
process. The quadratus lumborum muscle, for instance, helps stabilize the lower rear area of the rib cage. There are various ways to coordinate all of these muscles for carry ing out respiratory purposes. Even though the macro coordination for skilled breathing is roughly the same, no
about .5 liter. The range of tidal volume depends on the body's oxygen needs and varies between quiet, at-rest breathing and maximum-exertion breathing.
one coordinates the details of respiration in exactly the same way as anyone else. Here are some of the defined and measurable lung capacities and volumes that are involved in respiratory function (see Figure II-5-8; Hixon, 1987, pp. 24, 25; Pappenheimer, et al., 1950). Resting Expiratory Level (REL) refers to the dynamic
balance that is created between the simultaneous "collaps
ing" force of the lungs and the "opening" force of the chest wall (see Figure II-5-5). At REL, the lungs are about 37% filled with air. Muscular forces must be engaged to move the lungs and chest wall in order to change the amount and the pressure of air in the lungs, and thus operate the "respiratory pump"
Functional Residual Capacity (FRC) is the volume of air contained within the lungs and airways when the pul monary system is at resting expiratory level.
Inspiratory Capacity (IC) is the maximum volume of air that can be inhaled above resting expiratory level, about
Inspiratory Reserve Volume (IRV) is the maximum volume of air that can be taken in after the peak of a tidal inhalation, commonly about 2.5 liters. Expiratory Reserve Volume (ERV) is the greatest vol ume of air that can be expelled from the lungs from resting
expiratory level, about 2 liters. Vital Capacity (VC) is the greatest amount of air that can be expelled from the lungs after a maximum inhalation, about 4 to 5 liters. When skilled singers sing vigorously, they commonly use well over 90% of vital capacity. Un skilled loud speaking involves only 60-80%. Vital capacity can be increased when inspiratory and expiratory demands
are increased, that is, increased conditioning of respiratory
muscles and tissues (Cotes, 1979; Gould, 1977). Residual Volume (RV) is the amount of air that re mains in the lungs and airways after maximum exhalation, about 2 liters. Lungs are never completely empty during life. Total Lung Capacity (TLC) is the total capacity of the lungs to store air-about 7 liters-including residual, expira tory reserve, and inspiratory reserve volumes.
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Questions and Issues About Breathflow Coordination 1. Is there a "natural" way to breathe for skilled speaking and singing? Does "a natural way to breathe for skilled speaking
and singing" refer to genetically prescribed muscular coor dinations that are preset in human beings before birth? If
so, the breathing of infants would be an ideal model for
adults to copy. Newborn breathing is always a form of tidal breathing, that is, inhalation lasts about as long as exhalation-even when crying loudly Conversational speech requires greater inhaled air volume and exhalation that lasts several times longer than inhalation. Those skills gradually develop between months 2 through 7. Until months 6 through 8, the rib cage is almost never involved in respiration (see Book IV, Chapter 2).
We were born with automatic tidal breathing networks in our brainstems, and automatic emergency breathing skills for when we are under threat, or our bodily activity in
national breathing methods. Advocates of the various methods often describe them as "natural". Are they all equally efficient (question 3 addresses this issue)? If the term is often confused with genetic endowment, maybe it could be replaced with a term that cannot be misunderstood. Two of the terms suggested in this book are efficient breathing (for skilled speaking and singing) and midsection breathing. 2. Is breathing for singing a voluntary or an involuntary act? Breathing is both. When automatic, tidal, stay-alive breathing for O2/CO2 exchange occurs, breathing is in voluntary. You breathe automatically and outside con scious awareness when you silently read a book or are asleep. When involuntary, the medullary respiratory neu rons within the brainstem initiate breathing. When we breathe in a consciously learned way and at a chosen time,
as in speaking or singing, and when we need to control the duration of exhalation and vocal sound intensity, the initi ating nervous system impulses originate in the motor ar
eas of the brain's cerebral cortex. Breathing is then volun
creases, and it needs more oxygen. Neither tidal breathing nor emergency breathing can provide the longer-lasting,
tary.
fine-tuned, subtle, and more extensive respiratory coordi nations that are necessary for speech and song. Compared
muscle that you cannot sense? Although there are no sen
to tidal breathing, the greater vocal volume and pitch ranges that are necessary for skilled speaking and singing require much greater use of inspiratory and expiratory reserve volumes, more lung-air pressure, engagement of the rib
cage muscles, and co-contraction of the abdominal and diaphragm muscles during exhalation. Emergency breath ing involves greater use of inspiratory and expiratory re
serve volumes, but only for short bursts of loud vocal volume, or rapid breathing for increased exchange of O2, CO2, and H+. If this is the meaning of "natural" breathing, then breathing for skilled speaking and singing is an un natural act—a learned skill. If the term natural breathing does not mean ge
How can you consciously "control" the diaphragm-a
sory nerves for conscious spatial sensing of the diaphragm, you can deduce its activation from its effects on surround ing organs and structures which do have sensory innerva tion for conscious spatial location-the rib cage and ab dominal areas and the skin that covers them. If singing or speaking in front of other people is threat ening to you, or the threat of making a mistake occurs, your nervous system may put you in protection mode (see Book
I, Chapters 2 and 7). Your abdominal muscles are likely to tighten and force you to take ceiling breaths, even though
you have learned efficient breathing skills. [You also are capable of learning that singing and speaking are expressive
Perhaps
moments for human beings, not occasions to present your self for the judgement of others and potential threats to your well being (see Book III, Chapter 8).]
it is an attempt to say that breathing for skilled sing
3. For exhalation, are the abdominal muscles used most effi
ing and speaking is optimum when it is accomplished
ciently in a (1) "push down and out" or a (2) "gather in and up" method, and how do those orientations relate to the Italian concept of
netic endowment, what else could it mean?
If so, then what breath ing coordinations constitute optimum efficiency? Miller (1977) characterized four distinct European
with physiological efficiency.
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appoggio?
Three criteria for physical efficiency in breathing coor
dinations: a. Are muscles that are specialized for the inhalation function used for that function with minimal or no inter
the air pressure forces. Excessive abdominal co-contraction is not efficient, of course.
Respiratory research has not yet determined all of the details about what physically efficient breathing for speak
ference from other muscles? b. Are muscles that are specialized for the exhalation function used for that function, with cooperation from in halation muscles? c. Does any aspect of a breathing coordination induce
ing and singing is. Definitive conclusions cannot be drawn about the details. Most voice scientists agree, however, that the balanced "gathering in and up" coordination in the
interferences with physical and acoustic efficiency in any other aspect of speaking or singing coordination?
styles of music and presentational speech.
Miller (1977) found that "push-down-and-out" exha lation is more commonly taught by opera singing teachers
in Germany than anywhere else in the Western world. It is advocated by many singing teachers in the United States. Based on his research into respiration in singers, Hixon
states that this breathing method means that near the end of a breath expulsion, the diaphragm is in a lowered loca
lower abdominals, with the co-contraction of the dia phragm, is the most efficient for voice production in all
4. What is "breath support" or a "well supported tone"? A more helpful question might be, Does the use of such expressions enhance physical efficiency in the actual breathing coor dinations that are used by singers and speakers? When a music, speech, or drama educator, choral conductor, or singing
teacher tells inexperienced vocalists of any age to, "Use (more) breath support", how might breathing coordina tions change, and will the newer way be more physically
tion as part of the "pushing down," and cannot be used
efficient? Might some inexperienced vocalists react with
efficiently for inhalation. The specialized breathing func
an image like a metal scaffolding that supports the weight
tion of the diaphragm, of course, is inhalation (violation of
of their voices? Might some react with an image of some one getting underneath a weighty object and supporting it
criterion 1). There is an almost exclusive reliance on strong rib cage action for inhalation and exhalation in this breath ing coordination (satisfies criterion 2). Powerful air pres sure in the lungs is possible in the down-and-out method.
Some singers, however, notice a subtle pulling down on the pectoral girdle during the pushdown of exhalation that interferes with the upward release of efficient skeletal ar rangement (violation of criterion 3; see Chapter 4).
When the diaphragm muscle is co-contracted with the abdominal muscles during "gathering in" exhalation, it func
tions as a checking force against the driving force of the abdominals. When this coordination is efficient, the result
is a basic "in and up" movement of the lower abdominal wall over the course of a sung musical phrase, and a small
"bulging" of the upper abdominal wall that is located in front of the stomach-the epigastrium area (see Figure II-5-
2). In this method, there appears to be greater potential for balanced, fine-tuned subtlety in the adjustments of air pressure-breathflow for singing and performance speaking.
Opera singing teachers in Italy refer to this balance of co ordination as appoggio. If the abdominals are too strongly moved "in and up" for the sound volume needed, the dia phragm usually will increase its checking force to balance
by exerting an upward pushing force? Is the teacher likely to know what images the students are creating as their bodyminds make sense of the terms and then translate them into action? A suggested image that may justify the use of the term breath support:
Do this: (1) Get an ordinary-sized party balloon. Blow it up to a diameter of about 4 to 6 inches and tie its neck to seal the air inside. (2) Plug an ordinary hand-held hair dryer into an outlet and turn it on (high level if it has levels). Holding it steadily just above waist level and away from you, aim the blowing air straight upward. (3) Place the balloon into the middle of the airstream about 12 inches above the dryer. What happens?
By the time the pressurized air from the hair dryer reached the underside of the balloon and was deflected around it, its pressure was lower than the air above the
balloon. The lower air pressure under and to the sides of
creating
breathflow
353
the balloon combined to "support" the gravitational weight
The primary function of breathing is the continuation
of the balloon in space. The balloon was not forcefully
of life through exchange of oxygen and carbon dioxide. Secondary functions of breathing are any purposes not
grasped and held rigidly in place. In fact, it had a degree of freedom to move around a bit. The demonstration is just an image. It does not reflect what actually happens when vocalists speak or sing with
expressive skill. The image is intended to help inexperi enced vocalists avoid over-pressurizing the air in their lungs and overly tensing their neck-throat muscles when singing or speaking. In the experiment, the balloon was a passive partici
pant. Your larynx's muscles are very active participants in the vocal sound-making process, but their action cannot
related to literal survival, such as speaking and singing. If the two functions come into conflict, primary function al
ways automatically overrides secondary functions to in sure survival. When muscles are in use for relatively vig orous body movement, oxygen supply must be increased proportionately. More volume of blood must circulate to exchange the gasses in the lungs, therefore, and more fre quent and deeper breathing will occur whether we want to or not.
Sung musical expression needs sustained exhaling
be sensed with conscious awareness. However, when un necessary muscles of the larynx and neck-throat remain
breathflow over time. The more vigorous the movement or choreography is during singing, the more primary sur
uncontracted, you will sense relatively minimal muscle ef fort, even though your necessary larynx muscles are "efforting". Active involvement of adjustable respiratory air pres
vival respiration will be activated and the sustained exhal ing breathflow needed for musical expression will be re
sure and adjustable degree of closure by the vocal folds are
for phonation.
necessary to initiate and sustain vocal sound. Compres
will help to some extent but can never eliminate primary
sion of the lungs pressurizes the air within, and when the
function override. For singers who have evolved funda
amount of that pressure and the degree of vocal fold clo
mental singing skills, and who are not experiencing stage fright, non-vigorous movement during singing will aid
sure force reach a critical relationship, the lung-air begins to flow between the two vocal folds to set them into re
peated, high-speed ripple-waves. The crucial factors for
novice vocalists are learning how to create: • the optimal amount of lung-air pressure that is needed for the desired pitch, volume, and quality of vocal sound; • the optimal degree of vocal fold closure that is needed for the desired pitch, volume, and quality of vocal sound; • a relative steadiness of lung-air pressurization to maintain the steadiness of the breathflow, that results in steadiness in vocal fold ripple-wave characteristics, that results in relative steadiness of vocal soundflow. Can skills of respiratory system breath support be sepa rated from larynx skills in expressive singing? They can to a degree, but optimal singing skill is much less likely. The "support" for a "well supported voice" comes from coop erative, skilled interaction of both the respiratory system and the larynx (Griffin, et al., 1995). 5. Can singing while performing choreographed movement af
fect the efficiency of respiratory and laryngeal coordinations?
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duced. Consistently singing "out of breath" will teach sing
ers to use excessive neuromuscular effort for breathing and Conditioning of the cardiovascular system
overall vocal efficiency by eliminating unnecessary mus cular holdings that interfere with flexible carriage of the body and "free singing." 6. What are the effects of different body types on respiratory function? People with thin, lanky body dimensions have ectomorphic body types. Their cells and tissues are rela tively thin. They tend to use more rib cage action in speech than abdominal action. People with large body sizes have endomorphic body types. Their cells and tissues are rela tively thick, including bone, muscle, and fat cells. They tend to use more abdominal respiratory action in speech than rib cage action. Mesomorphic body types display a
"middle" degree of thickness-thinness in body cells and tis
sues. They tend to use a relative combination of the two types of respiratory action in speech (Hoit & Hixon, 1986). The influences of body type on breathing for singing have
not been studied. The singing coordinations that are used
by inexperienced singers are quite likely to be influenced
by their habitual speech coordinations, and therefore, body type may have an influence. 7. Are some people more challenged than others in developing skilled breathing for singing and speaking? Dancers are trained to continually tense their abdomi nal muscles. Releasing their abdominals during singing is
a common challenge for them. Cultural influences tend to teach many women to tense their abdominal wall when they wish to maintain a waist-thin figure. They sometimes are reluctant to release it completely during inhalation.
Dancers and young women may be assisted by a teacher who helps them appreciate that people do not look at a performer's abdomen during expressive speaking and sing ing. People look at faces where an enormous amount of feeling expression is revealed. Only experienced singers would look at abdomens, and their reaction would likely be, "There is a singer (or actor) who really knows how to breathe and sing" Males appear to be less influenced by this cultural bias at the present time.
Hixon, T. (1987). Respiratory function in speech. In T. Hixon & Collabora
tors, Respiratory Function in Speech and Song. San Diego: Singular Publishing/
College-Hill Press. Hixon, T.J., Watson, P.J., Harris, F.P. & Pearl, N.B. (1988). Relative volume changes of the rib cage and abdomen during prephonatory chest wall posturing. Journal of Voice, 2(1), 13-19.
Hoit, J., & Hixon, T. (1986).
Body type and speech breathing. Journal of
Speech and Hearing Research, 29, 313-324.
Hoit, J., Plassman, B., Lansing, R. & Hixon, T. (1988). Abdominal muscle
activity during speech production. Journal of Applied Physiology, 65, 2656-
2664. Holmberg, E., Hillman, R. & Perkell, J. (1988). Glottal airflow and transglottal air pressure measurements for male and female speakers in soft, normal,
and loud voice. Journal of the Acoustical Society of America, 84(2), 511-529.
Leanderson, R., Sundberg, J. & von Euler, C. (1987). Role of the diaphrag
matic activity during singing: A study of trans diaphragmatic pressures.
Journal of Applied Physiology, 62, 259-270. Leanderson, R., & Sundberg, J. (1988). Breathing for singing. Journal of Voice,
2(1), 2-12. Miller, A.D., Bianchi, A.L., & Bishop, B.P (Eds.) (1997). Neural Control of the Respiratory Muscles. Boca Raton, FL: CRC Press.
English, French, German and Italian Techniques of Singing.
Miller, R. (1977).
Metuchen, NJ: Scarecrow Press.
References and Selected Bibliography
Pappenheimer, J., Comroe, J., Cournand, A, Ferguson, J., Filley, G., Fowler,
W., Gray, J., Helmholz, H., Otis, A, Rahn, H., & Riley, R. (1950). Standard ization of definitions and symbols in respiratory physiology. Federation Pro ceedings, 9, 502-615.
Bouhuys, A. (1977). The Physiology of Breathing. New York: Grune & Stratton. Sakamoto, T., Nonaka, S., & Katada, A. (1997).
Control of respiratory
Bouhuys, A., Mead, J., Procter, D.F., & Stevens, K.N. (1968). Pressure-flow
muscles during speech and vocalization. In A.D. Miller, A.L. Bianchi, & B.P
events during singing. Annals of the New York Academy of Science, 155, 165-176.
Bishop (Eds.), Neural Control of the Respiratory Muscles (pp. 249-258).
Boca
Raton, FL: CRC Press. Cotes, J.E. (1979).
Lung Function, (4th Ed).
Oxford, United Kingdom:
Blackwell Scientific.
Sundberg, J. (1987). Breathing.
In The Science of the Singing Voice.
DeKalb,
Illinois: Northern Illinois University Press. Dickson, D.R., & Maue-Dickson, W. (1982). Anatomical and Physiological Bases
of Speech. Boston: Little, Brown.
Sundberg, J. (1993). Breathing behavior during singing, National Associa
tion of Teachers of Singing Journal, 49(3), 4-9, 49-51. Fried, R., & Grimaldi, J. (1993).
The Psychology and Physiology of Breathing.
New York: Plenum.
Sundberg, J., Leanderson, R., von Euler, C. & Knutsson, E. (1991). Influence of body posture and lung volume on subglottal pressure control during
Gould, W.J. (1977). The effect of voice training on lung volumes in singers
singing. Journal of Voice, 5(4), 283-291.
and the possible relationship to the damping factor of Pressman. Journal of Research in Singing, 1, 3-15.
Titze, I.R. (1994). Fluid flow in respiratory airways (breathing). In Titze, I.R.
Principles of Voice Production (pp. 53-79), Needham Heights, MA: Allyn & Ba
Greenberg, S.D. (1983). The lungs and their response to disease. Resident
con.
Staff Physician, 29, 28-35.
Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Human Physiology: The Griffin, B., Woo, P, Colton, R., Casper, J., & Brewer, D. (1995). Physiological
Mechanisms of Body Functions (6th Ed.). New York: McGraw-Hill.
characteristics of the supported singing voice: A preliminary study. Journal
of Voice, 9(1), 45-56.
Watson, P.J., Hoit, J.D., Lansing, R.W. & Hixon, T.J. (1989).
Abdominal
muscle activity during classical singing. Journal of Voice, 3(1), 24-31.
Harper, R.M. (1997). Higher brain areas involved in respiratory control. In A.D. Miller, A.L. Bianchi, & B.P Bishop (Eds.), Neural Control of the Respira
West, J.B. (1990). Respiratory Physiology: The Essentials (4th ed.).
tory Muscles (pp. 107-117). Boca Raton, FL: CRC Press.
Williams & Wilkins.
Hilaire, G., & Monteau, R. (1997). Brainstem and spinal control of respira
Wyke, B. (1974).
tory muscles during breathing. In A.D. Miller, A.L. Bianchi, & B.P Bishop
University Press.
Ventilitory and Phonatory Control System.
Baltimore:
London: Oxford
(Eds.), Neural Control of the Respiratory Muscles (pp. 91-105). Boca Raton, FL: CRC Press.
creating
breathflow
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chapter 6 what your larynx is made of Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
he primary function of your larynx (pronounced
T
can't see or touch the interior moving parts of your larynx. You can't even sense their spatial location. No one can.
lair-rinks) is to help keep you alive. It protects the delicate tissues of your lungs. When even tiny bits The human larynx does not have sensory nerve networks of anything touch the tissue at the gateway to your larynx, that "report" spatial location and movement into conscious
some very touch-sensitive nerves ignite a powerful auto matic reflex action that closes your vocal folds tightly and
awareness. Your hands have an abundance of such nerves, but not your larynx. Learning how to "play" your larynx
starts you coughing, as when you swallow something "down
with skill is like learning how to play guitar, piano, or tuba
the wrong way". Sound-making is another survival function.
without being able to see, touch, or sense the spatial loca tion and movement of your hands. You can do it, but it
Loud
sounds can scare away threatening predators, and crying indicates hunger, distress, or pain, and can restore emo tional equilibrium. Such sound-makings are not learned. They are high-speed sensorimotor protective bodymind programs. Yours were "connected-up" during your prena tal development. Secondary functions of your larynx include making a large array of sounds for communication in speech and singing. Speech-making and vocal music-making are bodymind programs that were "connected-up" after you were born. When you were a child, you learned most of your speaking and singing coordinations by hearing, see ing, and sensing other people doing them, and then taking the sensorimotor "target practice" that enabled your neural network programs to form (see Book I, Chapters 3, 7, and
9). You cannot consciously feel the opening and closing of your vocal folds, or their shortening or lengthening. You
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takes time, persistence, and patience. The skin and muscles near your larynx (external lar
ynx muscles, for instance) do have general innervation that enables—to some degree— conscious awareness of spatial orientation, extent of movement, intensity of muscle con
traction, and so forth. Blind people use kinesthetic and auditory feedback, and deaf people use kinesthetic and vi sual feedback, to learn how to sing and to play instru ments. You have to rely primarily on the same sources of feedback when you learn efficient speaking and singing skills.
Auditory feedback includes your perceptions of the accuracy of pitches, rhythms, and vocal volumes, and the sound qualities that your voice has produced, compared to an actual or remembered model. Kinesthetic feedback includes your perceived sensations of different vibratory intensities, of greater or lesser muscle effort, and of any pressure in the parts of your body that are engaged in producing vocal self-expression. Visual feedback also can
be very helpful in developing voice skills, especially when mirrors and videotapes are used for self-observation, or when observing other people as they speak and sing. Vi sual feedback helps you detect signs of efficient and ineffi cient skills (see Book I, Chapters 6, 7, and 9 for details).
The Major Scaffolding that Holds Your Larynx Together Your larynx is suspended inside your neck. Its skeletal scaffolding is composed of a bone, and several cartilages. Your larynx's "suspension system" is made up of ligaments and muscles that hold the scaffolding together. It prima rily hangs from the only bone in your neck other than
your spine—your hyoid bone. It is located immediately above the main larynx structure (see Figure II-6-1/ABCD).
you chin and neck meet. If you've done that, you are holding onto the skin that covers the bone from which your larynx is suspended-your hyoid bone. Move your thumb and finger downward and feel around the somewhat large, solid cartilage that forms a main "frame" for your larynx. (2) Place the fingertips of your right hand's first three fingers onto the right side of your larynx ridge, and your left hand's first three fingertips on the left side of your larynx ridge. Now, really tense up your neck muscles and use your hands to try moving your larynx from side to side. (3) Finally, release your neck muscles completely. Can you easily move your larynx from side to side now?
Your hyoid bone is horizontally positioned and the front of its crescent-like shape forms the top of your neck's
Do this: (1) Place an index finger on the front of your chin. Move that finger down and then backward to trace the center of your chin-jaw. Go straight to the spot in the center of your neck where your chin ends and your neck begins. From that point downward, trace to the base of your neck. Notice the vertical ridge in the center of your
vertical ridge. It is suspended in your neck by various muscles and ligaments that hold it in place, and your larynx's mainframe cartilages are suspended below it. Your tongue root also is attached to your hyoid, but extends upward into your mouth.
neck? Place your index finger and its opposing thumb on the two sides of that vertical neck ridge, but up at the very top of the ridge where
Figure II-6-1: The cartilage and bone scaffolding of the larynx. (A) is a front view. (B) is a
rear view. (C) is a side view. (D) is a view of one-half a larynx, an interior cutaway side view. (E-right) is a view of cricoid and arytenoid attachment. [© Copyright 1964, CIBAGEIGY Corporation. Reprinted with permission from Clinical Symposia, illustrated by
Frank H. Netter, MD. All rights reserved.]
what
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larynx
is
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357
Your vocal folds are housed inside your thyroid car tilage (see Figures II-6-1/ABCD). Its solid construction shields your vocal folds in the front and on the sides, so you could call it your shield cartilage. The backside of your thyroid cartilage is open but your spine is nearby for protection from that direction. The underside of your thy
roid cartilage is attached to another mainframe cartilage, the cricoid (see Figures II-6-1A-E). The cricoid cartilage forms a complete circle and its rear area is noticeably taller than its front area. By itself, it has a shape like that of a signet ring, so you could call it your signet ring cartilage. Your cricoid cartilage is considered to be both the top ring of your windpipe and the base of your larynx. Your two vocal folds are horizontally placed inside your thyroid cartilage, one on the left and one on the right. The front ends of your two vocal folds are adjacent to each other and are attached to the inside-front-center of your thyroid cartilage. They extend backward toward the el
evated signet area of your cricoid cartilage, where their rearward ends are attached onto your right and left arytenoid cartilages (see Figure II-6-1/ABDE). Your arytenoid cartilages sit on top of the back rim of your cricoid cartilage. They can be moved and rotated by mus cular coordinations so that your vocal folds can open for breathing, and close to touch each other for such functions
The Major Internal Structures of Your Larynx Speaking and singing (also swallowing) are carried out
by programmed sensorimotor coordinations that include your neck and head muscles. Both ends of your internal larynx musdes are attached to your larynx cartilages. These muscles carry out the primary sound-making functions of
your voice. Only one end of your external larynx muscles are attached to your larynx cartilages. The other end is attached to some other skeletal part. Some of these muscles can change or anchor the vertical location of your larynx, and some can bind your larynx cartilages so that your
internal larynx muscles are forced into excessive exertion in order to carry out necessary voice functions. Other neck
muscles have no attachment to your larynx cartilages, yet can influence their movement and location. Many of your neck-throat muscles can be used with more contraction energy than necessary and interfere with your optimum
vocal capabilities, or they can be used with insufficient contraction energy so that your vocal capabilities are not wholly realized. They also can be used with optimum efficiency and help you "release" your true vocal capabili ties (this chapter and Chapters 7 through 11 have details; also, see Book V, Chapters 1 through 5).
as voicing and coughing. They could be called your doser
opener cartilages.
Figure II-6-3:
Sectional drawings of the larynx showing the true and false vocal folds and the ventricle that separates them.
(A-left) Side cutaway view. (B-right)
Cross-sectional view from the rear of the neck. [From E. Pernkopf, Atlas der topographischen und angewandten Anatomie des Menschen. Copyright © 1963 by Urban & Fischer
Verlag, Munich. Used with permission.]
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Inside your shield cartilage (thyroid) you have a pair of side-by-side false vocal folds and side-by-side true vo cal folds (see Figure II-6-3; also Color Photo Figure III-l-l and 2). Your true vocal folds are two matched folds of tissue inside your shield cartilage, and they are positioned on the right and left sides of your larynx. They extend from the front to the rear of your larynx and are several times longer than they are wide. When they are normal, viewed from above, and are closed and sustaining a pitch, they form a white midline floor in your larynx (see Color Photo Figure III-1-2). In their at-rest open location, they form a "V shape" (see Color Photo Figure III-1-1). The front end of your vocal folds are fused into one another and are attached onto the midpoint of your thy roid cartilage. Their other ends are separated and attached onto an extension of the opener-closer cartilages (the arytenoids). A top-down view of them (the most com
mon) creates the illusion that they are cord-like and have minimal bulk. The "cords," however, are really the slightly curved upper surfaces of two organs that fold back under
neath their top surfaces, and have some bulk (see Figure II6-3). When you breathe, your two folds are opened into their "V" shape so that air can flow from the upper airway (nose, mouth, and throat) into the lower airway (windpipe, bronchial tubes, and lungs; see Figure II-5-4 and Color Photo Figure III-1-1). When voicing happens, your folds are drawn together at the midline of the larynx. The edges
at which they touch are sometimes called the margins of the vocal folds (see Color Photo Figure III-1-2).
Glottis refers to the spatial area between your true vocal
folds. Your subglottal area is the windpipe-enclosed space below your glottis, and your supraglottal area is the vocal tract space above your glottis. Your glottis is not an ana
tomical entity, although some people use the word as a synonym for the vocal folds. Do you "open and close your glottis", or do you open and close your vocal folds? The term "glottal attack" is a misnomer. Of course, if space can attack itself, then "glottal attack" can be a legitimate expression.
Figure II-6-4: External laryngeal muscles.[© Copyright 1964, CIBA-GEIGY Corporation. Reprinted with permission from Clinical Symposia, illustrated by Frank H. Netter, MD. All rights reserved.]
what
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larynx
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359
Your false vocal folds also are two "matched" folds of
tissue (see Figure II-6-3). In a top-down view during voic ing, your false folds are just above your true vocal folds but they are more recessed to the left and right of your true folds (Color Photo Figures III-l-l and 2). There is a small bay-like chamber that separates your true and false folds, named the sinuses or ventricles of Morgagni, or simply, the ventricles (see Figure II-6-3). Your false folds are part of an anatomical structure that is named the aryepiglottic sphincter (see Chapter 12 for details). That sphincter can close substantially over your vocal folds (Color Photo Fig
ure III-1-3). Your false folds are not nearly as versatile as your true folds. The false folds are not involved directly in efficient voicing. During overly effortful speaking and sing ing, coughing, strong whispering, throat clearing, and gut
The Major External Muscles of Your Larynx Your external larynx muscles can influence your vo cal functions and sound qualities by (1) raising your lar ynx, (2) lowering your larynx, (3) stabilizing the vertical
location of your larynx, and (4) supporting or interfering with the necessary functions of your internal larynx muscles. There are many possibilities for vocal interference from the external larynx muscles because: 1. there are so many external muscles, and 2. sensory reception for conscious individual muscle selection and isolated kinesthetic feedback is minuscule.
tural sounds such as grunting or the rough sound made popular by the singing of Louis Armstrong, your false folds
One of the fundamental skills of physically efficient speaking and singing is learning how to release the unnec
squeeze rather tightly, rub together, or actually go into gross ripple-waving motions themselves. When making those
essary external larynx muscles (Chapters 7 and 12 have details).
kinds of sounds, your false folds often press down onto your true folds to inhibit normal ripple-waving of your
true folds. Table II-6-1.
Average Vocal Fold Lengths During Life-span (in millimeters; data from Ballenger, 1969, p. 275) Infancy
Total Length
Puberty
Adult Male
Adult Female
6-8
12-15
17.0-23
12.5-17.0
membranous portion
3-4
7-8
11.5-16
8.0-11.5
cartilagenous portion
3-4
5-7
5.5-7
4.5-5.5
About the back two-fifths to one-third of the length of
each true fold is made up of a core of cartilage (the vocal process of the arytenoid cartilage) that is covered with a thin layer of soft tissue. About the front three-fifths to two-thirds is made totally of about four layers of soft tis sue. The at-rest length of the tissue-only portion is about
the diameter of a U.S. one-cent coin in adult males; a U.S.
ten-cent coin in adult females (see Table II-6-1 for a com parison of vocal fold lengths). Figure II-6-5: A side-view illustration of swallowing. [From E. Pernkopf, Atlas der topographischen und angewandten Anatomie desMenschen. Copyright © 1963 by
Urban & Fischer Verlag, Munich. Used with permission.]
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For Those Who Want to Know More... Anatomy of the Larynx and Adjacent Structures That Can Affect Voice Production During the production of vocal sound, the anatomy of the larynx and adjacent structures can be mobilized by the nervous system into behavioral patterns that are named speaking and singing. The location and physical proper ties of laryngeal anatomy are part of the foundational
knowledge that voice educators need in order to become educators of human self-expression. The scaffolding. At its superior rim, the thyroid car
tilage is connected to the hyoid bone by the thyrohyoid ligament (see Figures II-6-1A-D). Its top is curved in a horseshoe-like shape, similarly to the hyoid bone, but its superior-to-inferior height is much greater than the hyoid.
Figures II-6-1A-D are drawings of a male adult larynx. The size and shape of the thyroid in postpubescent men is different from that of postpubescent women (Book IV Chap
ter 2, has details). The thyroid cartilage forms a kind of
anterior and lateral protective shield around the front and sides of the vocal folds. Its lateral side-plates are called its laminae. It is open at its posterior aspect, and the supe
rior cornu and inferior cornu (horns) form its posterior borders. At its inferior aspect, it is fastened in three main
places to the next lower laryngeal cartilage, the cricoid cartilage. The left and right inferior horns of the thyroid cartilage are fastened to the rear sides of the cricoid carti lage by the cricothyroid joint, and in the central anterior area by the cricothyroid ligament. The cricoid cartilage forms a complete circle, and its shape is similar to a signet ring, with the larger-sized "setting" area of the ring located at the posterior of the larynx (see Figure II-6-1). The cri coid cartilage also functions as the top ring of the trachea. The trachea is the tube that is located just below the vocal folds, at the top of the respiratory system's lower airway. Attached to the superior rim of the cricoid cartilage's rear area are a matched pair of cartilages called the arytenoid cartilages (see Figure II-6-1/ABDE). They may be thought of as having a central core from which three projections extend. When the arytenoid cartilages are in their at-rest position, the apex of each cartilage projects superiorly from the core. The muscular processes extend laterally from the core (to the body's left on the left arytenoid; to the body's right on the right arytenoid). The vocal processes extend anteriorly. The posterior ends of the left and right vocal folds are attached to the left and
Figure II-6-6: (A) Cross section of the membranous portion of a vocal fold. (B) Drawing of vocal fold tissue layers. [From Hirano, M. (1975). Phonosurgery: Basic
and clinical investigations. Otologia (Fukuoka), 21, 239-442. Used with permission.]
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right vocal processes. Most of the muscles that slide and
rotate the arytenoid cartilages into open and closed posi tions are attached to the muscular processes. Most commonly the epiglottis is a shoehorn-like car tilage, and it is vertically positioned with its inferior end attached to the thyroid cartilage's anterior midline, just be low its superior rim (see Figures II-6-1 and 3). In some people, it has a shape that is roughly similar to an upside down version of the Greek letter "omega" [Ω]. During swal lowing, the tongue pushes the epiglottis backward, meeting the raised larynx, to seal off the lower airway. Food or liquids are thereby channeled to the esophagus (see Figure
II-6-5). The esophagus is a tube that is immediately poste rior to the larynx and the trachea. It leads to the stomach, of course. There are two entry channels into the esopha gus that are located to the left-rear and right-rear of the larynx, the piriform sinuses (visible in Color Photo Fig ures III-1-6 and 7; partially visible in III-1-2). When swal lowed, food or water in the mouth usually is divided into two halves, and one half goes down each piriform sinus. The two halves then mesh together just below the larynx. The piriform sinuses are part of the upper esophageal sphincter that begins the progressive peristaltic muscle
action that moves food down the esophagus. It is one of the barriers that normally prevents stomach contents from moving back through the esophagus and into the larynx and pharynx when we are lying down (Book III, Chapter 3
has details).
Table II-6-2.
Three Common Labeling Schemes Used for the Layered Microarchitecture of the Vocal Folds
The vocal folds. Both vocal folds have a cartilagenous portion (posterior two-fifths of the length) and a mem branous portion. The vocal processes of the two arytenoid
cartilages are "wedged" into the posterior two-fifths of the two folds making them somewhat rigid. Well formed, dense elastic tissues, called the posterior macula flava, connect the vocal processes to the membranous portion of the
folds. The membranous portion—the anterior three-fifths of their length—is composed of two macroarchitectural parts
(see Figure II-6-6): (l)a core of muscle tissue commonly named the body, and (2) the body's cover, composed of multilayered, non-muscle tissue. The anterior end of the membranous portion is connected to the thyroid cartilage by the anterior macula flava (Hirano, 1975; Hirano & Kakita, 1985; Hirano, et al., 1987; Hirano & Sato, 1993). Three labeling schemes are commonly used by voice pro fessionals when referring to vocal fold microarchitecture (see Table II-6-2). The membranous portion of the vocal folds may be described as having both compliant qualities (ability of matter to be displaced from an at-rest condition) and elas tic qualities (ability of matter to regain an at-rest condi tion after being displaced). Both of these qualities are ac tive during voicing. These qualities are affected by the de gree to which they are hydrated (Chapter 7, and Book III, Chapter 12 have details). The paired thyroarytenoid muscles are made up of two distinguishable portions. The thyrovocalis portion forms the actual body of the folds and is nearest the mid line of the body. Thyrovocalis fibers are the most dense tissue in the folds. The thyromuscularis portion extends laterally away from the vocal folds and rises superiorly within the larynx (see Figure II-6-3). During voicing, the two portions influence the movement and the configura tion of the vocal folds in different ways (Sundberg, 1987;
Titze, 1994). The vocal fold epithelium is the outermost tissue bor der of the vocal folds and is about .05 to .1 mm thick
(Hirano, 1977). Like other skin tissue, its outer surface is exposed to breathflow air and can make contact with any thing that impinges or attaches on it. Its inner surface is
attached to the basement membrane. The epithelium has a stratified squamous cellular structure, but is unique in that
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the cells form microridges that increase cell-to-cell adhe
sion on the epithelial surface. Like most cells in the body, epithelial cells die, are eliminated from the body, and are
replaced with new cells. The rest of the vocal fold cover does not have a cellular structure (Hammond, 1995). The basement membrane zone (Catten, et al., 1996; Gray, et al., 1992; Gray, et al., 1994) has been seen with an electron microscope in magnification levels of 10,000 to
50,000 times actual size. The basement membrane tethers the epithelium to the superficial layer of the lamina pro pria. It is highly organized into outer and inner bands of
anchoring fibers and collagen fibers plus other proteins. Collagen is a fibrous protein that is high in tensile strength. Collagen fibers of the superficial layer of the lamina pro
pria are looped through the curved anchoring fibers of the basement membrane. The lamina propria is not organized cellular tissue. It does contain some cells called fibroblasts, some capillaries, a few sensory nerves, and cells of the immune system, but mostly it consists of three layers of fluidlike extracellular matrix material (Alberts, et al., 1994; Catten, et al., 1996; Hammond, 1995; Titze, 1994). The superficial layer of the lamina propria (some times called Reinke's space) is just beneath the basement membrane and is about .5 mm thick at the midpoint of the folds (Hirano, et al., 1981). It is minimally dense and highly compliant when it is in good health. It is made up of loosely organized elastin, few collagen fibers, and hyalu
ronic acid, among other contents, and is analogous to semi
fluid that is encased by a very thin-skinned balloon. Dur ing normal voicing, pressurized flowing air from the lungs always induces very rapid wave motions in this layer. It waves less easily when filled with excess fluid (swelling).
The epithelium and the superficial layer of the lamina pro
pria—joined by the basement membrane—constitute the vocal fold mucosa. The intermediate layer contains the highest elastin content of all the layers (Hammond, et al., 1997). There are more collagen fibers than the superficial layer, but they are more uniformly organized in the anterior-to-posterior
length of the folds. This layer, therefore, is more resistant to elongation compared to the superficial layer. This layer also contains fibroblast cells that can form scar tissue should
it be invaded during surgery (Gray, et al., 1994; Titze, 1994). The deep layer is extensively made up of collagen fi bers that are very resistant to elongation. They also are uniformly organized in the anterior-to-posterior length of the folds. This layer, therefore, is the least compliant of all, comparable to cotton thread (Titze, 1994). The intermediate and deep layers of the lamina pro pria are regarded as the vocal ligament. Together, they are about 1 to 2 mm thick (Hirano, et al., 1981). These layers become progressively dense and contain greater concen trations of fibrous collagen and elastin proteins and other extracellular substances. The deeper layers, therefore, have progressively lesser degrees of compliance and are regarded as tissue that forms a transition between the considerably compliant superficial layer and the thyrovocalis muscle. The deep layer bonds with the thyroarytenoid muscle, of course (Catten, et al., 1996; Hammond, 1995; Hirano, 1977; Titze, 1994). Histology (from Greek: histos = tissue; logos = system atic study) is the microscopic study of formerly living tis sue. The Italian anatomist Camillo Golgi and the Spanish neuroanatomist Santiago Ramon y Cajal won the 1906 Nobel prize for revolutionizing the study of tissue. They developed methods of staining very thin slices of tissue and studying them under a microscope. Various chemical compounds, when applied to tissue samples, will react with some cells and tissue components but not others. Different chemicals produce stains with different types of cells and other microscopic-sized tissue components such as col lagen and elastin. Stained cells and tissue components can be seen more clearly under a microscope and the organi zation and interrelationships of cellular structures within a sample can be seen and analyzed. In that way, the microarchitecture of living tissues, organs, and systems can be observed and described. Figure II-6-6A is an example of the histological staining of a slice of human vocal fold tissue. External laryngeal muscles. Muscles that can influ ence the spatial location of the larynx and/or the activity of its internal muscles are referred to as external laryngeal muscles (Vilkman, et al., 1996; Zemlin, 1988). They com monly are grouped as the suprahyoid and the infrahyoid muscles, but there are other external laryngeal muscles that can influence its functions (see Figures II-6-4 and 7; Chap-
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1. stylohyoid: styloid process of the skull's temporal bone to the hyoid bone—pulls the thyroid up and back; 2. digastric: posterior belly is attached to the mastoid process of the temporal bone, then passes through a ten don that is attached to the hyoid bone, and its anterior belly is attached to the lower border of the mandible—can raise the hyoid or lower the mandible; 3. mylohyoid: a sheet of muscle that arises from the entire lower rim of the mandible and inserts on a central tendon that is attached to the hyoid bone—can raise the hyoid or lower the mandible; 4. hyoglossus: arises from the upper rim of the hy oid and spreads into the muscles at the root of the tongue-raising the tongue raises the hyoid; 5. genioglossus: largest tongue muscle, arises from the angle of the mandible and nearly all of its fibers spread to form a considerable portion of the tongue's underside-can raise the hyoid or lower the mandible; 6. geniohyoid: arises from the center of the mandible and attaches to the hyoid—can raise the hyoid or lower the mandible.
Figure II-6-7:
External laryngeal muscles. [From Daniloff, Schuckers, & Feth, The
Physiology ofSpeech and Hearing. Copyright© 1980 by Allyn and Bacon. Reprinted by permission.]
One end of the paired infrahyoid muscles is attached directly or indirectly to the hyoid bone and the other end is attached to locations below the hyoid. They mostly ex ert a lowering influence on the larynx and hyoid bone. When they are unnecessarily engaged during speaking or singing, they can contribute to a common interference with
ter 12 has details of their influence on shaping the vocal tract, see Figure II-12-8).
One end of the suprahyoid muscles is attached di rectly or indirectly to the hyoid bone and the other end is attached to locations above the hyoid. They mostly exert a raising influence on the hyoid bone and larynx. Some of them help raise the larynx during swallowing. When they are unnecessarily engaged during speaking or singing, they contribute to a common interference with the internal la
ryngeal muscles that may be characterized as a "reach up and squeeze" coordination. This coordination is seen com monly when inexperienced singers perform so-called high pitches (Chapters 7 and 12 have details). The primary su prahyoid muscles are:
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the internal laryngeal muscles that may be characterized as
a "reach down and squeeze" coordination, especially when singing so-called low pitches. The primary ones are: 1. sternohyoid: straplike appearance and arises from the sternum and attaches to the hyoid bone—lowers the hyoid bone; 2. sternothyroid: straplike appearance and arises from the sternum and attaches to the angle of the thyroid carti lage-lowers the larynx; 3. thyrohyoid: straplike appearance and arises from the angle of the thyroid cartilage and attaches to the hyoid bone—lowers the hyoid bone or raises the larynx, de pending on which attachment structure is more firmly sta bilized;
4. omohyoid: straplike appearance with two long bellies separated by a tendonous intersection; arises from the upper border of the shoulder's scapulae, courses medi ally to its tendon at the base of the neck, second belly trav els vertically and attaches to the hyoid bone—lowers the hyoid bone.
References and Selected Bibliography Alberts, B., Bray, D., Lewis, J., Raff, M., Roberts, D., & Watson, J.D. (1994). Cell junctions, cell adhesion, and the extracellular matrix. In Molecular Biol
ogy of the Cell (3rd Ed., pp. 971-995). New York: Garland. Ballenger, J.J. (1969).
Diseases of the Nose, Throat and Ear.
Philadelphia: Lea
and Febiger.
Other muscles that are external to the larynx but influ ence its location or function are:
1. styloglossus: styloid process of the temporal bone downward and forward to mesh with the hyoglossus muscle—raises and pulls back the body of the tongue; 2. palatoglossus and palatopharyngeal complex: both arise from the soft palate at the back of the mouth and attach to the sides of the tongue and the inferior pha
Bless, D.M., & Abbs, J.H. (Eds.), (1983).
Vocal Fold Physiology: Contemporary
Research and Clinical Issues. San Diego: College-Hill Press. Catten, M., Gray, S., Hammond, T., Zhou, R., & Hammond, E. (1996). An analysis of cellular location and concentration in vocal fold lamina pro
pria. National Center for Voice and Speech Status and Progress Report, 9, 1-6. Dickson, D.R., & Maue-Dickson, W. (1982). Anatomical and Physiological Bases
of Speech. Boston: Little, Brown. Gray, S.D., Hirano, M., & Sato, K. (1992). Molecular and cellular structure
of the vocal fold.
In I.R. Titze (Ed.), Vocal Fold Physiology: Frontiers in Basic
ryngeal constrictor muscle, respectively; they form the anterior and posterior faucial pillars, respectively—can raise
Science. San Diego: Singular
the tongue or lower the soft palate;
ture of anchoring fibers in normal vocal fold basement membrane zone.
Gray, S.D., Pignatari, S.S.N., & Harding, P. (1994). Morphologic ultrastruc
Journal of Voice, 8(1), 48-52.
3. cricopharyngeal: arises from the cricoid cartilage
and integrates with the inferior pharyngeal constrictor muscle—can assist in lengthening the vocal folds at ex tremely high or low pitches in singing; The primary anchors or stabilizers of the larynx, especially during more energetic and/or "high" pitch singing, are:
1. 2.
raising influence: thyrohyoids lowering influence: sternothyroids
Hammond, T.H., & Titze, I. (1995). Voice research: The lamina propria of the vocal folds. Journal of Singing, 52(2), 41-44.
Hammond, T.H., Zhou, R., Hammond, E.H., Pawlak, A., & Gray, S.D. (1997). The intermediate layer: A morphologic study of the elastin and hyaluronic
acid constituents of normal human vocal folds. Journal of Voice, 11(1), 5966.
Hast, M.H. (1983).
Comparative anatomy of the larynx: Evolution and
function. In I.R. Titze & R.C. Scherer (Eds.), Vocal Fold Physiology: Biomechan
ics, Acoustics andPhonatory Control (pp. 3-14). Denver: Denver Center for the Performing Arts.
When these two pairs of muscles simultaneously con tract, they have an agonist-antagonist relationship to each
other. Some nearby muscles also may contract to support their action. The larynx stabilizing muscles can position the larynx in a variety of vertical locations.
Hirano, M. (1975). Phonosurgery: Basic and clinical investigations. Otologia (Fukuoka), 21, 239-442.
Hirano, M. (1977). Structure and vibratory behavior of the vocal folds. In M. Sawashima & S.C. Franklin (Eds.), Dynamic Aspects of Speech Production (pp. 13-30). Tokyo: University of Tokyo Press.
Hirano, M., Kirchner, J., & Bless, D. (Eds.) (1987). Neurolaryngology. Boston: Little, Brown.
[Catalogs from which to order plastic models of laryngeal and vocal tract anatomy can be obtained in the USA from: Anatomical Chart and Model Co., (800) 621-7500 Carolina Biological Supply Co., (800) 334-5551 Kilgore International, Inc., (800) 892-9999]
Hirano, M., & Kakita, Y. (1985). Cover-body theory of vocal cord vibra tion. In R.G. Daniloff (Ed.), Speech Science (pp. 1-46). San Diego: Singular/ College Hill Press.
Hirano, M., Kurita, S., & Nakashima, T. (1981). The structure of the vocal
folds. In K.N. Stevens & M. Hirano (Eds.), VocalFoldPhysiology (pp. 33-41). Tokyo: University of Tokyo Press.
Hirano, M., & Sato, K. (1993).
Histological Color Atlas of the Human Larynx.
San Diego: Singular Publishing.
Hirano, M., Yoshida, T., Kurita, S., Kiyokawa, K., Sato, K., & Tateishi, O. (1987). Anatomy and behavior of the vocal process. In T. Baer, C. Sasaki,
& K. Harris (Eds.), Vocal Fold Physiology: Laryngeal Function in Phonation and
Respiration (pp. 3-13). San Diego: Singular/College-Hill.
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Kahane, J.C. (1983).
Postnatal development and aging of the human lar
ynx. Seminar in Speech and Language, 4, 189-203. Kakita, Y, Hirano, M., & Ohmaru, K. (1981).
Physical properties of the
vocal fold tissue: Measurements on excised larynges. In K.N. Stevens &
M. Hirano (Eds.), Vocal Fold Physiology (pp. 377-396). Tokyo: University of Tokyo Press.
Negus, V.E. (1962). The Comparative Anatomy and Physiology of the Larynx. New
York: Hafner. Pernkopf, E. (1963). Atlas of Topographical and Applied Human Anatomy (Vol. I,
Head and Neck). Munich, Germany: Urban & Fischer. [English transla tion published by W.B. Saunders, Philadelphia.] Sataloff, R.T. (1991). Clinical anatomy and physiology of the voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 7-18). New York: Raven Press.
Stevens, K.N., & Hirano, M. (Eds.) (1981).
Vocal Fold Physiology
Tokyo:
University of Tokyo Press.
Strong, M.S., & Vaughan, C.W. (1981). The morphology of the phonatory organs and their neural control. In K.N. Stevens & M. Hirano (Eds.), Vocal
Fold Physiology (pp. 13-22). Tokyo: University of Tokyo Press.
Sundberg, J. (1987).
The voice organ.
In J. Sundberg, The Science of the
Singing Voice (pp. 6-24). San Diego: Singular Press. Titze, I. R. (1994). Basic anatomy of the larynx. In Principles of Voice Produc
tion (pp. 1-22). Needham Heights, MA: Allyn & Bacon.
Titze, I.R. (Ed.), (1992). Vocal Fold Physiology: Frontiers in Basic Science. San Di
ego: Singular
Zemlin, W.R. (1988). Speech and Hearing Science (3rd Ed.). Englewood Cliffs, NJ: Prentice Hall.
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chapter 7 what your larynx does when vocal sounds are created Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
inguistic vocalization muscles, including your
L
internal larynx muscles, are operated by your nervous system when you speak and sing. During speak
Opening and Closing Your Vocal Folds
ing and singing, billions of motor and sensory neurons are During at-rest tidal breathing, your vocal folds are in their at-rest, V-shaped, open location to permit air into activated throughout your body. In the motor cortex of and out of your lungs. When you need a fairly large vol your brain, more neurons are devoted to operating lin ume of air in your lungs, your vocal folds open wider than guistic vocalizing and hand functions than to all the other their at-rest V-shape. When you are conversing with oth human activities put together (see Figure II-7-3A). ers or singing a song, most of your inhalations will need to When you sing, pitch-contour-producing programs in happen very quickly and you will need larger volumes of several brain areas, including your cerebral cortex's pre air than for tidal breathing. Your vocal fold opener muscles frontal right hemisphere, cooperate with timing- and lan guage-producing areas in your prefrontal cortex's left hemi
will engage so you can accomplish those needs (see Figure
sphere, and with auditory-visual-kinesthetic memory pro
II-7-1 A; following page). Just before you make a vocal sound, your two vocal folds close toward each other (see Figure II-7-1B and C). Then, pressurized air can flow up from your lungs and
grams, to plan the intended coordinations. Sequenced sig nals are then sent to: (1) motor sequencing areas, (2) motor execution areas including the primary motor cortex. From
there, they go through: (1) the motor areas of your brainstem, (2) through relevant cranial and spinal nerves, and (3) out to the muscles that activate the actual coordinations. Sen
sory networks are activated to provide conscious and otherthan-conscious feedback which is used to adjust the ongo ing motor programs when possible, and for updating
memories. Most of these events occur in milliseconds. Con scious awareness of the details of these processes is not possible (Book I, Chapters 3, 6, and 7 have some details).
initiate complex ripple-waves in their surface tissue layers (details later). Rippling folds create chain reaction sound
waves that travel through your vocal tract and radiate away from your lips. During voicing, when you close your vo cal folds incompletely, some of the air causes your folds to
ripple-wave, but some of it goes into a multi-current tur bulent airflow that creates noise. The simultaneous com bination of vocal tone and air turbulence noise is com monly described as breathy (Chapter 10 has details). Ab normal vocal fold tissue creates tone mixed with a differ ent kind of air turbulence noise called hoarseness, especially at softer volume and higher pitch levels (Book III, Chapter what
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Action of posterior cricoarytenoid muscles
Action of lateral cricoarytenoid muscles
Action of Interarytenoid Muscle
Figure II-7-1: internal larynx muscles that produce vocal fold closing (adduction) and opening (abduction). (A-left) posterior cricoarytenoid muscles; (B-center) lateral cricoarytenoid muscles; (C-right) interarytenoid muscle. [© Copyright 1964, CIBA-GEIGY Corporation. Reprinted with permission from Clinical Symposia, illustrated by Frank H. Netter, MD. All rights reserved.]
1 has details). Complete vocal fold closure results in a complete enough seal of your vocal folds so that air tur bulence noise is not created and your voice is said to have a firm and clear sound. If you close your vocal folds more intensely than is necessary to produce clear sound, how ever, the resulting sound quality may be called pressed, edgy, tense, constricted, strained, strident, or harsh (see Figure II-10-2 in Chapter 10, and Color Photo Figure III-1-4).
Making Ripple-waves and Sound Waves With Your Vocal Folds Closing your vocal folds and pressurizing the air in
your lungs can be compared to the effect of a nozzle on water that is moving through a garden hose. A constant behind-the-nozzle water pressure is created by a pump
somewhere in the water system. In your voice, behind-the vocal-folds air pressure is created by your respiratory pump (Chapter 5 has details). When your vocal folds are forcefully sealed shut, no air moves. When they are just closed, how ever, and your lung-air pressure is at an optimum level, then your breath-air begins to flow between your folds
Particularly when you sustain vocal sound in your lower pitch range, your ripple-waves begin on the under
side of your vocal folds, below your glottis, and move
upward and then across their topside (see Figures II-7-2
and II-ll-l, also Color Photo Figure III-1-5). If you were able to look down on top of your closed vocal folds and see them rippling in slow motion, you would see wave after wave of loose tissue moving from their point of touch
ing and traveling over their topside. You also would see the midline edges of your closed folds separate, then touch, then separate, then touch, and so on. When they are touch ing, the crest of a ripple-wave cycle is passing from under neath to topside; when they separate, the low point of a ripple-wave cycle is happening. When your larynx muscles and vocal folds are (1) healthy, (2) coordinated with rea sonable efficiency, and (3) reasonably conditioned, the vo cal fold closing motion also proceeds from front to back. The waving motions and the front-to-back closing-open
ing movements are visible when the vocal folds are ob served in slow motion with videostroboscopic equipment (described in the For Those Who Want to Know More... section).
and their surface layer tissues begin to ripple-wave.
Your two vocal folds are almost matched pairs, but
not quite. Their dimensions are just slightly different When your breathflow first sets them into ripple-waving, the tim
ing of their motions are nearly synchronized, but not quite. Your flowing breath-air entrains them into nearly synchro nized motion, and each ripple wave creates a new vocal sound wave.
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Do this: (1) Speak or sing on a single pitch: "ha, ha, ha, ha, ha." Can you imagine what your vocal folds do when they make first the /h/ and then the /ah/ sounds?
(2) Tightly seal your vocal folds to compress the air in your lungs like you do when you get ready to lift something heavy Can you make a series of /ah/ vowels and start each one from that very sealed vocal fold closure? (3) Now, can you make another series of /ah/ vowels this way: Imagine that you are going to start each vowel with an /h/ sound, but you fool the world and start with just the vowel sound? [avoid starting with either the /h/ sound or that tight vocal fold sound].
When the air started through, the whisper sound of the /h/ consonant happened, and then your folds quickly moved completely together to initiate the ripple-waves. The re
sulting sound waves were "shaped" into an /ah/ vowel by your vocal tract. When some inexperienced singers must sing two or more pitches on the same vowel, they often distinguish the pitches by starting each of them with a slight /h/ sound. 2. You drew your vocal folds forcefully together to seal them tightly, and simultaneously built up air pressure underneath them by strongly compressing your lungs. When you started sound, the air suddenly burst through
your vocal folds and they collided with strong force dur ing their first 75 to 100 ripple-waves, so that they initiated sound waves abruptly and loudly. When inexperienced singers start singing a passage of music on a word that begins with a vowel, and they want to make sure they start the vowel and pitch exactly at the right time in a piece of music, they sometimes initiate sound with a tense "pop" of sound. Many singing and speech teachers call this way of initiating sound a glottal attack. If used extensively in speech and/or singing, it can contribute to a voice disorder. If used sparingly and for expressive or voice skill develop
ment reasons, it is perfectly safe. Some languages use this sound as a consonant 3. You simultaneously engaged breathflow and vocal fold closure to initiate vocal fold rippling. Initiating sound with an imaginary /h/ is one way to begin mastering the coordination, if you haven't learned it already. Skilled, ex pressive singing and speaking uses all three ways to initiate vocal sound.
Influences of Your External Larynx Muscles on Your Larynx Your external larynx muscles can influence your vo Figure II-7-2: Illustration of a vocal fold ripple-wave cycle (cross-section view). [From J. Sundberg (1987), The Science of the Singing Voice. DeKalb, IL: Northern Illinois University
Press.)
cal functions and sound qualities by: 1. raising your larynx;
2. If you successfully explored the vocal coordinations
in the previous Do this, here is how your breathflow and vocal folds initiated ripple-waving:
1. You drew your vocal folds close to each other and air started through them before they were closed completely.
lowering your larynx;
stabilizing the vertical location of your larynx; 4. supporting and participating in necessary functions of your larynx, such as medial compression and the length ening and shortening of your vocal folds; and by 3.
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5. contracting unnecessarily to interfere with the nec essary functions of your internal larynx muscles.
Some of your external larynx muscles (see Figure II-64 and 7) can move your whole larynx up and down in elevator fashion. For instance, when you swallow, your larynx is elevated and then released down. During speak ing and singing, upward movement of your larynx raises the floor of your vocal tract. It becomes shorter and more
narrow at its base and the smaller vocal tract dimensions change the sound quality of your voice. Downward move ment of your larynx lowers the floor of your vocal tract to make it longer and that changes your voice quality in a different way (Chapter 12 has details).
Do this: (1) Raise one arm and extend it straight out in front of you, level with your shoulder, palm up. Now, notice what your arm muscles do as you bring only your forearm toward your head so that eventually it nearly lays on top of your upper arm. (2) Return your forearm to the horizontal position. (3) Next, bring your forearm and hand toward you again, but stop when they are pointing straight up at a 90° angle to your upper arm. Make a fist and then tense all your arm-hand muscles as though you were an adolescent showing off your biceps muscles. Now use your other hand to try to push your tensed forearm back to the horizontal position (but resist the push).
One end of each bicep muscle is attached to the top of your upper arm bone and the other end is attached to the upper end of your forearm bones. If you performed item (1) of the previous Do this, when you contracted your bicep muscle, your forearm was moved toward your up per arm. When you moved your forearm back to its origi nal horizontal position, you had to use your tricep muscle to do so. It also is attached to both arm bones, but on the
underside. These two muscles move your forearm in op posite directions. When you "showed off' your arm muscles, you used your bicep muscle to bring your forearm into place and then contracted both bicep and tricep muscles simultaneously (along with other supporting muscles). The skeletal parts of your arms were then stabilized into a fixed position. 370
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How are the principles of opposite movements and stabilization of skeletal parts related to the influence of your
external larynx muscles on your voice? A necessary function that some of your external muscles perform is to anchor or stabilize the skeletal scaffolding of
your larynx in locations that are favorable to physically efficient coordination of your internal larynx muscles. When your larynx-raising and your larynx-lowering muscles contract cooperatively, then your larynx can be positioned vertically, and stabilized in that vertical loca tion. Of course, they also change the laryngeal location when necessary.
Some of your external muscles participate in fine-tuned adjustments of vocal fold closure and in their lengthening and shortening. For instance, when you sing very highrange pitches, your sternothyroid and cricopharyngeal muscles appear to assist vocal fold lengthening by helping to tilt your thyroid cartilage forward.
Typically, recruitment of external larynx muscles that are unnecessary to a speaking or singing task will interfere with it. This can occur in both trained and untrained speak
ers and singers. For instance, some of your external larynx muscles are interfaced with your tongue-connected muscles. A common interference with necessary voice function oc
curs when certain tongue-connected muscles contract un necessarily to excessively tense it, or arch it, or pull it too far back or down. Typically, the epiglottis is shoved back over the larynx and blocks the flow of the vocal fold's sound waves, and the resulting voice quality sounds "bottled up". Unnecessary contraction of too many of your external larynx muscles can bind your larynx cartilages and con strain the range of motion that can be exerted by your
internal larynx muscles. For instance, several of your ex ternal larynx muscles are attached onto or near your jawto-skull joint (temporomandibular joint). When jaw-joint
muscles are tensed during singing, those muscles that also are attached to your larynx will bind it down to a degree. That constraint typically forces your internal larynx muscles to work harder than necessary to produce pitches and voice qualities in speaking and singing. Learning how to use your external larynx muscles only when they are necessary—otherwise releasing them from
Figure II-7-3 A: Illustration of the areas of the motor cortex from which final movement execution "orders" are sent to the body's muscles. [Reprinted with the permission of
Simon & Schuster from The Cerebral Cortex ofMan by Wilder Penfield and Theodore Rasmussen. Copyright ©1950 Macmillan Publishing Company. Reprinted by permission
of The Gale Group.]
Figure II-7-3C: Illustration of the peripheral motor and sensory innervation of the larynx.
[From Aronson, A. (1980). Clinical Voice Disorders (2nd Ed.). New York: Thieme-Stratton. Used by permission of the Mayo Foundation, Rochester, Minnesota.]
use—is a fundamental skill of expressive singing and speak ing.
For Those Who Want to Know More... Neuromotor and Neurosensory Processes in Voice Activation Reflexive motor functions are initiated by very high speed sensory input, and the circuits are short. Peripheral sensory reception is delivered: (1) to the spinal column which immediately triggers spinal motor nerves with no other central nervous system processing, or (2) to brainstem nuclei which immediately trigger cranial motor nerves with
Figure II-7-3B: Illustration of key speech-voice motor areas in the central nervous system
and their connection to cranial nerve X (vagus) in the peripheral nervous system. [From Professional Voice: The Science and Art of Clinical Care, 2nd edition, by R. T. Sataloff
(Ed.) ©1997. Reprinted with permission of Delmar, a division of Thomson Learning. FAX 800730-2215.]
no other central nervous system processing. Deliberate or learned motor functions are initiated in areas within the frontal lobes of the two cerebral hemispheres, using sen sory and/or memory input for guidance. During learning, the organizing phase of those functions occurs in various what
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areas of the frontal lobes such as the premotor and supple mentary motor areas, which are inter-looped with the basal ganglia, cerebellum, thalamus, the limbic system, and the sensory networks. The execution phase of those functions be gins in the two primary motor cortices and extends down ward through axons that form the corona radiata (see Book I, Chapter 3) and eventually courses through the midbrain and brainstem to the spinal and cranial nerves to target muscles (see Book I, Chapter 3). The reflexive neural net works are entrained by higher brain areas to complete the enactment of learned coordination patterns. The execution
of habitual learned motor functions are triggered within areas of the frontal lobes, but nearly all of the motor coor dinations are enacted subcortically by linked neural networks within the basal ganglia and cerebellum. Both spinal and cranial motor neurons extend their myelinated, largest-diameter axons outward to their target muscles and form their part of the peripheral nervous sys tem (see Book I, Chapter 3). At the surface of a target muscle, each axon divides into multiple terminal branches. Each single terminal branch is attached to one of the many muscle fibers that make up that whole muscle. The multiple termi nal branches that extend from one axon, and all of the muscle fibers that they innervate, are referred to as a mo tor unit (Burke, 1981; Vander, et al., 1994, pp. 315-317). The anatomical point at which an axon terminal branch and a muscle fiber interface is referred to as a neuromuscular
junction. The muscle fibers that are innervated by the ter
minal branches of one neuron are not located adjacent to each other, but are distributed throughout the target muscle.
There are three types of muscle contractile proper ties: (1) degree of generated force (related to muscle strength), (2) degree of contractile speed (related to quickness of re sponse), and (3) degree of endurance (related to central ner vous system or peripheral neuromuscular fatigability). The degree of force that is generated by a single motor unit depends on (1) the size of the neuron and (2) the number of impulses (action potentials) that are generated per sec ond. Usually, larger neurons generate more force and smaller neurons generate less force. More impulses per second gen erate more force. When a motor unit has higher numbers of terminal branches, and therefore innervates more muscle fibers, it is regarded as a large motor unit. Motor units with small numbers of terminal branches and innervated muscle fi bers are regarded as small motor units. Muscles that are involved in relatively coarse motor coordinations (back and legs, for example) are generally large and have rela tively few motor units, and each motor unit may control hundreds to even thousands of muscle fibers. On the other hand, muscles that are capable of participating in intricate, fine, subtle, or delicate motor coordinations (hands, eyes, and larynx for example) tend to be small, and they have numerous motor units that may control only one to a few muscle fibers. The central nervous system can very gradually increase the contractile force of small muscles that have many mo tor units by increasing the number of activated motor units in very small increments. This motor unit activation pro cess is called recruitment of motor units. The CNS also
When a single motor neuron "fires", all of the muscle fibers to which it is attached will contract, so that the number of
can gradually decrease the contractile force of small muscles by decreasing the number of activated motor units in very
motor units that are activated relates to the contractile prop erties of the whole muscle (more later). The four motor unit types are described in Table II-7-1. Each muscle also has the two types of sensory recep tor (affectors). One type detects degrees of contraction inten sity (Golgi tendon organs), and the other detects degrees of stretch or lengthening (muscle spindle stretch receptors). The peripheral end of each sensory neuron's axon is divided into multiple terminals that receive stimulation from muscle or ligament fibers. Each sensory neuron's cell body is lo cated astride its axon (see Book I, chapter 3), and its other end is connected to the spinal or brainstem parts of the CNS.
small increments. Another means by which the CNS can alter the contractile forces of muscles is by increasing or decreasing the frequency with which action potentials course through a muscle's motor units. These variations of motor unit recruitment and action-potential frequency are capable of producing highly intricate coordination patterns
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in multiple agonist-antagonist muscle pairs. When muscles are contracted toward their maximum intensity, the CNS recruits motor units in a specific order (Gordon & Patullo, 1993; Williams, et al., 1987). The slow and fatigue resistant motor unit types (S) are recruited first,
followed by the fast and fatigue resistant types (FR), then the fast and fatigue intermediate types (FInt), and finally the fast and fatigable types (FF). When muscles reduce the intensity of their contracting, the CNS reduces the number
primary fuel. They have a comparatively minimal blood supply and have been referred to as white muscle fibers. Their primary energy source is glucose, used in the form of glycogen. Glycogen is stored in the body through meta
of activated motor units by deactivating them in reverse
bolic processes and can be depleted more rapidly (oxygen is delivered by the respirocardiovascular system and is con
order from FF to FInt, to FR to S. These processes can be
accomplished in very small increments within smaller muscles that have a high ratio of motor units in them. As higher intensity and finer-tuned use is repeated, the meta bolic processing of fast-fatigable glycolytic motor units is converted more and more to fast and fatigue resistant oxi dative processing.
tinually renewable). White, glycolic muscle fibers, there
fore, fatigue faster. More recently, two versions of Type II muscle fiber were labeled as Types IIa and IIb (see Table II-
7-1). Nearly all muscles, including the internal and external
laryngeal muscles, contain all fiber types and all four re lated motor unit types (Vander, et al., 1994. p.327).
Initially, physiologists categorized skeletal muscle fi
bers into two types, according to their speed of contrac tion and the extent of their resistance to fatigue (see Table II-7-1; Vander, et al., 1994, p. 327). Slow-twitch muscle fibers (Type I) contract at slow speeds and also are resis tant to fatigue. They can continue to contract for long peri ods of time and, therefore, require a rich capillary bloodsupply to deliver their primary fuel, oxygen. They have been referred to as red muscle fibers (the dark meat
in chicken, for instance). Fast-twitch muscle fibers (Type II) contract at high speeds and do not use oxygen as their
Table II-7-1 Muscle fiber types combined with motor unit types (see Gordon & Patullo, 1993)
Activation of the Larynx by Neuromotor and Neurosensory Processing Reflexive vocal-motor functions are initiated from the paired nucleus ambiguus areas of the brainstem's me dulla oblongata and pass through the peripheral nervous system's tenth cranial (vagus) nerves (Hollien & Gould, 1990; Webster, 1995, pp. 282-298). Deliberate or learned vocal motor functions are initiated in areas within the frontal lobes of the two cerebral hemispheres, using sen sory and/or memory input for guidance. During learning, the organizing phase of those functions occurs in various
areas of the frontal lobes such as Broca's area in the premotor cortex and the supplementary motor areas that are inter-looped with the basal ganglia, cerebellum, thala
Muscle Fiber Type I:
Slow-speed oxidative fibers (SO) that are highly resistant to fatigue, are small and unable to generate as much force as Type
IIB fibers.
Muscle Fiber Type Ila:
Fast-speed oxidative and glycolytic fibers (FOG) that are moderately resistant to fa tigue and intermediate in size and force generation.
Muscle Fiber Type IIb:
Fast-speed glycolytic fibers (FG) that have low fatigue resistance and tend to be larger and capable of generating greater contrac
tile force.
Motor Unit Type S:
Slow and fatigue resistant (oxidative muscle fibers).
Motor Unit Type FR:
Fast and fatigue resistant (oxidative and
glycolytic muscle fibers).
Motor Unit Type Fint:
Fast and fatigue intermediate (more glyco
lytic than oxidative fibers).
Motor Unit Type FF:
Fast and fatigable (glycolytic muscle fibers).
mus, the limbic system and the sensory networks. The ex ecution phase of those functions begins in the vocalization areas of the two primary motor cortices and extends down ward through axons that form the corona radiata (see Book I, Chapter 3), and eventually through the periaqueductal gray area of the midbrain and brainstem to the nucleus ambiguus (located within the medulla oblongata), and fi nally through the right and left vagus nerves (see Figure II7-3A and Book I, Chapter 3). The reflexive vocal neural networks of the nucleus ambiguus are entrained by higher brain areas to complete the enactment of learned vocal coordination patterns. When learned functions have been repeated a sufficient number of times, the execution of ha bitual learned vocal-motor functions are triggered within areas of the frontal lobes, but nearly all of the motor coor dinations are enacted subcortically by neural networks within the basal ganglia and cerebellum. what
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When the two vagus nerves extend from the brainstem, they are actually made up of a few hundred thousand long axons that are sheathed together. The axons of laryngeal
motor neurons (effectors) extend outward from their cell bodies in the medulla's nucleus ambiguus. They eventually branch off from the main vagus nerve trunk and extend to their target muscles. Each muscle of the larynx also has the two types of sensory receptor fibers (Golgi tendon organs and muscle spindles). Laryngeal sensory neurons extend from the target muscles, as part of the vagus nerves, back into the brainstem where they synapse with central ner vous system sensory neurons in the nucleus ambiguus. From there, sensory signaling is distributed to a variety of processing areas within the brain. The left and right superior laryngeal nerves (SLN)
branch away from the paired vagus nerves to innervate the left and right sides of the larynx (see Figure II-7-5). A
few anatomists believe that these neurons actually are spi nal accessory nerves (cranial nerve XI) that travel with vagus nerves (Nolte, 1993, p. 180; Webster, 1995, p.297). Regard less, the external branches of the SLN only supply motor innervation to the paired cricothyroid muscles, which are the pri maryvocalfold lengtheners. They also supply motor innerva tion for the paired inferior constrictor muscles that influ
ence the size of the lower vocal tract. The internal branches of the SLN supply sensory reception only for the laryngeal mucosa that is immediately above vocal fold level, and for some muscles of the larynx. The left and right recurrent laryngeal nerves (RLN) supply motor innervation for all internal laryngeal muscles except the cricothyroids. That includes the thyroarytenoid muscles which are the primary vocal fold shorteners - and the adductory and abductory muscles that open and close the vocal folds. They also supply sensory reception for the laryngeal
mucosa that is immediately below the vocal fold level, and for some
muscles of the larynx. Genetic endowment provides a greater percentage of Type S motor units and their Type I muscle fibers in most of the external laryngeal muscles. The internal laryngeal muscles have all of the motor unit and muscle fiber types, including a significant number of the S motor units and Type I muscle fibers, but Type FR and FInt motor units and Type IIA fibers are predominant (see Table II-7-1: Bendiksen, et al., 1981; Claasen & Werner, 1992; Cooper, et al., 1993; 374
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Titze, 1994a). The small internal laryngeal muscles are esti mated to have about 100 motor units per muscle. The ca pability, therefore, for high variability in the motor unit recruitment patterns and action potential frequencies is present in laryngeal muscles. That means that laryngeal muscles are capable of a fairly wide range of slow-to-fast speeds and have the capability for extensive, vigorous, and agile use, and considerable re sistance to fatigue when they are activated with optimum efficiency and are well conditioned. In fact, muscles of the larynx are regarded as having the second fastest contrac tion capability in the whole body (Martensson & Skoglund, 1964; eye muscles are fastest). That capability is related to survival functions such as (1) preservation and facilitation of breathing, (2) high-speed, reflexive closing of the airway to protect vulnerable lung tissues, and (3) making loud sounds quickly to frighten predators (a startle response). The realization of both high-speed response and fa tigue resistance in laryngeal muscles depends on the na ture of their neural input. When laryngeal muscles are ac tivated with reasonable frequency, but not very strenu ously over longer time periods, then Type S motor units will become larger and their metabolic capacity changes so that the number of neural impulses (action potentials) that they can generate increases, to some degree. Presumably, then, more protein will be added to the Type I fibers, thus increasing their size. More capillaries will be grown around those fibers to supply bloodflow-delivered oxygen and nu trients in larger amounts. When laryngeal muscles are engaged for shorter bursts of strong, vigorous activity (such as shouting or sung pitches that are high and loud), they develop fast speed capability by adding larger amounts of protein to the Type II muscle fibers, thus increasing their size (bulk). Cellular changes also occur that enable increased metabolic activity. When speakers or singers must activate their laryngeal muscles with strength over longer time periods, then protein is added to the more extensive Type IIa fibers and cellular changes occur to increase both the speed of motor unit response
and resistance to fatigue. Well conditioned laryngeal muscles are a fundamental requisite for skilled, expressive speaking and singing (Saxon & Schneider, 1995).
High-speed laryngeal capability is entrained and re fined by singers who learn how to sing very rapid and wider-interval pitch patterns-the melissmas of Baroque,
jazz, and African-American gospel musics, for instance. The true extent of that capability is realized only when nearby
unnecessary muscles are released from interfering contrac tion. When unnecessary muscles interfere, they force a slow ing of higher-speed laryngeal muscle movement. Capabilities for laryngeal muscle speed and fatigue re sistance change with: 1. morphological age (compare early childhood and ado lescent voice transformation capabilities with mature adult capabilities);
Wyke, 1983b). This feedback may be used to adjust ele ments of ongoing coordination sequences, or to change subsequent sequences so that they may more closely ap proximate a target intention. Auditory feedback and kinesthetic feedback participate significantly in the motor adjustments of trained singers and speakers, but much less so in less-trained singers or speakers (Ward & Burns, 1978) (see Book I, Chapter 6 for review). Most auditory and nearly all kinesthetic feedback is processed outside conscious awareness (implicit perception, see Book I, Chapter 7).
2. extent and manner of use (compare vocally healthy and well trained professional speakers and singers with un
trained, quiet conversationalists); and 3. neuromuscular impairment (neuromuscular disease or injury; Book III, Chapter 6 has details). In the larynx, a voluntary control system has been
identified that initiates vocal fold closing and opening and lengthening and shortening, and monitors their continua tion so that adjustments can be made to match desired vocal intentions (Larson, 1988; Strong & Vaughan, 1981; Webster, 1995; Wyke, 1983a). Neuromuscular motor net works are linked with sensory receptor networks to form
feedback loops to guide vocal coordinations toward ful
filling the bodymind's intentions. Motor networks signal
selected muscles to contract in particular sequences, speeds, and intensities. Laryngeal motor networks also are modified by inner vation from the sympathetic and parasympathetic divi sions of the autonomic nervous system (ANS) (Basterra, et al., 1989; brief review in Book I, Chapter 3). The ANS is prominently influenced by the brain's limbic system, and is part of the emotional motor system. Feeling or emo tional states, therefore, affect vocal function (Graney & Flint, 1993; Holstege, et al., 1996; feelings and emotions are pre sented in Book I, Chapters 7 and 8). Sensory reception networks for one's own voice re ceive feedback about a "running" series of learned vocal coordinations, and report that feedback to "interested" brain
areas for "interpretation." For example, "status reports" are sent to various brain areas about the stretching force ex erted on muscles, degrees of subglottic pressure, and rela
tive positioning of the laryngeal cartilages (Larson, 1988;
Biomechanical and Aerodynamic Activation of Voice Respiratory and laryngeal functions are integrated and interdependent in several ways. The larynx provides pro tection for the lungs. The respiratory system provides oxy gen (O2) and carbon dioxide (CO2) exchange for all body organs and systems. It also provides a streaming airflow that enables laryngeal "noisemaking." Sound production in the larynx is called phonation. Biomechanical func tions produce high-speed vibratory collisions of two jux taposed vocal folds that create the sounds we have come to call voice. This phonatory action initiates sound waves that are then modified by the vocal tract into the language sounds and voice qualities of speaking and singing. When the vocal folds are in their at-rest location, they are open to permit air to pass into and out of the lungs. Gross opening of the vocal folds is called vocal fold ab
duction. When easy voicing stops, elastic recoil helps bring the vocal folds back toward their at-rest open location to
permit immediate easy inhalation. The speed and extent of their opening may be enhanced by contraction of the paired posterior cricoarytenoid (PCA) muscles (Figure II-7-1A). During higher-speed, higher air-volume inhalation-as com monly occurs in speaking and singing, or during high physi cal exertion-the PCA muscles contract to produce even wider separation of the vocal folds.
About 50 to 500 milliseconds before phonation begins (Sundberg, 1987b), vocal fold adduction takes place (the
complete length of the two folds are drawn toward each
other). There can be varying degrees of vocal fold adduc tion. Partial adduction means that the folds are not com
adduction means that the adductory muscles have drawn the entire length of the vocal
pletely closed.
Complete
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folds together so that they touch to create a complete seal between the lower and upper airways.
In order to initiate vocal sound, the vocal folds
Two pairs of internal laryngeal muscles are the pri
must achieve some degree of adduction, and subglottal air pressure must be high enough to create an airflow force
mary adductors. The lateral cricoarytenoid (LCA) muscles
that initiates vocal fold mucosal waving. As long as the
rotate the arytenoid cartilages so that the tips of their vocal
subglottal air pressure and vocal fold adductory force re main in an appropriate relationship, air will continue to
processes move medially toward closure, thus adducting the membranous portion of the folds (Figure II-7-1B). The interarytenoid (IA) muscles move the posterior areas of both arytenoid cartilages medially to adduct the cartilagi nous portion (Figure II-7-1C). When both pairs of adductory muscles contract sufficiently, complete adduc tion occurs (see Color Photo Figure III-1-2). In very skilled, expressive speaking and singing, both the abductory and
adductory muscles co-contract in highly varied degrees of intensity to provide a range of extensive and subtle degrees
of vocal fold adductory force (Martin, et al., 1990; Titze,
1994a).
flow through the glottis to create self-sustaining vocal fold oscillation for voicing; thus, transglottal airflow is created (McGowan, 1991; Sundberg, 1987b; Titze, 1994c). When mucosal waving occurs, the crest of each mu cosal wave moves up and over the vocal folds at the glot tal area, and the surface tissues of the two folds abruptly move medially; then, they recede laterally as each mucosal wave nadir (low point) passes through. Then, the next crest occurs, and so on. The threshold amount of air pressure in the lungs that is necessary to initiate airflow and vocal fold waving is named phonation threshold pressure (Titze, 1994c). Phonation threshold pressure varies with a variety of conditions. An increased threshold of lung pressure will be needed to initiate mucosal waving when: 1. vocal fold tissue viscosity is increased (for example, dehydration, swelling); 2. vocal fold adductory force is increased; 3. vocal folds are lengthened, thinned, and tautened (rising fundamental frequencies).
Phonation threshold pressure decreases when: 1. vocal fold tissue viscosity has been abnormally high but has become optimum (introduction of adequate hy dration, for instance); 2. vocal fold adductory force is decreased; 3. vocal folds are shortened, thickened, and laxed (low ering fundamental frequencies). The degree of bodily hydration affects both intra- and extracellular moisturization in our bodies. Intracellular hy dration of the body affects the compliance of vocal fold Figure II-7-4: Illustration of the Bernoulli effect. As the air flows through the vocal folds, the molecules that are furthest away from the vocal folds—nearest the center of the airstream—are not impeded and flow as if there were no barrier. The molecules that are closest to the vocal folds, however, must travel a greater distance to pass to the
other side. They must travel over the two protruding vocal fold surfaces. When those
pressurized air molecules travel that greater distance, their velocity is increased and they create a "sidecurrent" of low pressure which is greatest in a direction that is
perpendicular to the direction of flow. A kind of suction effect is created, therefore, on the two vocal fold surfaces that draws them toward each other. That action is theorized to play a major role in inducing the closing phase of each vocal fold vibratory cycle.
[From J. Sundberg, The Science of the Singing Voice. Copyright © 1987, DeKalb, IL:
Northern Illinois University Press.]
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tissues. With optimum hydration, vocal fold tissues are said to be low in viscosity and that results in a lower phonation threshold pressure (Titze, 1994a, c). As a result, adductory and respiratory effort will be less. The net effi ciency with which vocal sound is initiated, therefore, is significantly improved by optimum bodily hydration.
This effect has been measured (Finkelhor, et al., 1988; Verdolini, et al., 1994) and applies throughout a singer's pitch and volume ranges. The greatest effect, however, was
noted when subject singers were singing in their higher pitch ranges and softer vocal volumes. In other words, appropriate hydration enables less vocal effort or greater vocal ease in the initiation of vocal fold rippling. The greater ease is possible because of the increased compliance in the superficial layer of the vocal fold mucosa. With continued dehydration, the brain will program the greater effort as automatic and habitual. The most widely known theory of how mucosal waves are initiated and sustained is called the myoelastic-aero-
dynamic theory of vocal fold vibration (Van Den Berg, 1958). Myo- refers to muscle; -elastic refers to the elastic properties of vocal fold tissues; and aerodynamic refers to airflow influences during voicing. The theory proposes that mucosal waving ( vibration) occurs when: 1. the vocal fold surfaces are sufficiently compliant and elastic; 2. the vocal folds are adducted enough to create a sufficiently narrow glottis; and 3. the pressure-induced airflow force is great enough.
During the closed phase of each vocal fold cycle, subglottal air pressure builds up enough to displace the surface layers of vocal fold tissue and trigger an open phase. As the subglottal air passes through the glottis, its pressure suddenly lowers. The Bernoulli principle in physics (see Figure II-7-4) is used then to suggest that a low-pressure, aerodynamic suction of the vocal folds oc curs to return them to a closed phase, and the process repeats cyclically (Van Den Berg, et al., 1957; Van Den Berg, 1958; Fant, 1960; Zemlin, 1964; Vennard, 1967; Lieberman, 1977; Sundberg, 1987). The Swiss scientist Daniel Ber noulli (1700-1782) was the originator of this energy con servation principle that was used in the development of flying machines. In 1980, scientific reservations were expressed about
the extent to which the Bernoulli effect influenced mu
cosal waving (Titze, 1980). Research was published in 1988 that substantiated the reservations (Titze, 1988). The re sults also are presented in Titze, 1994c.
Titze makes the case that, while the Bernoulli effect does occur, its influence has been considerably overstated
in prior versions of the myo elastic-aero dynamic theory of vocal fold vibration. According to Titze's research, the Bernoulli effect is not actually necessary to the mucosal waving process, although it is incidentally present (Titze, 1994, pp. 70-72, 94-102). The greater influence over the return of the vocal folds from open phase to closed is: 1. the constraining elastic properties of the folds them selves which reverse their opening motion back toward
closure, and 2.. "...the synchrony between the driving (subglottal) pressure and (alterations in) tissue velocity..." during mu cosal waving cycles (Titze, 1994, p. 102, parenthetical ex pressions added for clarity). The result of complex vocal fold oscillations is the pro
duction of complex sound wave spectra that travel through the air molecules located in the vocal tract. The vocal tract
modifies (filters) the spectra that are created by the oscillat ing vocal folds through a variety of resonance processes (see Chapters 1 through 3, 12, and 13). How the vocal folds oscillate during speaking or singing, therefore, creates ini tial sound spectra that are labeled the voice source spec tra. The voice source spectra alone-with no filtering through a vocal tract-can be perceived by listeners only in extremely rare situations such as emergency room patients who are conscious even though their throats have been severed open above the vocal fold level. The sound quality has been reported to resemble a "buzzing" sound (Daniel Boone, Ph.D., University of Arizona, personal communication, 1999). Scientific Instruments for Observation and Measurement of Voice With a fiberoptic videostroboendoscope (videostrobo-endo-scope), video and audio recordings can be made of: 1. the interior surface anatomy of the nasal and oral cavities, the pharynx, and the larynx; 2. the gross movement of interior nasal, oral, pharyn geal, and laryngeal structures such as the raising and low ering of the soft palate, raising and lowering of the larynx,
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closing and opening motion of the aryepiglottic sphincter,
adduction and abduction of the true and false vocal folds, lengthening and shortening of the vocal folds; and 3. vocal fold mucosal waving in what appears to be slow motion movement; mechanical timing of the funda mental frequency of the vocal folds is interfaced with the
timing of continuous strobe light flashes (see Figure II-7-5).
[The use of this equipment is described in more detail in Book III, Chapters 9 and 11.]
The horizontal length of the flat or nearly flat glottogram line corresponds to the amount of time the vocal folds remain in their dosed phase. When a glottogram's line begins to rise vertically, the vocal folds are beginning their opening motion, thus al closed.
lowing transglottal airflow to begin. When the vocal folds reach their current limit of tissue compliance, their open
phase reaches its peak, and transglottal airflow is greatest. Then, of course, their current elasticity reverses their mo tion back toward closure. The higher the peak is from the
The scientific measurement of voice source spectra is
zero baseline, the greater the vocal fold waving amplitude.
not yet exact. Although some characteristics of voice source spectra remain theoretical, they can be approximated by such electronic analyses as inverse filtering. A rigid plastic mask is placed over the mouth and nose of a subject It has small breathing holes in it that are covered with a fine wire mesh. Also attached is a special microphone that is sensitive to airflow pressure changes. An FM tape record ing is made of the subject sustaining a particular F0 on a
particular vowel. When the raw data are electronically analyzed, the varying amount of transglottal airflow (li ters per second) can be displayed as flow glottograms. Also displayed can be a sound spectrum that shows the varying displacement airflow, that is, the pressure wave differen tials within the flowing air, including formant frequencies. By electronically removing the formant characteristics added
by the vocal tract, an approximation of the voice source spec tra can be constructed and displayed. (Colton, 1994; Sundberg, 1987b; Titze, 1994b). A flow glottogram (see Figure II-7-6) measures pres sure changes in the air that flows through and out of the vocal tract during mucosal waving. It is a waveform illus tration of the opening and closing action of the vocal folds
Figure II-7-5: A laryngologist using a rigid-oral fiberoptic videostroboendoscope to record
a patient's vocal folds. [From the Daily Iowan, The University of Iowa, Iowa City, Iowa.]
while mucosal waving continues over time. The horizontal axis across the bottom of the glottogram represents: (1) the passage of time in milliseconds and (2) zero passage of airflow between the vocal folds. The vertical axis represents increases and decreases of transglottal airflow measured in litres per second. During voicing, a rising glottogram line means that the vocal folds are in an opening motion and a falling glottogram line means that the vocal folds are in a closing motion. When the glottogram line is continuous with the horizontal zero baseline, the vocal folds are completely
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Figure II-7-6: Idealized illustration of a flow glottogram. [From J. Sundberg, Science of the singing Voice, Copyright© 1987, DeKalb, IL: Northern Illinois University Press.]
The left-to-right horizontal length of the rising and falling glottogram line corresponds to the amount of time the vocal
folds remain in their open phase.
Electroglottography (EGG) provides an indirect mea sure of vocal fold adduction during mucosal waving (Scherer, et al., 1988). Two electrodes are placed on oppo site sides of the larynx at the level of the vocal folds (see Figure II-7-7). They pass a very mild electrical charge through the vocal fold tissues. Because tissue conducts electricity much better than air, the charge emitted by the
electrodes is transmitted much more efficiently when the vocal folds are in contact with each other, and much less so when they are separated during mucosal waving. The intensity of the electrical signaling is electronically trans
duced onto a visual display screen. The vertical axis shows increases and decreases in the intensity with which the elec trical charge is conducted by the vocal fold tissues. The horizontal axis shows both (1) zero conductance of the electrical charge and (2) the passage of time in millisec
onds. A rising line shows increased vocal fold tissue con ductance and is a measure of how the tissue of the two vocal folds are increasing their contact area. A falling line shows decreased vocal fold tissue con ductance and is a measure of how the tissue of the two vocal folds are decreasing their contact area. When there is no line above the horizontal axis, the vocal folds are not in contact, and thus are in the open phase of mucosal wav ing. The more widely spaced the lines are, the greater the time is devoted to (1) vocal fold closing phase, or (2) vocal fold opening phase. The percentage of time in the opening and closing phases of mucosal waving can then be calcu lated. The percent of time that the vocal folds are in open ing phase is called their open quotient (OQ), and the per cent of time that the vocal folds are in closing phase is called their closed quotient (CQ). The percentages are re corded as decimal figures between 0 and 1. In Figure II-77, the OQ is about 0.4 and the CQ is about 0.6. An idealized spectrogram of a voice source spectrum (see Figure II-7-8) shows that the F0 is the partial with the greatest intensity, and there is a reduction of intensity in all succeeding partials at the rate of 12-dB per octave, that is, with each doubling of the F0 there is a 12-dB decrease in
overtone intensity (Sundberg, 1987b; Titze, 1994b). For ex ample, if the F0 is 260-Hz (C4) at 60-dB, then the first over tone would be 520-Hz (C5) at 48-dB.
Figure II-7-8: An idealized model of a voice source spectrum before it travels through a vocal tract. [From I.R. Titze, Principles of Voice Production. Copyright © 1994, Needham Heights, MA: Allyn & Bacon. Used with permission.]
Figure II-7-7: (A-top) shows the electroglottograph being used. (B-bottom) is a sample of an electroglottogram trace during mucosal waving. [From I.R. Titze, Principles of
Voice Production. Copyright © 1994, Needham Heights, MA: Allyn & Bacon. Used with
permission. Photo by Julie Ostrem, University of lowa.]
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chapter 8
how pitches are sustained and changed in singing and speaking Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
E
xpressive speaking and singing captures the interest
of pitch inflection, vocal volume, and fluency (word-to-
and focused attention of people who are near you.
word connectedness or flow) create the prosody of speech
Meaningful pitch variation is a prime characteristic
which express the connotative meanings of language that
of expressive vocal communications. It is a major carrier are referred to as paralanguage (Book I, Chapter 8 has
of the connotative significance or the feeling-meanings in spoken or sung language.
Do this: Speak the following sentence as though you were bored out of your mind: "I'm very excited to be with you today." Say it as though you were talking animatedly to a group of young children. Say it as though you were talking to a group of academic profes sionals. Notice differences? How would you describe any differences of pitch pattern?
details). You began hearing frequent models of those abili ties before and after you were born, and began practicing them during your first few weeks of post-birth life (see Book IV, Chapter 1). A common term for the sounding of sung pitches is
intonation. Typically, the intonation and rhythm skills that are necessary for singing were modeled much less of ten when you were young and you practiced them much less often. Now, though, your brain knows how to stabi
lize your vocal folds into many specific lengths, thicknesses, and tensions so that a wide range of musically specified
ripple-wave frequencies can be sustained over varying lengths of time. Those skills are more complex than the pitch slides of speech. They take longer to master. The neural processes and the larynx muscles that you
Pitch inflection refers to the variation of pitches in speech. When you vary the fundamental frequency of your voice during speech, your speech inflection can be described
use to produce pitch changes when you speak, are the same neural processes and larynx muscles that you use to pro duce pitch changes when you sing. The differences be tween spoken and sung pitches are the result of different
as a patterned, continuously sliding pitch-flow. F0 changes
nerve routings, timings, and firing rates.
are produced by the continuous changes in the shorten
ing-lengthening activities of your vocal folds. Variations
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So, how does your larynx sustain and change vocal
pitches?
Sustaining Pitches
stabilize their length, thickness, and tautness-laxness. When
In order to stabilize or change the length, thickness,
appropriately pressurized and steady breathflow from your respiratory pump passes between your stabilized folds,
and tautness-laxness of your vocal folds so that you can
their ripple-waving frequency will stay the same—percep
sustain or change a pitch, you have to simultaneously con tract the two internal larynx muscles that influence the folds to shorten and lengthen. Those muscles would be your primary shortener muscles (the thyroarytenoids) and your primary lengthener muscles (the cricothyroids). They always interact simultaneously with your vocal fold closer- opener muscles. Several other muscles can con
This process is very fast. Before you make vocal sounds, your larynx coordinations may take anywhere from about 50 to 500 thousandths of a second to prepare for voice onset. As you may recall from Chap ter 7, your larynx muscles are the second fastest in your
tribute to the process, but they exert secondary influences, not the primary ones. In nearly all speaking and singing,
Changing Pitches
tually—over time.
body.
your shortening and lengthening muscles contract with varying degrees of intensity in an ever-changing "tug-of-
war" to produce pitch sliding, pitch sustaining, and pitch changing. The next Do this was first presented in Chapter 5. It is repeated here because it is very relevant to understanding
how your larynx sustains musical pitches.
Do this: (1) Raise one arm and extend it straight out in front of you, level with your shoulder, palm up. Now, notice what your arm muscles do as you bring only your forearm toward your head so that eventually it nearly lays on top of your upper arm. (2) Return your forearm to the horizontal position. (3) Next, bring your forearm and hand toward you again, but stop when they are pointing straight up at a 90° angle to you upper arm. Make a fist and then tense all your arm-hand muscles as though you were an adolescent showing off your bicep muscles. Now use your other hand to try to push your tensed forearm back to the horizontal position (but resist the push). Key Point: When you "showed off" your arm muscles in item (3), you used your bicep muscle to bring your forearm into place and then contracted both bicep and tricep muscles simultaneously (along with other supporting muscles). The skeletal parts of your arms were then stabilized into a fixed position. Your visual and kinesthetic senses also provide feedback for their relative location.
When your larynx sustains pitches, your vocal fold closer-opener and shortener-lengthener muscles contract
simultaneously to close your vocal folds and "steady" or
Do this: Get a rubber band-a very thick one-and loop your two index fingers into the band's circumference. Gradually, pull your fingers in opposite directions so the rubber band is stretched taut. As you stretch the band longer, notice that it becomes thinner, and when you shorten it again, it resumes its former thickness. Now, stretch it so it's rather taut. Hold it near one of your ears, and then pluck it with another finger or a thumb. Hear a brief pitch? Do it again, but this time quickly stretch it even longer just after you pluck it. What happened to the pitch? Do it one more time, but quickly shorten it just after the pluck.
What happened to the pitch that time?
By comparing your vocal folds to a rubber band, you can understand the main fundamentals of how your lar ynx changes your voice's pitches (remember that rubber bands bear little or no structural resemblance to vocal folds). As you know by now, your respiratory system compresses
your lungs to pressurize the air inside them and the air flows between your two vocal folds to set them into their ripple-waves. In order to change pitches while your breath air is flowing, your larynx muscles must change the length,
thickness, and tautness-laxness of your vocal folds. As the surface layers of your vocal fold cover tissues become longer, thinner, and more taut, they ripple-wave more times and we say that they are producing higher pitches. As they become shorter, thicker, and more lax, they ripple wave fewer times and we say that they are producing lower pitches. In speech, the shortening-lengthening coordinations how
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are in continual, patterned flux to produce vocal pitch in flection, that is, pitch changes that slide up and down in
tured without any of their attached muscles or other tis
meaningful patterns. In singing, the length, thickness, and
medieval knight's armored helmet (see Figures II-8-2A and 4). During battle, the knight's visor is nearly closed, but it can be opened during non-battle moments. When your cricoid and arytenoid cartilages are stabilized, your lengthener muscles (the cricothyroids) can act on your thyroid cartilage visor to simultaneously move it forward and tip its front end downward to "close" your thyroid visor. As noted before, the front ends of your vocal folds are attached to the inside front of your thyroid visor. Their rear attachment is to your two arytenoid cartilages, which are attached, in turn, to the upper rear rim of your cricoid
tautness of your vocal folds' surface tissues (the mucosa) are changed from one "setting" to other "settings." Singing a song means that there is a series of such settings, each of which changes the rippling rate of your vocal folds. How do your larynx muscles produce the shortening lengthening coordination? The Primary Shortening Influence on Your Vocal Folds You may recall that your vocal fold shortener muscles
(the thyroarytenoids) form the core or body of your vocal
folds, and that ripple-waving occurs on the surface layers of the tissues that cover them (Chapters 6 and 7 have de
sues, they can be compared to the faceplate visor on a
cartilage. When your cricoid-arytenoid cartilage complex is stabilized, and your thyroid visor is moved forward and
tails). The front ends of your vocal fold shortener muscles
are attached to the inside front of your shield cartilage (the thyroid). Their rear attachments are to the frontside exten
sion of your two closer-opener cartilages (the arytenoids;
see Figure II-8-1). When any muscle contracts, it becomes shorter. So, when your shortener muscles activate to shorten your vocal folds, and they are not opposed by your lengthener muscles, they exert a shortening-thickening-laxing in
fluence on your vocal fold cover tissues. The Primary Lengthening Influence on Your Vocal Folds When the connected shield and signet ring cartilages of
your larynx (the thyroid and cricoid, respectively) are pic
Figure II-8-2: (A) is a drawing of the connected thyroid and cricoid cartilages that illustrate
their resemblance to a medieval knight's helmet visor. (B) is a drawing of the cricothyroid Figure II-8-1: Drawing of the thyroarytenoid muscles that illustrates their shortening
muscles that illustrate their movement of the lengthening influence on the vocal folds [©
influence on the vocal folds. [©Copyright 1964, CIBA-GEIGY Corporation. Reprinted
Copyright 1964, CIBA-GEIGY Corporation. Reprinted with permission from Clinical
with permission from Clinical Symposia, illustrated by Frank H. Netter, MD. All rights
Symposia, illustrated by Frank H. Netter, MD. All rights reserved.] (C) To see a photograph
reserved.] To see a photograph of vocal folds as they are sustaining a low pitch, refer to
of lengthened vocal folds as they are sustaining a high pitch, refer to the color photo
the color photo plate, Figure III-1-7]
plate, Figure III-1-6.]
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its front end downward, then your vocal folds will be stretched longer (see Figure II-8-4C).
Do this: Lay the fingers of one hand lightly on the front of your larynx, right in the middle of your neck. Allow your neck-throat area to feel easy and comfortable. Observe what happens there when you rapidly change back and forth from a "lowish" pitch to a "highish" pitch-about an octave apart or more. Did you notice movement somewhere? How much of the move ment was necessary for just changing the pitches? How much might have been unnecessary?
In order to sing "in tune" with varying volume levels,
your brain has to learn how to perform an intricate inter
play between varying degrees of lung-air pressure and adjustments in the tension of your closer-opener and short ener- lengthener muscles. For instance, with increasing air pressure in your lungs during a crescendo, your openersclosers and shorteners- lengtheners must gradually adjust their relative tension higher to equalize the lengthening ef fect of the increasing air pressure underneath them. If the
degree of tension in those larynx muscles does not increase, the pitch will rise (become sharp). If the degree of tension in your shortener muscles increases too much, the pitch may lower (become flat) and your voice quality may sound
Changing vocal fold length for speaking and singing frequently involves high-speed, dynamic interaction of lengthening and shortening influences on your vocal folds.
So, when you change vocal pitches, the interaction of your shortener and lengthener muscles produce a rocking kind of motion between your thyroid and cricoid visors. The movements are most prominent when your larynx pro
duces wide pitch intervals. In fact, when you speak and sing, there is a simulta neous, synergistic balancing act between your shortenerlengthener and your closer-opener muscles. They all par ticipate in all of those vocal functions, but have both pri mary and secondary roles. As a result, they create a highly variable but necessary muscle tension ecology in your lar
tense or pressed. So, during a crescendo, either inadequate shortener-lengthener tension or excessive lung-air pressure
viz a viz the degree of vocal fold tautness can result in pitch sharping. With decreasing air pressure during a diminuendo, your
closers-openers and shorteners-lengtheners must gradu ally adjust their relative tension lower to equalize the short ening effect of the reducing air pressure underneath them in order to continue the same pitch. Pitch flatting occurs either from excessive closer-opener and shortener-length ener tension or inadequate lung-air pressure viz a viz the degree of vocal fold tautness. The brains of skilled speakers and singers have learned these finely-tuned optimum balances.
ynx.
Summary So Far
Interactions of Vocal Pitch and Vocal Volume The interaction of shortener-lengthener coordinations
To make either spoken or sung pitches, the sensorimo tor parts of your brain have to create a relatively steady breathflow between your vocal folds. In speech, your short
is not the only process by which vocal fold elongation
ener and lengthener muscles are simultaneously contracted
occurs. The amount of air pressure in your lungs also influences your voice's pitch production in a major way.
and they are in a relatively continual, shortening-lengthen
As air pressure in your lungs increases during sustained voicing, the air that flows between your vocal folds draws
a curved arc of cover tissue into the glottis. Those curved tissues produce a dynamic elongation of the vocal folds. When that happens, the functional length of the vocal folds increases slightly (see Figure II-8-5). As you know by now, with increased length comes elevated pitch.
ing flux as they create meaningful pitch slides. To sustain a particular pitch, your vocal folds must be arranged in a stabilized length, thickness, and tautness/ laxness. Your closer-opener and shortener-lengthener muscles engage in this process and it can be very fast. When breathflow moves between the folds, the outer layer of their cover begins to ripple-wave at a particular rate to produce a target pitch (fundamental frequency or F0).
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To change pitches, the sensorimotor parts of your brain have to coordinate breathflow from the lungs with changes of vocal fold length-thickness-laxness/tautness configura tions. In speaking, the changes result in continuous, mean ingful pitch slides. In singing, there must be a specified series of specific length-thickness-tautness settings. Skilled and well conditioned voices are capable of singing at least seven to nine different pitches in about one second.
Vibrato: Audible Fluctuations Within Vocal Pitch and Volume When you sustain a pitch for about two seconds or
more, and your voice pitch rapidly and repeatedly fluctu ates by about a quartertone, or less, then your voice is said to have vibrato.
Do this: Clasp your hands tightly together in front of your chest. Observe how your hand, arm, and shoulder muscles react while you tense your finger and hand muscles and use your arm and shoul der muscles to strongly pull your hands in opposite directions (pull as hard as you can without letting your hands go). Hold that tension for no less than 15 seconds. Obviously, you sensed the muscle tension in your hands, arms, and shoulders, but did you notice something else that they did?
Vibrato happens when the shortener-lengthener, and closer- opener muscles in your larynx are simultaneously contracted with enough intensity that they produce a nec essary stabilized muscle tension tremor. Extensive evidence from the voice sciences indicates that the source of normal vibrato is the normal tremor rate of those larynx muscle sets when they are under that degree of contraction stress. In order to produce an audible vibrato, that means that your larynx muscles must: 1. be conditioned and skilled enough to create a firm and clear voice quality (non-breathy); 2. create a vocal fold closure force that is great enough to produce about a middle level of vocal volume—a true mezzo-forte.
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Singers of most ages, therefore—including children with normal vocal anatomy and function—are capable of singing with an appropriate or an inappropriate vibrato. The nec essary neuromuscular skills and conditioning must be present in the laryngeal and respiratory systems. The pharyngeal wall, the upper domes of the dia phragm, and even a singer's jaws have been observed to
undulate at about the same rate as a singer's vibrato, and these movements have been suggested as sources for vocal vibrato. There is no indisputable documentation that these undulations directly influence the pitch-varying muscles in the larynx. They appear to be muscle tension tremors that operate independently of those that produce vibrato. The present-day, average rate of acceptable vibrato in Western classical singing is about 4.5 to 6.5 pitch fluctua tions per second. When vibrato pitch fluctuations average more than 6.5 per second, the attention of most vocally trained and experienced listeners is drawn to a fast vibrato, and it commonly is labeled as a too-rapid tremolo. Wobble is a common label for a vibrato that has a slower average rate than 4.5 fluctuations per second. The slower rate en ables a wider pitch interval spread. Tremolo and wobble are associated with vocal coordinations which result from a history of unnecessary neck-throat effort, or under-con ditioned neck-throat muscles, or both. Vibrato is normal and desirable within the acceptable rates and in styles of music in which it is appropriate. It is said to add "warmth" to vocal tone quality. When the speed or extent of pitch variation in vibrato varies more than the socially defined "normal," it draws attention to
itself, and away from the expressive qualities in the music. In a choir, if the vibrato rates of the singers are highly variable, then there will not seem to be a "centered" or in tune intonation. If some singers have "normal" vibrato rates and others have undetectable vibrato, the vibrato voices may draw attention to themselves and choral blend and balance can be affected.
For Those Who Want to Know More... What bodyminds interpret as vocal pitch is produced by the rate at which vocal fold oscillations occur. The
scientific term for the number of measurable vocal fold oscillations is fundamental frequency (to distinguish it
from harmonic or overtone frequencies; for review, see Chapter 1). The fundamental frequency of a voice is mea
sured by the number of mucosal wave oscillations that
occur per second (Chapters 2 and 7 have details). The abbreviated symbol for fundamental frequency is F0. When vocal folds oscillate about 260 times per second, voices will produce the musical pitch called middle-C (C4), or a F0 of about 260-Hz. When they oscillate about 220 times per second, voices produce the pitch called A below middle-C (A3), a F0 of 220-Hz. The A above middle-C (A4) is a F0 of 440-Hz. With increasing speaking and singing experiences, the auditory sense and sensorimotor areas of the brain in crease their global mapping so that refinements in vocal capabilities are developed (Book I, Chapters 3 and 7 have
details). The auditory sense compares produced pitches to
external reference pitches, or reference pitches within the brain's memory functions. These processes provide audi tory feedback, a kind of guidance system for ongoing per ception and conception of auditory categories and related motor coordinations (Sapir, McClean, & Larson, 1981). The larynx is richly supplied with sensorimotor inner vation. Pressure, stretch, and joint proprioception in the sensory network of the larynx provide feedback for neu romuscular systems that operate complex vocalization pro
grams for speaking and singing. Some of these laryngeal kinesthetic feedback processes can be in conscious aware ness; most cannot. There are rich interconnections between visual, audi tory, and sensorimotor processes that occur within the
brainstem, cerebellum, amygdala, thalamus, the basal gan glia, and the cerebral cortex (see Book I, Chapters 3, 6, & 7). With appropriate neuromuscular experiences and subse quent sensory feedback, global volitional (learned) control over laryngeal sensorimotor processes is richly possible, especially when the available feedback is clear, accurate, and nonthreatening (Hollien & Gould, 1990; Larson, 1988; Strong & Vaughan, 1983; Webster, 1995; Welch, 1985a, b; Wyke, 1983a, b). Measuring the Activation and Intensity of Muscle Contractions The relative intensity of the electrical charges that trig
ger muscle contraction can be measured by electromyo graphy (EMG). Very thin needlelike hooked-wire elec trodes are inserted into the muscle(s) that are to be re corded. They are connected to an electronic recording in strument by a thin insulated wire. When the muscle is contracted, the very rapid on-off voltage produced by the neuromuscular motor units that are in contact with an elec trode causes a recording needle to oscillate and create a graphic representation of relative contraction intensity. All of the signals received are summed and proportionately amplified by the recording instrument in order to make a
Figure II-8-3: Electromyographic recordings of activity in the cricothyroid, thyrovocalis,
meaningful graph that is large enough to observe visually. See Figure II-8-3 for an example of an electromyogram (Colton & Conture, 1990; Gay, et al., 1972; Kitzing, 1990; Niimi, et al., 1991).
and lateral cricoarytenoid muscles as a 52-year old male singer (bass) produced a one-octave major scale in "chest" register from C3to C4and back to C3. [From Hirano,
Vennard & Ohala (1970), Journal ofSpeech and Hearing Research, 12,616-628. Used
with permission.]
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Vocal Fold Shortening Influence Each thyrovocalis portion (TVOC) of the paired thy
The anterior end of the vocal folds are attached to the inside front of the thyroid visor. Their posterior attach
roarytenoid muscles (TA) forms the body of the two vo cal folds. They extend the full length of the membranous folds, and are located underneath the vocal fold cover tis sues, the epithelium and the layered lamina propria (see Figure II-6-6). When pressurized air is flowing between adducted vocal folds, the more the thyrovocalis muscles contract, the more they produce an active stress (tension) within themselves. They then become shorter and more bulked and they tend to move the arytenoid cartilages an teriorly. As they are progressively less opposed by their antagonists (the cricothyroid and the posterior cri coarytenoid muscles) they create a passive response in the cover tissues, which become shorter, thicker, and more lax. Then, when pressurized air is flowing between the
ment is to the vocal processes of the two arytenoid cartilages, and the arytenoid cartilages are attached to the upper pos terior rim of the cricoid. When the thyroid visor is moved forward and downward, the vocal folds are stretched longer. In nearly all speaking and singing, vocal fold lengthening
is integrated with the shortening influence of the thy
folds, lower mucosal waving rates and perceived lower
roarytenoid muscles, and the closing-opening influences of the lateral cricoarytenoid (LCA), inter arytenoid (IA), and posterior cricoarytenoid muscles (PCA). The anteroinferior ends of the paired cricothyroid muscles (CT) are attached to the outer anterior rim of the cricoid cartilage (see Figure II-8-2). The right and left CT muscle fibers are formed into two sheets that fan out and extend posteriorly and superiorly to attach to the interior side of the thyroid laminae at their inferior aspect. When
pitches occur (see Figure II-8-1; Chapter 6 has anatomic
the cricothyroids contract, they produce an active stress
details). Specifically: 1. the tissues that form the overlying cover of the vo
(tension) in themselves. As they are progressively less op
cally becomes involved in the mucosal waving;
posed by their direct antagonists (the thyroarytenoids) they progressively tilt the thyroid cartilage in an anteroinferior direction to create a passive stress (stretch tension) in the vocal fold cover tissues—the cover becomes longer, thin ner, and more taut. Then, when pressurized air is flowing
3. the most dense deep layer may become involved in the waving at very low F0s;
between the folds, higher mucosal waving rates and per ceived higher pitches occur (Atkinson, 1978; Baer, et al., 1976;
4. therefore, a maximum depth of covering tissue is available for vibratory waving (Atkinson, 1978; Baer, et al.,
Hirano, et al., 1969, 1970; Kempster, et al., 1988; Shipp &
cal folds—the epithelium and all layers of the lamina pro pria—become shorter, thicker, and more lax;
2. the intermediate layer of the lamina propria typi
1976; Hirano, et al., 1969, 1970; Kempster, et al., 1988; Shipp & McGlone, 1971; Titze, et al., 1989; Titze, 1994).
Those characteristics of mucosal waving are related to the production of thicker, morefull-bodied voice qualities that are associated with lower register (when compared to upper register voice qualities; Chapter 11 has details). Vocal Fold Lengthening Influence The larynx's connected thyroid and cricoid cartilages can be compared to the faceplate visor on a medieval
knight's armored helmet (see Figure II-8-2). There are two parts to this visor. The larger upper part (the thyroid) can close downward toward the smaller lower part (the cri coid).
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McGlone, 1971; Titze, 1994).
The cricothyroids are made up of two distinguishable
parts (Figure II-8-2). The pars recta (Latin: the part that is erect or vertical) is the most anterior part and is almost
vertical. It originates from the center superior area of the
cricoid cartilage and inserts inside the lower anterior rim area of the thyroid cartilage. The pars obliqua (Latin: the part that forms an oblique angle) also originates from the center superior area of the cricoid cartilage, but it is longer and extends posteriorly in an oblique angle and attaches to the interior lateral surfaces of the thyroid cartilage, in cluding part of its inferior cornu. When the pars recta contracts more intensely than the pars obliqua, the thyroid visor is influenced downward and to some extent forward. When the pars obliqua contracts more intensely than the
pars recta, the cricoid visor is influenced upward. The actual movements of the visor cartilages are coordinated with the cricothyroid antagonists—the paired thy roarytenoid muscles. As noted before, increased elongation of the vocal fold covering tissues exerts a passive stretch tension on them. Specifically, the intermediate and deep layers of the cover tissues (the vocal ligament) take the most stress, and the least-dense superficial layer (the mucosa) is tautened for increased vibratory waving motions when pressurized air flows between them. The more the vocal folds are lengthened, progressively smaller depths of covering tissue are available for vibra tory waving, and that results in smaller amplitudes of vi bratory waving motion. When the larynx is producing
such higher fundamental frequencies, listeners perceive the higher pitches and the thinner, lighter voice qualities that are associated with upper register (when compared to lower reg ister voice qualities; Chapter 11 has details).
Sustaining and Changing Vocal Fold Fundamental Frequencies In the upper and lower vocal registers (Chapter 11), F0 changes are enacted primarily by simultaneous contractions
of the posterior cricoarytenoid (PCA) muscles, the thy roarytenoid (TA) muscles, and the cricothyroid (CT) muscles, using highly varied and subtle contraction intensities (Harris & Lieberman, 1993; Hirano, et al., 1969, 1970; Honda, 1983; Sundberg, 1987a, b; Titze, 1994). For instance, within those two registers, when skilled speakers and singers gradually descend in pitch, the three muscles engage in an intricate agonist-antagonist "balancing act", as follows (see Figure
II-8-4; all verbal descriptions are from a right-side perspec tive): 1. Contraction of the PCA muscles exerts a force on the arytenoid cartilages in the posterior direction, and the cricoid-arytenoid complex is influenced to rotate counter clockwise on the cricoarytenoid joints (see Figure II-8-4A). That movement, in turn, exerts a posterior-directed force on the posterior ends of the TA muscles where they are attached to the vocal processes of the arytenoid cartilages.
Figure II-8-4: (A) illustrates the influence of the PCA muscles on rotation of the cricoid-arytenoid
complex, as described in the text. (B) illustrates
the rotative actions of the "tug-of-war-around-apulley" connections between the PCA-arytenoid-
TVOC complex, as described in the text.
(C)
illustrates the anteroinferior-directed influence of the cricothyroid muscles on the vocal folds, as described in the text. [After Harris & Lieberman, 1993, Voice, 2(2), p. 92.]
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2. Contraction of the thyrovocalis portions (TVOC) of the TA muscles exerts a force on the arytenoid cartilages
in the anterior direction, and the cricoid-arytenoid com plex is influenced to rotate clockwise on the cricoarytenoid joints (see Figure II-8-4B). The PCA-to-arytenoid-to-TVOC connection, then, can be imagined as two tug-of-war ropes that are bent around two pulleys (the arytenoids).
The
PCA-arytenoid-TVOC rope and pulley relationship also participates in the shortening-lengthening, thickening-thin ning, and laxing-tautening influences on the cover tissues Figure II-8-5: (A-left) represents the resting length of a left vocal fold. (B-center) represents
of the vocal folds.
a static lengthened state of the same vocal fold by complementary action of the
3. Contraction of the pars obliqua portion of the right and left CT muscles stabilizes the thyroid cartilage in an anterior location, and contraction of the pars recta por tion exerts a force in the inferior direction on the anterior
end of the thyroid cartilage (see Figure II-8-4C). Those actions, therefore, exert a simultaneous clockwise rotation
of the thyroid cartilage at the cricothyroid joints, and an anterior stretching of the joint ligaments. That movement,
in turn, exerts an anteroinferior-directed force on the TVOC muscles. The agonist-antagonist relationship of the PCA, the TVOC, and the CT muscles makes possible (1) a continu ous, patterned, back-and-forth movement around the pul ley, and (2) a stabilization of the cricoid-arytenoid-thyroid complex in many subtly different "stalemate settings". Such
movements change the length, thickness, and tautness-laxness of the vocal fold cover tissues. When the vocal folds are adducted and pressurized lung-air is flowing between them, a longer-thinner-more taut vocal fold cover results in higher F0s, and a shorter-thicker, more lax cover results in lower F0s. In order to sustain an almost-exactly-the-same rate of
mucosal waving, that is, a sustained F0 that is perceived as
a sustained pitch, a stabilized interrelationship of the PCA, TVOC, and CT muscle contraction intensities are neces sary. Changing to another sustained F0 involves changing to a different stabilized interrelationship among the three muscles. For instance, a common coordination for lengthening, thinning, and tautening the vocal fold cover occurs when the PCA and TVOC muscles contract to stabilize the cri
coid-arytenoid complex in a favorable location and the CT
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cricothyroid (CT) and the thyroarytenoid (TA) muscles; there is no air pressure in the
lungs to create airflow to set it into vibratory waving. (C-right) represents a dynamic lengthened state of the same vocal fold when lung-air pressure and airflow are added
and the vocal fold is waving. [From I.R. Titze, Principles of Voice Production. Copyright
© 1994, Allyn & Bacon. Used with permission.)
muscles contract to establish the exact length, thickness, and tautness of the cover that will produce the oscillation rate that was prescribed by the cerebral cortex. Another such common coordination occurs when the PCA and CT
muscles moderate their contraction intensities so as to al low the TVOC muscles to contract and shorten, thicken, and lax the cover tissues. Shortening for the lowermost and lengthening for the uppermost pitches in the capable vocal
range necessitate involvement of some of the external la ryngeal muscles to assist in relatively intense stabilizations of the laryngeal cartilages (Vilkman, et al., 1996). The dy namic interplay of all the internal and external laryngeal muscles alter the length-thickness-tautness parameters of the vocal folds and thus enable creation of a wide range of Fs The PCA, TA, and CT muscles also simultaneously in
crease their relative tensions during a crescendo (as do the
lateral cricoarytenoid and
interarytenoid muscles), while
the cover tissues maintain the same length, thickness, and
tautness-laxness. Thus, the same F0 is maintained. The reverse action occurs in a diminuendo (Chapter 9 has de tails). This differential control of the three muscles that influence F0 not only changes perceived pitches but is in volved in creating the voice qualities that are associated with vocal registers as well (Titze, 1994, p. 194; see Chapter 11).
These actions are possible in part because the CT muscles and the PCA-TA muscles are innervated via two
different nerve bundle routes: the right and left external branches of the superior laryngeal nerves provide motor innervation of the CT muscles, and the right and left recur rent laryngeal nerves provide motor innervation for the
PCA-TA muscles (and all of the other laryngeal muscles; Chapter 7 has details).
Relationship Between Vocal Fold Fundamental Frequency and Amplitude of Mucosal Waving To increase perceived vocal volume, the amplitude of the mucosal wave must increase to produce greater inten sity in the resulting sound pressure waves. Increased air pressure in the lungs and increased vocal fold adductory force by the LCA and IA muscles are the major contribu tors to that process. In the absence of appropriate differ ential control of the muscles that produce F0s, increased lung pressure can elicit an excess of curved cover tissue medially into the glottis creating a dynamic elongation of the vocal folds, and that extra dynamic tissue strain pro duces an increased ratio between vibrational amplitude and vocal fold length—the amplitude-to-length ratio (see Figure II-8-5; Titze, 1994, pp. 209-213). In order to main tain the same F0 while increasing lung pressure, the thy roarytenoid (TA) and cricothyroid (CT) muscles, and the adductory muscles, must adjust their contraction intensi ties higher to prevent a lengthening of the vocal folds that would produce "sharping" of an intended F0.
F0 Fluctuations that Are Referred to as Vocal Vibrato All of the influences on vocal vibrato have not been
discovered as yet. Voice scientists have identified, how ever, the following characteristics of vocal vibrato (Dejonckere, Hirano & Sundberg, 1995): 1. A relative and rapid fluctuation of vocal fold F0, amplitude, and spectrum occur during sustained oscilla tion (Horii, 1989; Shipp, et al., 1989). 2.
Perceived pitch of a sustained oscillation is the
approximate average of the two frequencies (Rothman & Timberlake, 1984; Shipp, et al., 1989). 3. Vibrato results from a stabilized physiological tremor in laryngeal muscles that are under sufficient ago nist-antagonist contraction stress, particularly the agonist
antagonist tension of the cricothyroid (CT), thyroarytenoid
(TA), posterior cricoarytenoid (PCA), interarytenoid (IA), and lateral cricoarytenoid (LCA) muscles (Hsiao, et al., 1994; Michel & Myers, 1991; Niimi, et al., 1988; Ramig & Shipp, 1987; Shipp, et al., 1990; Titze, 1994, p. 289). In some sing
ers, the pharyngeal wall, the mandible, and the upper domes of the diaphragm muscle have been observed to undulate at about the same rate as a singer's vibrato (Appelman & Smith, 1985), but these phenomena appear to be tremoring that is independent of and unrelated to vibrato (Titze, 1994, pp. 290-291). 4. Perceived "normal" vibrato involves an average tremor rate of about 4.5 to 6.5 frequency modulations per second and a frequency extent of plus or minus .5 semitone (a quartertone) (Hakes, et al., 1987; Titze, 1994, p. 291). 5. Perceived machine-gun-like bled, or tremolo vibrato involves tremor rates that exceed the "normal" rate, and can be presumed to result from unnecessary contraction of internal and external laryngeal muscles (Niimi, et al.,
1988; Titze, 1994, p. 291; Vilkman, et al., 1996).
6. Perceived wobble vibrato involves tremor rates of about 2 to 4 frequency modulations per second, and a frequency extent that often is near one semitone, possibly due to underconditioned laryngeal muscles that are placed under higher contraction stresses (Titze, 1994, p. 291). 7. Sustained vocal tone with no perceived vibrato— commonly labeled straight tone—always has a very small degree of pitch fluctuation called jitter. Vibrato that is au dible, but is perceived to be the same throughout a sus tained pitch, is never exactly the same when measured by scientific instruments (Hakes, et al., 1987; Titze, 1994, p. 292). 8. The frequency extent of vocal vibrato can be in creased deliberately by skilled singers for expressive or sty listic effect, and it can be decreased in order to enhance the perception of pitch definition and homogeneity of voice
qualities in choral ensemble singing (Rossing, et al., 1987; Ternstrom, 1991). 9. Necessary preconditions for "normal" vibrato in healthy, non-fatigued voices are (a) relatively efficient co ordination of laryngeal muscles, (b) sufficient conditioning of laryngeal muscles and vocal fold tissues, (c) sufficient agonist-antagonist tension between the cricothyroid and
thyroarytenoid muscles and the primary adductory muscles
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(interarytenoids and the lateral cricoarytenoids) (Titze. 1994, pp. 289-292, 322-323).
Niimi, S., Horiguchi, S., & Kobayashi, N. (1991).
F0-raising role of the
sternothyroid muscle—an electromyographic study of two tenors.
In J.
Gauffin & B. Hammarberg (Eds.), Vocal Fold Physiology (pp. 183-188).
San
Diego: Singular.
References and Selected Bibliography
Ohala, J. (1977). Speculation on pitch regulation. Phonetica, 34, 310-312. Sapir, S., McClean, M., & Larson, C. (1981). Human laryngeal responses to
auditory stimulation. Journal of the Acoustical Society of America, 73, 315-321.
Fundamental Frequency and Pitch Atkinson, J.E. (1978). Correlation analysis of the physiological factors con trolling fundamental voice frequency Journal of the Acoustical Society of America,
63(1), 211-222.
Shipp, T, & McGlone, R. (1971). Laryngeal dynamics associated with voice
frequency change. Journal of Speech and Hearing Research, 14, 761-768.
Strong, M.S., & Vaughan, C.W. (1981). The morphology of the phonatory
Baer, T., Gay, T., & Niimi, S. (1976).
Control of fundamental frequency,
intensity, and register of phonation.
Haskins Laboratories: Status Report on
Speech Research, SR-45/45 (pp. 175-185). Colton, R.H., & Conture, E.G. (1990).
Fold Physiology (pp. 13-22). Tokyo: University of Tokyo Press.
Sundberg, J. (1987a). The voice organ. In The Science of the Singing Voice (pp.
Problems and pitfalls of
electroglottography. Journal of Voice, 4(1), 10-24.
Davis, P.J., & Fletcher, N.H, (Eds.), (1996).
organs and their neural control. In K.N. Stevens & M. Hirano (Eds.), Vocal
6-24). DeKalb, IL: Northern Illinois University Press. Sundberg, J. (1987b). The voice source. In The Science of the Singing Voice (pp.
Vocal Fold Physiology: Controlling
Complexity and Chaos. San Diego: Singular.
49-92). DeKalb, IL: Northern Illinois University Press. Titze, I.R. (1994). Control of fundamental frequency. In I.R. Titze, Principles
Finkelhor, B.K, Titze, I.R., & Durham, PL. (1988). The effect of viscosity
changes in the vocal folds on the range of oscillation. Journal of Voice, 1(3),
320-325.
of Voice Production (pp. 191-217). Needham Heights, MA: Allyn & Bacon. Titze, I.R. (1996). Coupling of neural and mechanical oscillators in control
of pitch, vibrato, and tremor. In P.J. Davis, & N.H. Fletcher (Eds.), Vocal Fold
Gay, T, Strome, M, Hirose, H, & Sawashima, M. (1972). Electromyogra
phy of intrinsic laryngeal muscles during phonation.
Annals of Otology
Rhinology and Laryngology, 81, 401-410.
Physiology: Controlling Complexity and Chaos (pp. 47-62). San Diego: Singular.
Titze, I.R. (1983). Mechanisms of sustained oscillation of the vocal folds.
In I. Titze & R. Scherer (Eds.). Vocal Fold Physiology: Biomechanics, Acoustics, and
Harris, T, & Lieberman, J. (1993). The cricothyroid mechanism, its relation
Phonatory Control (pp. 349-357). Denver: Denver Center for the Performing
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to vocal fatigue and vocal dysfunction. VOICE, 2(2), 89-96.
Hirano, M, Ohala, J, & Vennard, W. (1969). The function of the laryngeal muscles in regulating fundamental frequency and intensity of phonation.
Titze, I.R. (1989). On the relation between subglottal pressure and funda
mental frequency in phonation. Journal of the Acoustical Society of America, 85, 901-906.
Journal of Speech and Hearing Research, 12, 616-628.
Hirano, M, Vennard, W, & Ohala, J. (1970). Regulation of register, pitch, and intensity of voice. Folia Phoniatrica, 22, 1-20. Hollien, H, & Gould, W.J. (1990). Neuroanatomical model for laryngeal
operation. Journal of Voice, 4(4), 290-299.
Titze, I., Jiang, J., & Druker, D. (1988).
Preliminaries to the body-cover
theory of pitch control. Journal of Voice, 1(4), 314-319.
Titze, I., Luschei, E., & Hirano, M. (1989). The role of the thyroarytenoid muscle in regulation of fundamental frequency. Journal of Voice, 3(3), 213-
224. Honda, K. (1983). Variability analysis of laryngeal muscle activities. In I. Titze & R. Scherer (Eds.),
Vocal Fold Physiology: Biomechanics, Acoustics, and
Phonatory Control (pp. 127-137). Denver: Denver Center for the Performing
Arts.
The National Association of Teachers of Singing Bulletin, 27(1), 16-21.
Verdolini, K., Titze, I.R., & Fennell, A. (1994).
Hsiao, S, Solomon, N, Luschei, E, & Titze, I. (1994). Modulation of fun
damental frequency by laryngeal muscles during
vibration.
Journal of
Voice, 8(3), 224-229. Effects of electrical
stimulation of cricothyroid and thyroarytenoid muscles on voice funda mental frequency. Journal of Voice, 2(3), 221-229. Kitzing, P. (1990).
Dependence of phonatory
effort on hydration level. Journal of Speech and Hearing Research, 37(5), 10011007.
Verdolini-Marston, K., Titze, I.R. & Druker, D.G. (1990). Changes in oscil
Kempster, G.B, Larson, C.R, & Kistler, M.K. (1988).
Clinical applications of electroglottography. Journal of
Voice, 4(3), 238-249. Larson, C. (1988). Brain mechanisms involved in the control of vocaliza tion. Journal of Voice, 2(4), 301-311. McHenry, M.A., Kuna, S.T., Minton, J.T., Vanoye, C.R., & Calhoun, K. (1997).
Differential activity of the pars recta and pars oblique in fundamental frequency control. Journal of Voice, 11(1), 48-58.
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lation threshold pressure with induced conditions of hydration. Journal of
Voice, 4(2), 142-151. Vilkman, E., Sonninen, A., Hurme, P, & Krokko (1996). External laryngeal frame function in voice production revisited: A review. Journal of Voice,
10(1), 78-92. Webster, D.B. (1995).
Neuroscience of Communication.
San Diego: Singular
Publishing Group. Welch, G.F. (1985a). A schema theory of how children learn to sing in
tune. Psychology of Music, 15(1), 5-18.
Welch, G.E (1985b).
Variability of practice and knowledge of results as
factors in learning to sing in tune. Bulletin of the Council for Research in Music Education, 85, 238-247. Welch, G.F., & Murao, T. (Eds.) (1994). Onchi and Singing Development. Lon don: David Fulton and the Centre for Advanced Studies in Music Educa tion, Roehampton Institute.
Wyke, B. (1983). Neuromuscular control systems in voice production. In D.M. Bless, & J.H. Abbs (Eds.), Vocal Fold Physiology: Contemporary Research and
Clinical Issues. San Diego: College-Hill Press. Wyke, B. (1983). Reflexogenic contributions to vocal fold control systems.
In I.R. Titze, & R.C. Scherer, (Eds.) (1983). Vocal Fold Physiology: Biomechanics, Acoustics andPhonatory Control (pp. 138-141). Denver, Colorado: Denver Center
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Vibrato Appelman, D.R., & Smith, E. (1985). Cineflourographic and electromyo graphic observations of abdominal muscular function in its support of vibrato. In V.L. Lawrence (Ed.), Transcripts of the Fourteenth Symposium: Care of the Professional Voice (pp. 79-82). New York: The Voice Foundation.
Dejonckere, PH., Hirano, M., & Sundberg, J. (1995).
Vibrato.
San Diego:
Singular. Hakes, J., Shipp, T., & Doherty, E. (1987).
Acoustic properties of straight
tone, vibrato, trill, and trillo. Journal of Voice, 4(4), 148-156.
Hibi, S., & Hirano, M. (1995).
Voice quality variations associated with
vibrato. In O. Fujimura & M. Hirano (Eds.), Vocal Fold Physiology: Voice Qual ity Control (pp. 189-202). San Diego: Singular.
Horii, Y. (1989). Acoustic analysis of vocal vibrato: A theoretical interpre tation of data. Journal of Voice, 1(1), 36-43.
Hsiao, T-Y., Solomon, N.P, Luschei, E.S., & Titze, I.R. (1994). Modulation of fundamental frequency by laryngeal muscles during vibration. Journal
of Voice, 8(3), 224-229. Michel, J.F., & Myers, R.D. (1991). The effects of crescendo on vocal vi brato. Journal of Voice, 5(4), 293-298.
Niimi, S., Horiguchi, S., Kobayashi, N., & Yamada, M. (1988). Electromyo graphic study of vibrato and tremolo in singing. In O. Fujimura (Ed.), Voice
Production, Mechanisms, and Functions (pp. 403-414). New York: Raven Press.
Ramig, L., & Shipp, T. (1987). Comparative measures of vocal tremor and vocal vibrato. Journal of Voice, 1(2), 162-167.
Rothman, H.B. & Timberlake, C. (1984). Perceptual evaluation of singers' vibrato. In V.L. Lawrence (Ed.), Transcripts of the Thirteenth Symposium: Care of the Professional Voice (pp. 111-115). New York: The Voice Foundation.
Shipp, T., Doherty, E., & Haglund, S. (1990). Physiologic factors in vocal vibrato production. Journal of Voice, 4(4), 300-304.
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Ternstrom, S. (1986).
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chapter 9
how sound volumes are sustained and changed in speaking and singing Leon Thurman, Graham Welch, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
ou go to a high school musical play.
Y
The stu
one is singing middle-C loudly with a non-breathy, clear
sound, their two vocal folds are compressed together some what strongly and their vocal folds are rippling about 260 and sings. She is clearly heard over the pit orchestratimes of per second. You may remember from Chapter 3 that: high school instrumentalists, and she receives enthusiastic 1. greater vocal fold closure strength necessitates greater applause during curtain calls. The student playing the male air pressure in the lungs to continue the rippling; leading role has a voice that cannot match the vocal vol 2. the waving tissues have greater amplitude so that they collide with greater impact force; ume of the female lead, is overpowered by the orchestra, and when he tries to sing higher pitches with greater vol 3. the collisions produce "shock waves" (sound waves) in the surrounding air molecules; ume, his voice sounds very tight and pressed. His applause has more sympathy in it. 4. greater impact force creates higher pressure (higher A 45-year old woman has a strong perspective on intensity) in the sound waves, while lesser impact force dent playing the female leading role has a
voice that is powerfully loud when she both speaks
local government policies and decides to become a candi date for legislative office. When first speaking to small groups of voters, the candidate frequently is told, "We can't quite hear you. Could you speak up more?" The candidate and her advisors decide she needs to learn how to "project her voice". What are we really talking about when we speak of vocal volume or a softness-loudness continuum in vocal sound?
creates lower pressure (lower intensity) in the sound waves.
Do this: Arrange your hands like you are about to applaud a fine performance, but never allow them to move more than an inch apart. Applaud as loudly as you can. Were you able to applaud very loudly? Now, just applaud loudly and enthusiastically, as though you really liked the performance a lot. Notice something about how far apart your hands went?
Perceiving Vocal Volume Your perception of vocal volume depends consider
Your perception of the vocal volume that is produced
ably on the amount of impact force that occurs when vo cal folds collide during their ripple-waving. When some
by other people also depends considerably on the "amount of sound" that is allowed to pass through and out of their
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vocal tracts. For instance, suppose that the larynx of an other person produces a given fundamental frequency with a particular sound pressure level. If either the throat part or the mouth part of that person's vocal tract (or both) is too
tener is equidistant from both sound sources.
narrow for the spatial and frequency characteristics of the
Sustaining and Changing Vocal Volume
traveling sound waves, then the vocal volume can be per
Learned,
emotion-based biases are always included in experiential
interpretations that include sound volume.
ceived as stifled or muffled to some degree (Chapter 12 has
details). After your auditory system receives incoming sound spectra, your bodymind categorizes ("interprets") currently perceived sounds according to: 1. tolerances that are built into your auditory system; 2. all past perceptual, value-emotive, and conceptual
categorizations (defined in Book I, Chapter 7). Auditory System Tolerances Bodyminds do not interpret vibratory frequencies
below about 20-Hz as sound, and there are no neurons in the brain's auditory system that can process frequencies above about 20,000-Hz. In addition, your auditory system is "tuned" to interpret tone and overtone frequencies in the 1,000-Hz to 3,000-Hz region (about B5 to B7) as more promi
In order to sustain or change your vocal volume for
speaking or singing, your brain has to engage two interac
tive coordinations: 1. the relationship between: (a) the strength of vocal fold closure and (b) the amount of air pressure in your lungs; and 2. the dimensions of your vocal tract (both throat and mouth) through which your vocal sound waves pass. Vocal Volume Created by Strength of Vocal Fold Closure and Lung Pressure One of the skills of expressive speaking and singing is
creating both obvious and subtle changes in vocal volume levels without sacrificing pitch accuracy or altering desired
nent (louder), compared to those produced below 1,000-Hz
voice quality. Your larynx's vocal fold closer-opener muscles operate in synergy with your shortener-lengthener
or above 3,000-Hz (Book I, Chapter 6 has more details).
muscles (and others) to produce many and varied degrees
Voices that produce prominent overtones in that frequency
of closure strength. Greater vocal fold closure strength ne
range will be heard more readily than voices that do not. For instance, when speaking or singing, if your larynx
cessitates increased air pressure in your lungs in order to produce a strong enough breathflow to initiate and con
muscles close your vocal folds more strongly, they will pro
tinue the vocal fold ripple-waves.
duce more overtones at the top of your voice source sound
spectrum. Many of those overtones will fall into the 1,000Hz to 3,000-Hz range and will add to an interpretation by
others of greater vocal volume in your voice. When you turn the volume up or down on a radio or TV set, you still can tell if a speaker or singer produces louder or softer vocal volume. Changes within the vocalist's sound spectrum will trigger your bodymind's interpreta tion. Perceptual, Value-Emotive, and Conceptual Categorizations of the Past Related to Current Auditory Input Some people may interpret a rock band as too loud, but a symphony orchestra as thrilling, even though both
Do this: 1. Go to a place where you can comfortably make loud vocal sounds and not disturb other people. [Do not do this if you have a distressed or disordered voice.] 2. Loudly shout the word, “Hey” . Really loud, as though you were warning someone at a distance who was about to trip over an unseen obstacle. Say “Hey” like that three times with a short pause between each. 3. Next, say “Hey” three times with ordinary, easy volume as if you were casually greeting a friend. 4. Become aware of your neck-throat and abdominal muscles and shout “Hey” two times very loudly, then two times with easy vol ume. Notice differences in what you had to do to produce the volume change?
are producing nearly the same acoustic energy and the lis
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As a general principle, greater closure strength and lung-air pressure recruit a greater amount of your vocal
air pressure so that the increased breathflow will raise am
plitude as much as possible under the circumstances.
fold tissue into the ripple-wave motions, thus greater am
When you abruptly change from soft to loud voicing
plitude. In each continuing higher amplitude ripple-wave,
there will be an abrupt, comparatively noticeable increase
then, your vocal folds snap shut with greater collision or
in your lung-air pressure and vocal fold closure strength,
impact force. The resulting sound waves, then, will have
and stronger breathflow. If you produce the change with
more intense pressure in them (Chapters 1 and 3 have de
physical and acoustic efficiency, there also is likely to be an
tails), and listeners will perceive greater sound volume from
appropriate fast increase in vocal tract dimensions (a later
your voice. Less closure strength necessitates less respira
section in this chapter and Chapter 12 have more details).
tory air pressure, and that combination recruits less of your
When you abruptly change from loud to soft voicing there
vocal fold tissue into their ripple-wave motions. As a
will be a sudden, comparatively noticeable decrease in your
result, there will be less waving amplitude, less impact
lung-air pressure, and vocal fold closure strength, and there
force, less pressure in the resulting sound waves, and listen
fore, strength of breathflow. If you produce the change
ers will perceive less sound volume from your voice (see
with physical and acoustic efficiency, there also may be an
Figure II-9-1).
appropriate fast decrease in vocal tract dimensions.
Your larynx can inhibit your voice's optimum volume
Louder voicing for long periods of time requires sub
stantial larynx muscle and vocal fold tissue conditioning
in two ways: 1. if your vocal folds are closed with more strength
than is necessary for an intended volume level; and 2. if your vocal folds are closed with less strength
than is necessary for an intended volume level.
(Chapter 15 has details). With insufficient conditioning, or general body dehydration, larynx muscle fatigue and limit
ing vocal fold tissue reactions may take place that can re
duce your vocal capability and voice health (Book III, Chap ters 1 and 12 have details).
Too much closure strength by your larynx will inhibit the
Producing a slow, steady crescendo and diminuendo is
amplitude of ripple-waving by your vocal folds, thus re
like turning a dimmer switch up and down for stage light
ducing the pressure in your sound waves to some extent,
ing or to create a more intimate dining room atmosphere.
and necessitate excessive air pressure in your lungs. Your
Gradual increases and decreases in your voice's sound vol
vocal volume will increase, but not to optimum, and the
ume result from gradual changes in your vocal fold closure
sound quality of your voice will sound tense and pressed
strength and the amount of air pressure in your lungs that
(Chapter 10 has details). Reduction of optimum intensity in
creates the strength of your breathflow.
To sing a long,
spite of increased effort may be compared to mis-timing
slow crescendo with steady evenness of tone quality (no voice
your pushes on a child's swing (introduced in Chapter 1).
"cracks" or surges of volume), your closer-opener muscles
If you push on the swing before it has reached its backward
subtly and gradually increase their interactive contraction
peak, even if you do so with extra force, then its amplitude
intensities while your respiratory system subtly and gradu
will be stifled.
ally increases the air pressure in your lungs to create a
Too little closure strength by your larynx will allow some of
breathflow of gradually increasing strength. Opposite co
your breathflow to escape through your vocal folds so that
ordinations happen in a diminuendo. Mastery of these neu
it cannot be used to create optimum ripple-waving ampli
romuscular skills is quite challenging.
tude.
Insufficient strength in vocal fold closure may be
Learning how to decrease your closure strength near
compared to barely allowing your fingers to brush a child's
the end of a long, slow diminuendo with steady evenness of tone
swing, even though you may do so with force of motion in
quality is even more challenging. Near the end of a long
your arms. In order to compensate for volume loss, your
vocalization, pressurized air in your lungs is significantly
respiratory system will have to excessively increase lung
depleting. The brains of less-skilled vocalists are much more
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likely to increase vocal fold closure strength in that situation. The
4. Find a middle ground of mouth opening between the ex
most challenging vocal volume skill of all is to evenly and
slowly crescendo from very soft to very loud and then slowly
tremes of nearly closed and widely open, and do another 3-second shout. Vocal volume differences? Differences of vocal effort?
and evenly diminuendo from that peak of volume back to very soft—all during one continual breathstream. Finding optimum, balanced efficiency between lung
If you overly narrow either the throat or mouth parts
air pressure and vocal fold closure strength for the vocal task
of your vocal tract—or both—relatively substantial amounts
at hand is a fundamental skill of expressive speaking and singing (Chapter 15 has more details). If your closer-opener muscles are skilled and well conditioned, you will be ca pable of creating more closure force with less work than with underconditioned muscles. Along with a skilled and well conditioned respiratory system, you also will be ca pable of realizing a greater softness-to-loudness range (am plitude-intensity range). Learning variable fine-tuned ad justments of your larynx and vocal tract muscles will be necessary if you want to develop all of your expressive vocal potential.
of your voice's sound wavefronts will be deflected off of firm-surface tissues back into the "nooks and crannies" of your vocal tract and they will not be allowed to radiate from your mouth. With appropriate opening of the throat
Vocal Volume and Vocal Tract Adjustments The way you "shape" your vocal tract can:
1. "stifle" the sound waves created by your larynx and prevent others from hearing an optimum "amount of sound" from your voice;
2. allow your vocal sound waves to optimally radiate up through your throat and mouth and out for others to
hear; 3. amplify some of the overtones within your voice's
sound waves more than others.
Do this: [but not if your voice feels distressed or is disordered] 1. Notice your sense of vocalvolume and the amount of effort you make as you shout "Hey" quite loudly and sustain it for about three seconds. Do that twice. 2. Next-on purpose-close your teeth almost completely and do a 3-second shout with the same strength you used before. What did you notice about thevolume of your vocal sound? 3. [Do not do this if you have temporomandibular joint disorder (see Book III, Chapter 5).] Make the 3-second shout again but with your mouth about as wide open as you can get it.
and mouth parts of your vocal tract, substantial "amounts" of the sound volume created by your larynx can radiate out when you need it. Listeners will hear more vocal vol ume and an appropriately full voice quality. With appropriate vocal tract opening, there is an am plification of all overtones produced by your larynx, but the overtones that are nearest the formant frequencies within your vocal tract are boosted more than the others (see Fig ure II-9-2; Chapters 1, 3, and 12 have details). When your vocal tract is shaped in such a way that
one or more of its formant frequencies exactly match one or more of the partials in your voice's sound spectra, then there is an amplification in overall vocal intensity. If the F0
partial matches a formant frequency, then vocal intensity increases dramatically. Very skilled speakers and singers can learn how to consistently tune their formant frequencies
to their larynx's overtones. This is a primary aspect of socalled voice projection in skilled speaking (Chapter 12 has details). In order to maintain a desired optimum voice quality when you increase vocal volume and/or raise your voice's pitch, then once again, you will need to learn how to adjust
various areas of your vocal tract to accommodate the changes in the sound waves (see Chapter 12). Although there are important exceptions and qualifications, the fundamental principle of vocal tract adjustment is: The higher the pitch goes and the louder the sound becomes, the mouth and throat vocal tract dimensions must be increased (exceptions and qualifications to this principle are presented in Chapters 12 and 13). In order to express thoughts and feelings through language and singing, this fundamental skill of vocal tract adjustment must be integrated with the vocal tract shapes
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that are needed to produce the vocal sound qualities we call vowels and consonants (Chapters 13 and 14 have details). One of the major reasons why some people are deemed to have little singing talent is that their brains have not yet learned how to:
1. adjust the dimensions of their vocal tracts to the
changing nature of the sound waves that their larynges have created; and 2. integrate those adjustments with the vocal tract shapes that are needed for language sounds.
Relationship of Vocal Volume to Pitch
Do this: 1. Rather softly sing the pitches of a 1-octave major scale from lowest to highest and then back down. Begin with a pitch that is very comfortable, near where you would speak. Do it again. 2. Sustain a lower comfortable pitch in the heart of where you speak for about three seconds, then immediately sing its upper octave for about three seconds. Did you notice perhaps subtle or somewhat obvious changes in the "amount of effort" you put into higher pitches versus lower ones? 3. Softly sustain nearly the lowest pitch your voice can produce, then crescendo to as loud as you can without changing pitch. Were you able to reach fortissimo? 4. Sustain a rather high pitch (D4 or above for males; D5 or above for females) as softly as you can in your "full-voice" upper (head) register, then crescendo to as loud as you can with out changing pitch or register. Fortissimo now? How did the volume of your soft-high pitch compare to the volume of your soft- low pitch? How did high-soft compare to low-loud?
Remember: when you sing or speak low pitches, your
shortener-lengthener muscles have made your vocal fold cover tissues short, thick, and quite lax—so much so that all of your vocal fold cover tissues are available for ripple waving, and sometimes the outer fibers of your shortener muscles as well. When you sing or speak high pitches, your
vocal folds are long, thin, and quite taut. The stretch ten sion is borne substantially by the vocal ligament layers of your vocal fold cover tissues, leaving only your most sur face vocal fold tissues available for ripple-waving. When you sing or speak pitches with low vocal volume (softly) there is a comparatively minimal medial compression of your vocal folds. When you sing or speak with high vocal
volume (loudly) there is a comparatively maximal medial compression of your vocal folds. When you are singing in your uppermost pitch and volume ranges, in order to opti mize the amount of sound that is released from your lips, the dimensions of both the throat and mouth parts of your vocal tract must be optimally shaped (Chapters 12 and 13 have details). How do these coordinations interact when you sing or speak in skilled low-soft, low-loud, high-soft, and high-
loud combinations? Low-volume voicing. One of the skills of soft voic ing is learning how to bring your vocal folds together just enough to create complete closure, but without (1) a notice able increase or decrease in volume, (2) an unintended slight rise or fall in pitch, or (3) an unintended change in voice quality. When you sing or speak low pitches softly, your vo cal fold closure force and your lung-air pressure are com paratively minimal, and only the outer tissues of your vo
cal folds are engaged in ripple-waving. Inexperienced singers nearly always sing low-soft pitches breathily because they
have not yet learned the fine motor skill of balancing lung air pressure with minimal vocal fold closing and shorten
ing functions. Skilled singers and speakers are able to pro duce accurate low-soft pitches with enough vocal fold clo
sure to produce clear, non-breathy, and non-pressed voice qualities. When you attempt to sing high pitches softly in upper register (see Chapter 11), you can do so successfully if: 1. the muscles that form the body of your vocal folds (your shorteners) are contracted with a fairly minimal de gree of intensity so that the surface tissues of your vocal folds will be very thin (not their thinnest); 2. your closer-opener muscles have arranged your
long, thin vocal folds so that they are barely touching; 3. your lung-air pressure and breathflow are opti mum to produce low amplitude ripple-waving for the degree of vocal fold tautness;
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4. the throat part of your vocal tract is of optimal length and circumference and the jaw-mouth part of your
vocal tract is optimally open (Chapter 12) and both are well integrated with tongue and lip vowel configurations (Chap ter 13). In flute register for females and falsetto register for
males (Chapter 11), your shortener muscles will not be contracted at all so that your vocal folds can be lengthened, thinned, and tautened toward their maximums. You still
have a range of vocal volume available to you when you vary both the degree of medial compression and the amount of lung-air pressure and breathflow. The higher the pitch, however, the less you have of dynamic range due to thin
ness of the vocal folds. High-volume voicing. One of the skills of loud voic ing is learning how to bring your vocal folds together to
create strong closure, but without (1) an unintended de crease involume, (2) an unintended slight rise or fall in pitch, or (3) an unintended voice quality that is pressed and edgy (Chapter 10 has details). When you attempt to speak or sing low pitches loudly, your short-thick-lax vocal folds do close with stronger force and lung-air pressure is greater to
some extent. But because so much loose vocal fold cover tissue is available for ripple-waving, pitch accuracy and similarity of voice quality are easily at risk. Lung-air pres
with the action of #1 above creates a thicker vocal fold contact area; 3. your lung-air pressure and breathflow are opti mally high to produce optimally high-amplitude ripple waving for the degree of vocal fold tautness; 4. the throat part of your vocal tract is of optimal length and circumference and the jaw-mouth part of your vocal tract is optimally open (Chapter 12) and both are well integrated with tongue and lip vowel configurations (Chap ter 13).
Gradual vocal volume changes in expressive speak ing and singing. Expressive singing and speaking uses gradual but patterned increases and decreases in vocal vol ume. In speech, these more subtle volume variations ex press the connotative meanings of language that are referred to as paralanguage (Book I, Chapter 11 has details). Gradual increases of vocal volume usually indicate a gradual height ening of feeling intensity and decreases usually indicate that feeling intensity is reducing.
As you gradually raise your voice's pitch, your vocal
folds gradually become more taut and the threshold of nec essary air pressure in your lungs will gradually increase in order to continue vocal fold ripple-waving. As a result, vocal volume gradually increases as vocal pitches rise, even when a singer or speaker is intending to maintain the least
sure can easily "overblow" your vocal folds and raise your F0 to produce pitch sharping, and your voice quality can
possible volume. As you gradually lower your voice's pitch,
become pressed. Excessive pressure results in gross chaotic
old of necessary air pressure in your lungs will gradually decrease. Particularly in the middle pitch range, skilled speak ers can minimize the effort increase so much that they can barely perceive it. When singing softer scalewise pitch changes (half and whole steps only) in middle and lower pitch ranges, the degree of air pressure change from pitch to pitch may be hardly noticeable, if at all. When singing wider pitch skips, such as an octave, the difference is commonly noticeable in those whose kinesthetic feedback is sufficiently sensitive. Your capable intensity range (dynamic range) will be great est in your intermediate-range pitches. In that pitch range, your vocal folds are capable of greater "resistance" to higherpressure breathflow and can create a larger range of ripple wave amplitudes.
vocal fold waving that produces no pitch—only a guttural, quasi-growl sound. When you speak or sing your lowest
pitches, your softest-to-loudest vocal volume range is only a few deciBels wide, and low pitches do not radiate from your mouth as well as high pitches. Greater vocal volume in your lower pitch range, therefore, is quite limited. When you attempt to speak or sing high pitches loudly, your chances of success are greatly improved if your lar ynx and respiratory muscles are well conditioned and if: 1. your closer-opener muscles have arranged your long, thin vocal folds so that they are strongly compressed medially; 2. the muscles that form the body of your vocal folds (your shorteners) and your vocal fold lengthener muscles are both contracted with great intensity, and that action along
your vocal folds gradually become more lax and the thresh
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Changes of vocal fold tissue that can inhibit vocal volume. If you become dehydrated or your vocal folds become swollen because of mucosal inflammation, then your
vocal fold tissues will become stiffer and less compliant Their greater stiffness will necessitate greater closure force and lung-air pressure in order to produce and sustain vo cal fold ripple-waving. Increased vocal volume and colli sion and abrasion forces also will occur, along with less ened ability to produce softer vocal volumes. Breathy voice
quality will be heard at softer vocal volumes.
When the surface tissues of your trachea, larynx, or pharynx become dehydrated or inflamed, thickened mucus will form on those tissues to protect them. That mucus, however, will interfere with the amplitude of vocal fold mucosal waving and other functions (Book III, Chapter 11
has details). The greater lung-air pressure and stronger breathflow force of higher volume singing is likely to dis lodge any thickened mucus that has gathered on respira tory tract surfaces, causing a disruption of mucosal waving and a need to "clear your throat".
Auditory and Kinesthetic Feedback Associated With Vocal Volume Changes When you speak or sing in surroundings where higher
Your larynx does not have the kind of sensory nerves
that enable you to sense consciously your vocal folds perse compressing into each other. No one has. In higher vol ume singing, however, you have sensory nerves that make it possible for you to sense the ballooning effects of the greater air pressure underneath your vocal folds. You also may feel the contraction of some of your external larynx muscles when they stabilize the location of your larynx against increased air pressure in your lungs, and when you adjust your vocal tract dimensions. The most prominent sensation associated with high-
volume speaking or singing is the increased action of some of your midsection muscles as they increase your "breathflow energy". When singing with more volume, however, less skilled singers tend to engage neck-throat muscles unneces sarily, thus forcing the internal larynx muscles to contract
with more intensity than necessary. The result is higher
vocal fold collision and abrasion forces and higher rates of larynx muscle fatigue. Well conditioned vocal fold shortener muscles will have greater bulk and they will be able to achieve firm clo sure with less effort. They also will be able to compress the outer layer vocal fold tissues into themselves with less ef fort. Of course, all muscles that are involved in vocal vol ume changes can be contracted too much or to little for the task at hand. Finding the most efficient balance for the
sound volumes are present, you will automatically raise your vocal volume level in order to hear yourself (auditory feedback) and so that others can hear you. That reaction is
vocal task at hand is a key element of fine-tuned, expressive singing and speaking.
called the Lombard effect after the acoustic scientist who first documented it. If you speak or sing in such a setting
For Those Who Want to Know More...
for a long enough time, the increased collision and abra
sion forces on your vocal folds can produce acute or chronic swelling and may contribute to more serious vocal fold tissue reactions. Your larynx muscle fatigue rates also in crease (Book III, Chapter 1, has details). The Lombard effect occurs in choral singing, which may explain why inexperi
enced choral singers find truly soft singing something of a challenge (Tonkinson, 1994). Learning efficient speaking and singing means distin
guishing between the sensations of: 1. unnecessary neck-throat muscle contraction; and 2. the ballooning effect that occurs underneath the closed vocal folds that's induced by increased lung-air pressure.
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Energy transduction takes several forms and each form
generates unique power characteristics. For instance, elec trical, mechanical, and thermal forms of energy all generate
power that is measured in watts according to specific math ematical formulae. Acoustic power is the amount of air conducted energy produced by a vibrating source and ra diated into the air per second. To a large extent, variations of acoustic power depend on the amplitude of the vibrat ing source and also are measured in watts. While light bulbs commonly produce 60 to 100 watts of electrical power, human voices very rarely produce one watt of acoustic power (Stevens & Warhofsky, 1965; Titze, 1994b).
Volume of sound is a common term for perceived changes in the "amount of sound" produced. Perceived amount of sound is related to the amount of acoustic power generated by a sound source. The volume controls on ra dio and television sets and sound recording and VCR equip ment are occasionally calibrated in deciBels, but most use arbitrary spatial units to represent volume gain or loss. Com posers of musical scores indicate a range of musical sound volume by using the traditional abbreviations for pianis simo (pp), piano (p), mezzo piano (mp), mezzo forte (mf), forte (f), and fortissimo (ff). The softness-to-loudness continuum of heard sound is determined by individual auditory systems that are con nected to brains in which are stored all past experiences. Softness and loudness are psychoacoustic concepts. Hu man ears process the received physical characteristics of sound pressure waves (brief review in Chapters 1 and 2). Human brains then interconnect current auditory reception
with related perceptual, value, and conceptual categories, as formed in memory, to produce an interpretation and, pos sibly, a behavioral reaction (Book I, Chapters 7 through 9
have details). Intensity is a formal scientific measure of radiated acoustic power per unit of spatial area (Stevens & Warhofsky, 1965). Its international standard of measure is the number of watts that are generated per meter squared. Intensity is represented as sound intensity level (SIL) or sound pres sure level (SPL). These two measures are essentially the same, although SPL is more commonly used in voice re search. SPL is represented in deciBels (dB) (Chapter 1 has details). The SPL of one watt of radiated acoustic power is 115-dB at a distance of one-half meter from the source. As sound waves radiate further from a source, the spherical wavefronts spread out over increased spatial area. The acoustic power, then, is distributed over that greater area so that the measurable intensity becomes less with greater dis tance from the source. Listeners, of course, perceive less and less sound volume at greater distances from a source. With each doubling of distance away from a sound source, SPL decreases by 6-dB (Titze, 1994b). Only voices that have an exceptional genetic endow ment for generating vocalvolume, and also are very skilled and well conditioned, can generate one watt of acoustic power (115-dB) at 0.5 meter without electronic amplifica
tion. By comparison, a perception of discomfort is pro duced in normal auditory systems when receiving SPLs of
85 to 90-dB, and repeated exposure to such levels over a sufficiently long period of time can result in permanent hear ing loss. Conversational speech is typically 60-dB, but a sudden, short, very loud shout may reach 100-dB. Some
trained singers also can produce about 100-dB. Some elec tronically amplified rock bands reach 115-dB to 120-dB. Pain threshold is about 130-dB (Book I, Chapter 6 has ana
tomic and functional details; Book III, Chapter 5 has details on hearing loss).
Contributions of the Larynx to Vocal Intensity and Perceptions of Vocal Volume Within the larynx, a simultaneous interplay of two actions influences changes of amplitude in the vocal fold mucosal waves. Changes in mucosal wave amplitudes create changes in the pressure intensity within the resulting sound waves, and are measured in SPL (Hirano, et al., 1969, 1970; Vennard, et al., 1970). 1. The lateral cricoarytenoid (LCA) and the interarytenoid (IA) muscles are the primary agents for vo
cal fold adduction. They have an agonist-antagonist re lationship with the posterior cricoarytenoid (PCA) muscles, the primary agents for vocal fold abduction. Fine-tuned adjustments of contraction intensity in these muscles can vary the force with which the vocal folds adduct, an action that is sometimes called medial compression (Chapters 6 and 7 have details). The agonist-antagonist thyroarytenoid muscles (primary vocal fold shorteners) and cricothyroid muscles (primary vocal fold lengtheners) interact synergis tically with the adduction-abduction muscles. Together, they are capable of producing a considerable range of me dial compression forces (Martin, 19intensity, 1994a, 1994b).
2. The respiratory system (Chapter 5 has details) in
teracts with the adductory forces. Together, they are ca pable of varying the degree of subglottal air pressure from phonation threshold pressure to an average of about 0.7 kPa for conversational speech, or a range of 3.0 to 6.0-kPa for higher volume singing. The result is the creation of transglottal airflow that can elicit a wide range of ampli
tudes in the mucosal waves and pressure intensities in the how
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sound waves (Sundberg, 1987, pp. 74-89; Sundberg, et al., 1991; Titze, 1992a).
During higher intensity voicing, the adductory muscles contract more strongly to compress the vocal folds into each other with more force. Simultaneously, the respira tory muscles compress the subglottic air more intensely to raise sufficient subglottic pressure to overcome the increased adductory force. Adductory force sometimes is referred to as flow resistance or glottal resistance. Those conditions result in: 1. sufficient aerodynamic power in the transglottal airflow to elicit higher amplitudes in the mucosal waves; 2. a faster, "snappier" vocal fold closing motion;
3. higher impact force when the vocal folds collide; 4. a longer-lasting closed phase and a shorter open
amplifies the voice source SPLs. If it is sufficiently nar rowed, however, it can inhibit the voice source SPLs in vary ing degrees so that the perception of vocal volume is less than what is possible (Colton, 1994; Cooper, et al., 1993; Holmberg, et al., 1988; Titze, 1994b).
During lower intensity voicing, the adductory muscles compress the vocal folds with relatively less force, creating
less flow resistance, and the respiratory system creates less
subglottic air pressure. Those conditions result in: 1. aerodynamic power in the transglottal airflow that elicits lower amplitudes in the mucosal waves; 2. a slower vocal fold closing motion; 3. lower impact force when the vocal folds collide; 4. a longer-lasting open phase and a shorter closed
phase in each cycle (see Figure II-9-1).
phase in each wave cycle (see Figure II-9-1). Relatively lower SPLs are then created in the radiating When the vocal folds collide with more abrupt im
pact force, greater SPLs are created in the radiating sound waves (Jiang & Titze, 1994). Listeners, then, are likely to perceive greater vocal volume. The vocal tract typically
sound waves, and listeners are likely to perceive less vocal volume (Colton, 1994; Cooper, et al., 1993; Holmberg, et al., 1988; Ladefoged & McKinney, 1963; Titze, 1994b). While the vocal folds must be adducted with greater force to produce greater amplitude-intensity, production of
optimum
amplitude-intensity is more complicated and
subtle. At the voice source, skilled amplitude-intensity varia tion involves very fine-tuned coordination of the arytenoid cartilages' vocal processes. The LCA muscles are the pri
mary regulators of the degree to which the vocal processes adduct, and thus are prime determinants of vocal fold open quotient (OQ) versus closed quotient (CQ) within each mu cosal wave cycle.
As vocal volume gradually increases, increased subglottal pressure and mucosal amplitude draw the mu cosal tissues more and more medially into the glottis (Titze,
1988, 1994b). If the same fundamental frequency is sus
tained while amplitude is increasing, the OQ will decrease and the CQ will increase and the vocal folds eventually will begin to impede an optimum vibrating amplitude and thus SPL production will decrease. Optimum amplitude-inten sity will be maintained when a skilled vocalist gradually separates the vocal processes in very minute increments Figure II-9-1: Typical flow glottograms that illustrate increases in the amplitude of mucosal
waves,
amplitude increases are shown by the height of the opening-closing curve.
Increased closure speeds are shown by increasing steepness in the downward closing motion curve. The P = lung-air pressure; SPL = sound pressure level; EPA = estimated
glottal area [From J. Sundberg, The Science ofthe Singing Voice, Copyright© 1987, DeKalb,
IL: Northern Illinois University Press. Used with permission.]
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during the course of the crescendo. Vocal process separation means that the glottis widens in minute increments, so, in other words, with optimum glottal width comes optimum vocal amplitude-intensity. In fact, changing from pressed
to flow phonation can increase the intensity of the F0 by 15dB or more (Sundberg, 1987). Typically acoustic power (SPL) is greatest when the
Interactions of Fundamental Frequency and SPL
OQ continues to be between 0.5 and 0.6 of the vibratory
Subglottic air pressure, fundamental frequency, and amplitude-intensity are produced by synergistic neuromus cular, biomechanical, and aerodynamic-acoustic interactions of vocal anatomy and physiology (Komiyama, et al., 1968; Vennard, et al., 1970). Change one parameter and the pro cesses that produce the others will have to adjust. For in stance, every time the vocal fold F0 is doubled (an octave change) there is an increase of sound pressure level (SPL) by about 6-dB at the laryngeal voice source (not at the mouth). Every 3-dB increase of amplitude-intensity by the laryngeal voice source represents a doubling of SPL. In mid-F0 range, adult larynges are capable of at least 10 doublings of SPL for an intensity range of about 30-dB. As F0s extend to the upper and lower limits of capability, maxi mum intensity levels gradually taper (Titze, 1994b). When singers sustain their lowest several pitches, their vocal folds are shortened and the cover tissues are thicker and more lax. As noted in Chapter 8, when a singer intends to sing a particular pitch, and the subglottal pressure is too great for the degree of adductory force, then the increased aerodynamic force elicit epithelial and lamina propria tis sues medially into the glottal area, creating a dynamic elon gation of the vocal folds and a slight rise in F0 (commonly referred to as singing sharp). If the subglottic pressure be comes excessive in relation to adductory force, then a toopowerful aerodynamic flow will be created and the thicklax folds are likely to go into chaotic wave motions that will produce a guttural, throat-clearing type of sound (Titze, 1994b). Also, lower F0s do not radiate from the vocal tract with as much intensity as higher F0s do. So, lower F0s can never be sung at fortissimo volume; they only have an inten sity range of a few dB (Titze, 1994b). Adductory force that is greater than optimum for a desired vocal intensity level results in excessive medial com pression and a reduction of optimum vocal fold amplitude during each mucosal wave cycle. Such circumstances also result in a narrowing of glottal width during each cycle that produces a reduction of SPL below optimum (see Figure II9-1; Sundberg, 1987; Titze, 1988,1994b). pressed vocal quality is a typical result. If the glottal width is too great, due to insufficient adductory force, then amplitude and intensity
cycle (Titze, 1988, 1994b; Chapter 7 explains OQ and CQ). In voices that are produced with reasonable physical and acoustic efficiency, acoustic power generated by the larynx in creases 6-dB with every doubling of subglottal pressure over the phonation threshold pressure, and decreases by 6-dB with every halving of subglottal pressure. Every 3-dB in
crease of SPL represents a doubling of intensity at the glottal source, and every 3-dB decrease of SPL represents a halving of intensity at the glottal source (Titze, 1994b). A common, centuries-old vocal exercise within the vocal pedagogy tradition involves sustaining a single pitch that begins pianissimo, followed by a gradual crescendo to a peak of intensity, followed then by a gradual diminuendo back to pianissimo. In Italian, the exercise is called messa di voce (putting or placing of voice). A successful messa di voce can only be performed after much "target practice" by the neuromuscular coordinations that bring it into sound. The vocal folds are brought to nearly complete adduction just before mucosal waving begins; low-pressure airflow then begins a relatively minimal mucosal wave amplitude. Fine tuned, subtle, agonist-antagonist interactions of the primary and secondary adductory muscles produce slow but steady increases of overall adductory force, while the respiratory system subtly matches that adduction with increased sub
glottic pressure to gradually increase mucosal wave am
plitude. In order to maintain optimum vocal volume and voice quality during the crescendo, however, the LCA muscles moderate their adductory function by reducing the intensity of their contracting so that the closure force of the vocal
processes are able to maintain a 0.5 to 0.6 OQ.
That abductory gesture enables an optimum mucosal amplitude to continue. After the peak of the crescendo, the coordina tion reverses itself (Titze, 1992b, 1996). Vocalists who have not yet mastered this skill typically vacillate between breathy and pressed voice qualities (Chapter 10) and between accu rate and slightly elevated fundamental frequencies (sharp singing, see Chapter 8).
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also are reduced, and a breathy vocal quality is likely (Chap ter 10 has details; also read Sundberg, 1987, pp. 79-81).
The Voice Range Profile
Vocal Tract Contributions to Vocal Intensity and Perceptions of Vocal Volume
tween vocal intensity and fundamental frequency has used
Much of the recent research into the relationship be
The vocal tract modifies the vocal sound spectra that are generated by the laryngeal voice source (see Figure II-92; Chapters 12 and 13 have details). For instance, as noted earlier, every time the vocal fold F0 is doubled (an octave change), SPL increases by 6-dB at the laryngeal voice source. After those same F0 doublings have traveled through an appropriately opened vocal tract and about .5 meters be yond a mouth, a minimum additional "boost" of 2-dB to 3dB of SPL is added (Titze, 1994b). Increases of SPL beyond 2-dB to 3-dB can be realized by trained speakers and singers who have learned to adjust their vocal tract dimensions so that any of the formants— but especially the first formant—are "tuned" to match one of the harmonics (overtones) of the sound spectra they pro duce (see Figure II-9-3). This skill is called formant tuning (Chapters 12 and 13 have details; Acker, 1987; Awan, 1991; Carlsson & Sundberg, 1992; Raphael & Scherer, 1987; Titze,
the Voice Range Profile (VRP). The VRP also is referred to as a phonetogram (Damste, 1970; Gramming, 1988; Pabon, 1991; Titze, 1994b). It is a computer-assisted means of re cording a person's vocal intensity range and F0 range si multaneously. A vocalist selects one vowel and produces lowest-to-highest pitches as softly as possible and lowestto-highest pitches as loudly as possible with all gradations
in between. SPL is recorded on a vertical dB scale that is located on the left margin of the computer screen, and F0 is recorded in Hz on a horizontal scale across the bottom of the screen (see Figure II-9-4A&B).
The VRPs of all normal voices have similar gross
shapes. For instance, intensity range is always greatest within
the intermediate F0 range, and always decreases at both the upper and lower ends of the Fo range. Variations of VRP shape occur as follows:
1994b).
Figure II-9-2: Voice source spectrum (short horizontal bars) and radiated mouth spectrum
(tops of vertical lines). [From I.R. Titze, Principles of Voice Production. Copyright © 1994,
Figure II-9-3: Tuning of the first formant to the fundamental frequency by jaw lowering
Allyn & Bacon. Used with permission.)
[after Sundberg, 1987].
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Figure II-9-4A: Raw-data VRP of a soprano (top) and tenor (below).
[Courtesy of the National Center for Voice and Speech.]
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Figure II-9-4B is a photograph of a female vocalist creating her own computer-assisted Voice Range Profile. [From I.R. Titze, Principles of Voice Production. Copyright© 1994, Allyn & Bacon. Used with permission.]
Figure II-9-5: (A) is an averaged Voice Range Profile often males (open circles) combined with a computer-simulated VRPfor males (small dots) and a graph of corresponding lung
pressures over the same F0 range. (B) is an averaged Voice Range Profile often females (open circles) combined with a computer-simulated VRPfor females (small dots) and a graph of
corresponding lung pressures over the same F0 range. [From I.R. Titze, Principles of Voice Production. Copyright © 1994, Allyn & Bacon. Used with permission.]
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1. female and male voices produce differently shaped
VRPs; 2. within each gender, individual voices produce VRP variations, such as those between trained and untrained vocalists (Akerlund, et al., 1992; Awan, 1991); 3. each vocal tract vowel shape produces characteris tic VRP variations. The most obvious difference between the male and female VRP is the F0 range. On average, the male range will be about one octave lower than the female range. The VRP of individuals with normal vocal anatomy and physiology will differ to a small extent due to genetic endowment, and
more so depending on which vowel is used to create the profile. For instance, when a vocalist creates a VRP with an /i/ vowel, a more restricted intensity range is typically dis played when lower frequencies are sounded, compared to other vowels. But the /i/ vowel enables a less restricted intensity range when higher frequencies are sounded (Titze, 1994b). The greatest VRP differences, however, will relate to: 1. the relative efficiency with which they coordinate all of their voice production elements (Sundberg, et al., 1991; Titze, 1988, 1994b); 2. the relative conditioning of their voice production elements (Saxon & Schneider, 1995, pp. 53-54); 3. the health of their voice production elements in cluding the viscosity of vocal fold tissues (Finkelhor, et al.,
1988; Titze, 1994c; Verdolini, et al., 1994; Verdolini-Marston, et al., 1990). Skilled, well conditioned, and healthy vocalists will create larger VRP dimensions in both F0 and SPL param eters.
the body's exterior and interior non-muscle tissues and are activated when the tissues are "mechanically" moved. They can be moved by such events as contact by any substance or object, the impacts of sound waves and the vibratory motions that they induce in the tissues, joint movement, or muscle contraction and stretch. (Vander, et al., 1994; Webster, 1995, pp. 51-53; Wyke, 1983a,b). Subglottal mucosal mechanoreceptors are em bedded in the anterior and lateral subglottal mucosa of the
larynx. There are more of them on the inferior surface of the vocal folds than anywhere else in the subglottic region. They report the tissue movement that results from increases and decreases of air pressure underneath the vocal folds. They trigger rapid, moment-to-moment, reflexive adjust ments of the adductor and abductor muscles during speak
ing and singing. These sensations also are not reported with specificity to conscious awareness. All of the intrinsic and extrinsic muscles of the larynx contain laryngeal myotatic mechanoreceptors. Some of these receptors (muscle spindles) report the extent and rate
of muscle stretch during mucosal waving, for instance. Others (Golgi tendon organs) report degrees of muscular
tension. These sensations also are not reported with speci ficity to conscious awareness. Laryngeal synovial joint capsules, especially the cri cothyroid and cricoarytenoid joints, contain considerable laryngeal articular mechanoreceptors. They report the status of laryngeal cartilage location and movement. Again, these sensations are not reported with any specificity to conscious awareness. All three types of receptors influence vocal coordina tions that produce adduction-abduction, and variation of pitch, volume, duration, and voice quality. Sensory feed back is used to reflexively adjust elements of ongoing coor
Sensory Feedback and Regulation of Vocal Intensity Changes The larynx has considerable sensory innervation. Although most of the sensory signaling occurs outside
dination sequences, or to help change a subsequent pro gram "run" more toward a target intention. Kinesthetic feedback participates significantly in the motor skills of trained singers and speakers, but much less so in untrained vocalists (Ward & Burns, 1978).
conscious awareness, there is enough conscious proprio
ception to provide for learned kinesthetic feedback for skilled voicing. The predominant class of proprioceptor
nerves are called mechanoreceptors. The receptor termi nals of these specialized sensory nerves are embedded in
References and Selected Bibliography Acker, B.F. (1987). Vocal tract adjustments for the projected voice. Journal of Voice, 1(1), 77-82.
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Akerlund, L., Gramming, P, & Sundberg, J. (1992). Phonetogram and aver
Sundberg, J. (1987). The voice source. In The Science of the Singing Voice (pp.
ages of sound pressure levels and fundamental frequencies of speech: Com
49-92). DeKalb, Illinois: Northern Illinois University Press.
parison between female singers and non-singers. Journal of Voice, 6(1), 55-63. Sundberg, J., Elliot, N., Gramming, P, & Nord, L. (1993). Short-term varia
Awan, S.N. (1991). Phonetographic profiles and F0 - SPL characteristics of
tion of subglottal pressure for expressive purposes in singing and stage speech:
untrained versus trained vocal groups. Journal of Voice, 5(1), 41-50.
A preliminary study. Journal of Voice, 7, 227-234.
Carlsson, G. & Sundberg, J. (1992).
Formant frequency tuning in singing.
Journal of Voice, 6(3), 256-260.
Sundberg, J., Leanderson, R., von Euler, C. & Knutsson, E. (1991). Influence of body posture and lungvolume on subglottal pressure control during
singing. Journal of Voice, 5(4), 283-291. Colton, R.H. (1994). Physiology of phonation. In M.S. Benninger, B.H. Jacobson, & AF.Johnson (Eds.), Vocal Arts Medicine: The Care and Treatment of
Titze, I.R. (1988).
Professional Voice Disorders (pp. 30-60). New York: Thieme Medical Publishers.
pressure and glottal width. In O. Fujimura (Ed.), Vocal Fold Physiology: Voice
Regulation of vocal power and efficiency by subglottal
Production, Mechanisms, and Functions, pp. 227-238. New York: Raven Press.
Cooper, D.S., Partridge, L.D., & Alipour-Haghighi, F. (1993). Muscle energet ics, vocal efficiency, and laryngeal biomechanics. In I.R. Titze (Ed.), Vocal Fold
Titze, I.R. (1992a).
Physiology: Frontiers in Basic Science, pp. 37-92. San Diego: Singular Publishing
aerodynamics. Journal of the Acoustical Society of America, 91(5), 2926-2935.
phonation threshold pressure: A missing link in glottal
Group.
Titze, I.R. (1992b). Damste, H. (1970).
Practica Oto-Rhino-Laryngologica, 32,
The phonetogram.
Voice research: Messa di voce.
National Association of
Teachers of Singing Journal, 48(3), 24.
185-187.
Titze, I.R. (1994a). Basic anatomy of the larynx. In I.R. Titze, Principles of Voice Finkelhor, B.K., Titze, I.R., & Durham, PL. (1988).
The effect of viscosity
Production, pp. 1-22. Needham Heights, MA: Allyn & Bacon.
changes in the vocal folds on the range of oscillation. Journal of Voice, 1(3),
Titze, I.R. (1994b).
320-325.
Control of vocal intensity and efficiency.
Principles of Voice Production, pp. 218-251.
Gramming, P. (1988). The Phonetogram: An Experimental and Clinical Study. Malmo,
In I.R. Titze,
Needham Heights, MA: Allyn &
Bacon.
Sweden: Department of Otolaryngology, University of Lund, Malmo Gen
Titze, I.R. (1994c). Voice disorders. In I.R. Titze, Principles of Voice Production, pp.
eral Hospital.
307-329. Needham Heights, MA: Allyn & Bacon.
Hirano, M., Ohala, J., & Vennard, W. (1969). The function of the laryngeal
muscles in regulating fundamental frequency and intensity of phonation.
Titze, I.R. (1996).
Journal of Speech and Hearing Research, 12, 616-628.
52(4), 31-32.
Hirano, M., Vennard, W., & Ohala, J. (1970).
Regulation of register, pitch,
Voice research: More on messa di voce. Journal of Singing,
Titze, I.R., & Sundberg, J. (1992).
Vocal intensity in speakers and singers.
and intensity of voice. Folia Phoniatrica, 22, 1-20.
Journal of the Acoustical Society of America, 91(5), 2936-2946.
Holmberg, E., Hillman, R. & Perkell, J. (1988). Glottal airflow and transglottal
Tonkinson, S. (1994). The Lombard effect in choral singing. Journal of Voice,
air pressure measurements for male and female speakers in soft, normal, and
8(1), 24-29.
loud voice. Journal of the Acoustical Society of America, 84, 511-529.
Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Jiang, J.J. & Titze, I.R. (1994). Measurement of vocal fold intraglottal pres
Human Physiology: The
Mechanisms of Body Functions (6th Ed.). New York: McGraw-Hill.
sure and impact stress. Journal of Voice, 8(2), 132-144.
Vennard, W., Hirano, M., & Ohala, J. (1970). Laryngeal synergy in singing. Komiyama, S., Kawata, S., Suwohya, H., & Burna, S. (1968). The relationship
The National Association of Teachers of Singing Bulletin, 27(1), 16-21.
between vocal pitch and intensity. Japan Journal of Logopedics andPhoniatrics, 9,
Verdolini, K., Titze, I.R., & Fennell, A. (1994).
8-9.
Dependence of phonatory
effort on hydration level. Journal of Speech and Hearing Research, 37(5), 1001 Ladefoged, P. & McKinney, N.P (1963).
Loudness, sound pressure, and
1007.
subglottal pressure in speech. Journal of the Acoustical Society ofAmerica, 35,454460.
Verdolini-Marston, K., Titze, I.R. & Druker, D.G. (1990). Changes in oscilla
Martin, F., Thumfart, W.F., Jolk, A., & Klingholtz, F. (1990). The electromyo
4(2), 142-151.
tion threshold pressure with induced conditions of hydration. Journal of Voice, graphic activity of the posterior cricoarytenoid muscle during singing. Jour
Webster, D.B. (1995). Neuroscience of Communication. San Diego: Singular Pub
nal of Voice, 4, 25-29.
lishing Group. Pabon, J.P.H. (1991). Objective acoustic voice-quality parameters in the com
Wyke, B. (1983a). Neuromuscular control systems in voice production. In
puter phonetogram. Journal of Voice, 5(3), 203-216.
D.M. Bless, & J.H. Abbs (Eds.), Vocal Fold Physiology: Contemporary Research and
Raphael, B.N. & Scherer, R.C. (1987). Voice modifications of stage actors:
Clinical Issues. San Diego: College-Hill Press.
Acoustic analyses. Journal of Voice, 1(1), 83-87.
Wyke, B. (1983b). Reflexogenic contributions to vocal fold control systems. Saxon, K.G., & Schneider, C.M. (1995).
Vocal Exercise Physiology.
San Diego:
In I.R. Titze, & R.C. Scherer, (Eds.) (1983). Vocal Fold Physiology: Biomechanics, Acoustics andPhonatory Control (pp. 138-141). Denver, Colorado: Denver Cen
Singular.
ter for the Performing Arts.
Stevens,, S.S., & Warhofsky, G. (1965). Sound and Hearing. New York: Time,
Inc.
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chapter 10
how your larynx contributes to basic voice qualities Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit, Elizabeth Grefsheim
he actor's soliloquy is about the loss of a valued
T
friend and a search for personal strength during a heart-wrenching crisis. The vocally inexperienced actor be gins speaking softly expressing warm memories of the past, wistful, warm-sounding voice. As a growing determination to over come the pain of personal loss is expressed, and as strong, courageous, life-changing decisions are portrayed, the actor's vocal pitch rises and vocal volume gradually becomes intense. At the same time, the actor's voice becomes more and more strained, edgy, screamy, and then pierc ing. The audience is left more with an impression of petulant anger than of courageous determination. And a moment of significant human insight is diminished. Is that actor's voice quality the result of unalterable genetic endowment, or can habitual voice quality in speech
be changed? Afirst-year choral music educator is hired only two weeks before the opening of school. The choir was selected at the end of the previous academic year by the preceding choral educator who then moved to a distant part of the country. The new choral educator is told that the music program is a good one, and that many of the choir singers can sight-sing fairly well. By the first day of the school term, goals have been set for the year and fairly specific plans have been made for the first few weeks- especially for the first day. Several selections of en gaging music have been chosen for the beginning of the first term. The educator has prepared the music well, and the choral scores are in the music folders awaiting the first rehearsal.
As the first rehearsal proceeds, the noted musical abilities of the students are confirmed. As a group, they sing through all of the musical selections without needing to stop and begin again.
Their pitches with a are reasonably accurate, their rhythms are fairly precise, their diction is rather clear, they respond to the dynamic markings of the composers/arrangers, and perform musical phrases with a smatter ing of expressive insight. As the rehearsal progresses, however, the new teacher becomes in creasingly uneasy. The choral sound does not at all match what had been imagined for the music. The choir at the school where the teacher had completed student teaching sounded so much better, and the un dergraduate college choir in which the teacher sang was mostly voice majors. The choir in this first job has voices in every section that stick out and ruin the imagined choral blend-especially when the pitches are higher and louder. Pressed, edgy, strident sounds are mixed with breathy, weak sounds as well as OK sounds, and there are overbright sounds mixed with over-dark, woofy sounds. From choral conduct ing class, techniques of uniform vowel shaping are remembered and used, and that improves the sound some; reseating the singers within each section also helps, but the problem is still significantly there. "How do I get them to make a good choral sound? Where do I begin?"
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Basic Voice Qualities That are Created at Your Larynx Chapters 8 and 9 give you a sense of the many subtle and obvious adjustments that your larynx muscles can make to create a wide range of pitches and volume levels. That same array of larynx adjustments also make the first contributions to what your voice sounds like. You may recall from Chapter 3 that each complex ripple-wave (vi bration) that your vocal folds produce also creates a vari
ety of air pressures that reflect the complex ripple-waves. Each collection of air pressures constitute a wavefront that
travels away from your vocal folds and is called a sound pressure wave. When you speak or sing, your vocal folds commonly produce hundreds of sound pressure waves per second and they radiate through the air molecules in your vocal tract. Encoded in those radiating sound waves are the spe
cific pressure variations that transmit:
1. the fundamental vibratory frequency (F0) of your vocal folds; and 2. a complement of overtone or harmonic vibratory frequencies. Any complex harmonic vibratory motion produces com
plex sound pressure waves that include a F0 and an array of overtones (reviewed in Chapter 1). When that repeated col
lection of frequencies is recorded by acoustic scientists they
are referred to as frequency-intensity spectra—shortened
to spectra for simplicity (spectrum is the singular form). The spectra that are produced by your vocal folds—before they have traveled through your vocal tract—are named voice source spectra (presented in Chapter 3). Voice source spectra are produced by the way your vocal fold tissues ripple-wave, and the way they ripple wave is determined by: 1. the dimensions and constitution of your vocal fold cover tissues; and 2. the confluence of (a) the amount of breathflow pres sure and (b) how your vocal fold cover tissues are ar ranged by your larynx muscles.
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Varied adjustments of your larynx muscles can change the ripple-waving characteristics of your vocal folds and thus change the number of overtones they produce and the relative pressure intensity of some of the overtones (de tails are presented later in this chapter). As those larynxproduced sound pressure waves pass through your vocal tract, their pressure characteristics are modified when you adjust your vocal tract to create numerous possible shapes. The modified spectra that leave your mouth include the formant enhancements that have been added by your vo cal tract. When collectively measured and recorded by scientific instruments, these acoustic outputs are referred to as radiated spectra (Chapters 12 and 13 have details). When you speak or sing, therefore, the vocal-tractmodified frequencies, that were originally generated by your vocal folds, are released from your mouth into the sur rounding air. Listening bodyminds interpret them collec
tively as your voice's pitch, volume, and sound quality or timbre. Common terms for a bodymind's interpretation of radiated spectra are vocal tone quality, vocal timbre, or voice quality. Common terms for the sound qualities that are produced by multiple voices singing or speaking together are choral tone, choral sound, or choral sonority. You and others perceive your vocal fold F0 as the pitch of your voice, and the relative pressure intensities in the sound waves are perceived as your relative vocal volume. All voices share general voice quality characteristics. Un less you are an identical twin, the detailed characteristics of your vocal fold tissues and your vocal tract are different from all other vocal folds and vocal tracts. Your unique life experiences have influenced your habitual voice use as well. As a result, your voice typically produces its own array of distinct sound characteristics. In most of the world's musics, the selective modifica tions of singers' larynges, and their selective auditory pro cessing, results in the F0 being perceived with conscious awareness as the discrete pitches of music. You and others do not consciously perceive the overtone frequencies as discrete pitches. They do not cross the bodymind's thresh old of conscious auditory awareness. Entire spectral enve lopes are processed, however, in the human auditory sys tem. They generate a conscious perception of sound qual ity or timbre.
WhisperNoise Family
INTENSE-HARD VOCAL FOLD CLOSURE 166% Muscle End 0% Breathflow End
OPTIMAL VOCAL FOLD CLOSURE
INCOMPLETE VOCAL FOLD CLOSURE 100% Breathflow End 0% Muscle EEnd Breathy Voice Quality Family
Clear and Richer Voice Quality Family < Softer to Louder >
breathy
firm flutier
richer warm/mellow
Pressed-Edgy Voice Quality Family
pressed constricted
richest brassier
edgy tense
strident harsh
< Fewer Overtones to More Overtones > < Lower Partials More Prominent to Higher Partials More Prominent >
Figure II-10-1: A continuum of voice quality families that are produced primarily by dynamic interaction of the larynx's closer and opener muscles.
Families of Larynx-Created Voice Qualities Two energy sources converge in your larynx to initiate
Voice Quality Families that Are Produced Primarily by Your Vocal Fold Closer-Opener Muscles
your voice's sound waves: 1. 2.
larynx muscle contraction energy, and breathflow energy.
If your vocal fold tissues are healthy and your breathflow pressure is adequate for the vocal task at hand, then the primary influence on your voice source spectra will be the way your larynx muscles arrange your mem branous vocal fold tissues, and thus their mode of ripple waving. There are two primary sets of muscles that vary how your membranous vocal fold tissues are arranged: 1. your closer-opener muscles; and 2. your shortener- lengthener muscles.
Do this: (1) Allow your mouth to open slightly Just observe your larynx as you breathe air in and out in spontaneous, unplanned ways. Notice the absence of muscle involvement in your neck-throat area. Can you breathe in and out silently? (2) This time, draw in a reasonably full amount of air in your lungs, and just as you start to exhale, clinch your vocal folds tightly shut so no sound is made and no air escapes. Keep them tightly shut while you pressurize your lung-airfor about three seconds. Then let them go without making a voiced sound, and resume breathing comfortably.
Both of those muscle groups can interact in many ob
vious and subtle ways. They can have distinct but over lapping influences on the arrangement of your vocal folds
The extreme left end of Figure II-10-1 represents a com pletely passive larynx with air noiselessly flowing between
and their mode of ripple-waving. They are capable of
open vocal folds. If you were able to breathe in and out slowly and silently during part one of the previous Do this, then that extreme left end represents what you did. That's 100% breathflow energy and O% muscle energy. The extreme right end of Figure II-10-1 represents a lar ynx that has closed the vocal folds with highly intensehard muscular force, with lung-air highly compressed but not flowing out at all. That's what you did in part 2 of the
creating, therefore, obvious and subtle—but distinctive-
categories of voice quality, that is, voice quality families. This chapter focuses only on the voice quality families that are primarily influenced by interactions of your closer and opener muscles. Chapter 11 will focus on the voice quality
families that are primarily influenced by interactions of your shortener and lengthener muscles.
previous Do this. That's 100% larynx muscle energy and O% breathflow energy.
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Do this: (1) Focus on the breathflow side of Figure II-10-1, with very slow-motion thinking and visualizing. How close can you come to sending easy breathflow between your vocal folds and very, very gradually bringing your vocal folds together to make an almost inaudibly soft whisper sound?
As your vocal folds are progressively more closed, how
Can you make different degrees offirmer-louder whisper sounds? What do you suppose your vocal folds are doing? (2) Next, how close can you come to bringing your vocal folds together only close enough so that the flowing air creates a very soft, close-to-inaudible, extremely breathy, higher-to-lower pitched sigh-glide on the syllable /huhhhhhhhhhhhhhhh/? (3) Sustain /huhhhhhhhhhhhhhhhhhhhh/ with extreme breathiness on a very comfortable pitch for as long as you can. What happened? Can you sustain it very long? (4) In a comfortable pitch range, sing the first five pitches of a major scale [5-4-3-2-1] and sing them with noticeable breathiness. (5) Can you sing the scale three times and each time make a sound that is breathy, but less and less breathy each time? When you do that, what do you suppose your vocal folds are doing?
to moderately breathy to minimally breathy. That is the
ever, more and more of your vocal fold tissues will be engaged in ripple-waving and less and less lung-air will freely flow between your folds. Your voice quality may then be described as progressing from extremely breathy
breathy voice quality family.
Do this: (1) Inhale fully, and then tightly close your vocal folds as you did in the first Do this above. Now, imagine-only imaginemaking vocal sound through those tightly held vocal folds. Scream city? (2) Next, how close can you come to singing a 5-4-3-2-I scale rather loudly, with fairly tense, overly constricted vocal folds so that a pressed-edgy-strident voice quality is heard? [Do not do this if your voice is hoarse or is distressed or disordered in any way.] (3) Can you sing the scale several times and each time make the sound less and less pressed, edgy, and strident? What do you think your vocal folds do to make those voice qual ity changes?
When your vocal folds begin closing, that means your
larynx's closer muscles are contracting to increase the per centage of muscle energy upward from 0%. Your closing vocal folds, then, will gradually impede your breathflow, reducing its energy percentage downward from 100%. When that happens, you begin moving from the extreme left end of Figure II-10-1 toward its right end. Near the
When your vocal folds begin to reduce their intensehard vocal fold closure, your larynx's closer muscles are
contracting with less and less intensity to decrease the muscle
energy percentage downward from 100%. In so doing, they will allow the flow of your lung-air to begin increas
extreme left end, a whisper-noise family of sound quali ties is produced. This family includes nearly inaudible whispering, very loud whispering, and all gradations in between.
ing, thus increasing its energy percentage upward from 0%. When that happens, you begin moving from the right end
As you move more and more from the left toward the
and very harsh-pressed sounding. As you gradually move from the right toward the center, your larynx muscles will
center, your vocal folds are gradually moving toward com plete closure. At some point they can be arranged in such a way that the flowing lung-air will engage a very small
amount of vocal fold cover tissue in ripple-waving mo
tions, and a nearly inaudible vocal sound will occur. Your voice's sound quality may then be described as extremely breathy and you will have to breathe frequently in order to sustain that sound because most of your lung-air will pass freely between your considerably open vocal folds.
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of Figure II-10-1 toward its left end. So, out near the ex treme end of the right side, your voice will be very loud
gradually decrease the strength of vocal fold closure, and your voice's sound quality may be described as progress ing from extremely to moderately to minimally edgy, pressed, tense, constricted, or strident. That is the pressed-edgy voice quality family. Vocal sounds represented on the left side of the figure have air turbulence noise mixed with vocal tone. On the right side of the figure, the relatively pressed-edgy-tense-
strident qualities result from chaotic elements of vocal fold ripple-waving that produce a form of high-frequency noise. The vocal sounds represented by the middle of Figure II-10-1 have no audible noise in them. All voice qualities represented by the middle can always be described as clear (not breathy) and richer (warm/mellower and/or brassier, but not edgy-pressed-tense-constricted-strident). When you
Table II-10-1.
Voice Qualities Produced Primarily by Efficient Coordination of Your Closer-Opener Muscles
pianissimo to mezzo-piano = FIRM-FLUTIER mezzo-piano to mezzo-forte plus = RICHER-WARM/MELLOW mezzo-forte plus to fortissimo = RICHEST-BRASSIER
make vocal sounds that are represented by the middle of
Figure II-10-1, you are making sounds of the clear and
richer voice quality family. Within the clear and richer voice quality family, your voice is capable of producing an extremely wide array of family members. Primarily, family members are produced by differences in the intensity with which your vocal folds are compressed into each other. That means that vocal volume changes will be a constant companion to these quality changes, as indicated in Figure II-10-1 (Chapter 9 has details). You might think of them as nonidentical fra ternal twins within the clear and richer voice quality family. On the softest end of the clear and richer family—per haps pianissimo to mezzo-piano—vocal fold medial compres
sion and breathflow pressure are relatively minimal, and
voice quality may be described as firm-flutier. In a mid-intensity range of vocal fold medial com pression, with related breathflow pressure, the vocal vol ume range may be described as mezzo-piano to mezzo-forte plus, and voice quality may be described as richer-warm/ mellow. At the greater degrees of vocal fold medial compres sion and breathflow pressure, the vocal volume may be described as mezzo-forte plus to fortissimo, and voice quality may be described as richest-brassier. There are no right or wrong, good or bad, correct or incorrect, proper or improper voice qualities represented in the continuum of voice qualities that are represented in Figure II-10-1. All sound qualities that the human larynx can make are capable of expressing something of what it means to be a human being on this Earth—including blood curdling screams. One piece of information will be very
important to know, however: The further you move on the right side of the continuum, the more your vocal folds will take a beating, that is, the impact and shearing forces on them will be higher and higher (Book III, Chapter 1 has details). If
you know how to manage the use of your voice—includ ing conditioning, hydration, and recovery time—then you are capable of making very loud, even harsh sound quali
ties while maintaining your vocal health (Chapters 15 and 16, and Book III, Chapters 1, 12, and 13 have details). Summary There are three common sources of voice quality that are generated by your larynx:
1. quality that is influenced by the dimensions and structure of your larynx's anatomy, particularly your vo cal folds (Book V, Chapter 3 has details);
Do this: (1) Using an /uh/ vowel, how close can you come to singing a 5-4-3-2-1 scale in the key of F major with a very soft, clear, and firm-flutier voice quality (no breathy or pressed quali ties)? Give it a go three or more times [females: C5-Bb4-A4-G4-F4; males: C4-Bb3-A3-G3-F3]. How close did you come? What did you feel your voice doing? What did you hear? If someone else was listening, how close did they think you came to a very soft firm-flutier voice quality? (2) How close can you come to singing the same pitch pattern at a fairly strong forte-minus volume, yet with a richer-warm/mellow voice quality (no edgy-pressed-tense-constricted-strident quali ties)? Do that 2 or 3 times. How close did you come? What did you feel your voice doing? What did you hear? If someone else was listening, how close did they think you came to richer and warm-mellow? (3) How close can you come to singing the same pitch pattern at a strong forte-to-fortissimo volume, yet with a richest-brassier
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voice quality without going over to an edgy-pressed-tense-constrictedstrident quality)? Give that ago 2 or 3 times. (4) On a comfortable, mid-range pitch, how close can you come to singing a crescendo that: (a) begins very softly and gradually, slowly progresses to a strong forte; and (b) progresses from a clear firm-flutier voice quality to a richer-warm/mellow quality, to a richest-brassier voice quality? (5) On a comfortable, mid-range pitch, how close can you come to singing a diminuendo that: (a) begins at a strong forte volume and slowly progresses to a very quiet pianissimo; and (b) progresses from a richest-brassier voice quality to a richwarm/mellow quality to a firm-flutier but clear voice quality? (6) Using Figure II-10-1, point to various locations on the hori zontal line and sustain a pitch with your best estimate of the voice quality indicated at that point.
2. the lateral cricoarytenoid (LCA) muscles may only partially close the membranous portion of the folds (about the front three-fifths) to create a relatively narrow gap be tween them; 3. both sets of muscles may inadequately close the full length of the folds. When you are speaking or singing and your vocal folds
are nearly closed but not completely then, of course, they are separated to some degree while pressurized air is flow ing between them. The flowing air is causing the folds to
ripple-wave so that sound waves are created, but some of the air is just speeding through without helping to create vocal sound. Those air molecules are thrown into turbu
lent, chaotic swirls and eddies that create noise. So, your
ripple-waving vocal folds are creating vocal sound at the same time as the air turbulence noise. Varying degrees of partial vocal fold closure create the breathy family of voice qualities. This voice quality family is commonly used to express personal, intimate, or secret expressions in both speaking and singing. If your vocal folds are closed together with an intense
muscular drive, then they require fairly intense air pres sure from your respiratory system to initiate breathflow
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and vocal fold ripple-waving and colliding. Your folds collide and shear with fairly high intensity, too, and a kind of high-frequency "noise" is generated along with vocal
tone. Under those conditions, your vocal folds create the pressed-edgy family of voice qualities. Several adjectives are used to describe members of this voice quality family, such as: extremely to moderately to minimally pressed, edgy, tense, strident, hard, metallic, harsh, grating, and cutting. This voice quality family is commonly used to express intense dis tress, mocking, anger, or rage when speaking or singing. A middle-ground balance of medial compression and
subglottic pressure creates a clear and richerfamily of voice quali ties that can be described as not breathy but firm-flutier, richerwarm/mellow, or richest-brassier. Neither kind of noise is present. Swedish voice scientist Johan Sundberg has sug
gested the term flow phonation or flow quality for such skilled singing.
For Those Who Want to Know More... When human auditory systems process distinct spec
tral envelopes that are radiated from the mouths of speak ers and singers, various local circuits within neuronal net works interact to form auditory perceptual categories (cat egorical auditory perception). Among English speakers, several linguistic labels can be applied to this class of per ceptual categories, such as voice timbre and voice quality. Lin guistic metaphors also can be applied. Vocal colors is a visual metaphor and vocal textures is a kinesthetic metaphor. Voice quality is the term used in this book. The larynx contributes several spectral characteristics to the final spectral envelopes that radiate from the mouths of individual speakers and singers. Laryngeal spectral con tributions are referred to as voice source spectra, and the anatomic and biomechanical characteristics that produce them are: 1. the genetically and epigenetically formed dimen sions of the larynx and vocal folds (Sundberg, 1987c; Titze, 1994g);
2. the degree of elasticity and compliance in vocal fold cover tissues when the mucosa are waving (Titze, 1994a, pp. 34-38, 1994d, pp. 99-104); and
3. how the respiratory and laryngeal systems behave during speaking and singing (Colton, 1994; Estill, 1982, 1995;
Liljencrants, 1995; Stevens & Hanson, 1995; Sundberg, 1987b; Sundberg & Gauffin, 1979; Titze, 1992, 1994a,b,c,e,f; Titze & Sundberg, 1992; Yumoto, et al., 1995).
In a few people, genetic/epigenetic processes form ex
cesses of vocal fold tissue at or near the anterior commis sure of the folds. Larger excesses are called laryngeal webs
and small excesses are called microwebs (Book III, Chapter
6 has details). Webs interfere with the normal vibratory behavior of the vocal folds and limit the conversion of
Laryngeal and Vocal Fold Dimensions When genetic and epigenetic events produce longer vocal folds, the dimension of the glottis will be greater. That physical characteristic provides more capability for producing greater amplitude in the mucosal waving of the vocal folds, thus greater intensity in the F0 (Sundberg, 1987b, p. 81). Greater intensity in the F0 affects the perception of
normal vocal capabilities into a complete range of vocal abilities. Microwebs mean that there are small increases of vocal fold tissue mass at the anterior commissure. To some extent, vocal fold compliance is thus diminished.
Respiratory and Laryngeal Behavior
ter 7). When genetic and epigenetic events produce shorter
Alteration of voice source spectral characteristics pri marily depends on the varied adjustments that can occur in: 1. the degree of vocal fold adduction and aerody namic power (lung-air pressure and flow);
vocal folds, the dimension of the glottis will be smaller.
2. the degree of vocal fold adductory force and aero
That physical characteristic provides less capability for
dynamic power; 3. the degree of active and/or passive vocal fold lon gitudinal tension; and 4. the extent and depth of vocal fold tissue that is involved in mucosal waving (Colton, 1994; Stevens & Hanson, 1995; Sundberg, 1987b; Titze, 1992, 1994f).
vocal volume by listeners and is reflected in the height of
the open phase in a flow glottogram (introduced in Chap
producing greater amplitude in vocal fold mucosal wav ing, thus less intensity in the F0. When genetic and epigenetic events produce largerthicker vocal folds, the Fo and lower partials also tend to be produced with greater intensity. That results in the per
ception of a "thicker", more "full-bodied" voice quality. Shorter and/or smaller-thinner vocal folds tend to pro
duce less intense F0s and lower partials, but may produce slightly more intense upper partials. The effects of laryn geal and vocal fold dimension on concepts of voice classifica tion are described in Book V, Chapter 3.
Compliance of Vocal Fold Cover Tissues for Mucosal Waving Vocal fold swelling produces a form of increased vo
These adjustments of larynx/vocal fold biomechanics produce macro- and micro-level changes in the mode of vocal fold mucosal waving during speaking and singing. Different modes of mucosal waving, in turn, produce cat egorical changes in the voice source spectra that are intro duced into the vocal tract. These laryngeal contributions to perceptual voice quality categories can be conceived on a continuum that ranges from breathy phonation to pressed phonation, with optimally efficient or flow phonation con stituting a middle ground (see Figure II-10-2) (Colton, 1994;
cal fold stiffness with decreased vocal fold tissue compli ance during mucosal waving (Book III, Chapter 1 has de
Sundberg, 1987b; Titze, 1992, 1994c).
tails). Dehydration produces another kind of vocal fold
The Breathy Phonation Family of Voice Qualities Breathy phonation occurs when the vocal folds are adducted but not completely. There are three ways that the vocal folds can remain partially abducted during voicing:
tissue stiffness and reduced compliance (Book III, Chapter 11 has details). Increases in vocal fold tissue mass (such as swelling and nodules) and disruption of normal vocal fold tissue (such as polypoid lesions or hemorrhage) also pro duce reduced compliance during voicing.
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1. the interarytenoid (IA) muscles may only partially close the posteriorly located cartilaginous portion of the folds (about the rear two-fifths) to create what has come to be called a glottal chink (women have this characteristic much more than men, see Book IV, Chapter 5); 2. the lateral cricoarytenoid (LCA) muscles may only
partially close the membranous portion of the folds (about the front three-fifths) to create a relatively narrow gap be tween them;
3. both sets of muscles may inadequately close the full
length of the folds. During breathy phonation,
transglottal airflow sets
the vocal folds into mucosal waving, but the degree of adduction is not enough to produce complete contact at the high peak of the mucosal waves. Common descriptive
labels for perceived voice quality during breathy phona tion are breathy and airy. As presented in Chapter 7, the flow glottogram can
measure the percentage of time the vocal folds are in their closing and opening phases during each vibratory cycle. Whether complete adduction has occurred or not, closing
phase occurs any time the peaks or "high points" of the two mucosal waves pass over the vocal fold surface tis sues. When represented mathematically, the total time of one vocal fold vibratory cycle is indicated as 1.0 (same as 100%). The percentage of time the folds spend in a closing phase is referred to as closed quotient (CQ). The percent age of time they spend in an opening phase is referred to as open quotient (OQ) (Stevens & Hanson, 1995; Sundberg, 1987b; Titze, 1994b,c). In breathy phonation, the vocal fold OQ always lasts longer than the CQ. There can be many degrees of incom plete closure, and thus different degrees of breathy phona
tion (Stevens & Hanson, 1995; Sundberg, 1987b; Titze, 1994c). The further away the vocal folds are from com plete adduction, the less vocal fold tissue is available for participation in mucosal waving. The closer the vocal folds are to complete adduction, the more vocal fold tis sue is available for participation in mucosal waving. A typical OQ in breathy phonation is 0.7 or more in each cycle with a CQ of 0.3 or less (Howard, et al., 1990; Titze, 1994a). The amplitude of the waving and the abruptness of the waving motion are comparatively minimal, how Figure II-10-2: Measures of five phonation modes that include flow glottogram of transglottal airflow, subglottal air pressure, sound pressure level, and an estimate of the maximum spatial area of the glottis. Each phonation mode results in the perception
of a distinct voice quality "family". (A) is typical ofpressed phonation. The glottogram
reflects comparatively high subglottal air pressure, high adduction force, suppressed
vocal fold amplitude, and lower SPL. (B) is typical of habitual speech phonation. (C) is a typical sample of optimally efficient or flow phonation. (D) is typical of breathy phonation as the glottogram reflects incomplete adduction and comparatively low subglottal air
pressure, greater vocal fold amplitude, and low SPL. (E) is typical of whisper phonation. [P = subglottal air pressure; SPL = sound pressure level; EPA = estimated peak area
(dimension of glottis during open phase of mucosal waving). [From J. Sundberg, Science of the Singing Voice, Copyright © 1987, DeKalb, IL: Northern Illinois University Press. Used with permission.]
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ever, so that intensity is less than would be produced by complete adduction (Chapter 9 has details). Some of the pressurized airflow creates chaotic eddies of air that pro duce air-turbulence noise. The mucosal waving, therefore, produces a simultaneous mixture of tone (complex voice source spectra) and air-turbulence noise.
When voice research subjects produce breathy pho
and continue mucosal waving. When the vocal folds are
nation, the following typical characteristics may be recorded (see Figure II-10-2D; Sundberg, 1987b): 1. the amount of transglottal airflow on the left verti
adducted with such intense force that transglottal airflow
cal axis is over .6 liters per second (l/s), higher than for any of the other phonation types;
2. the amount of subglottic air pressure (.5 kPa) and the SPL in the radiated sound waves (68-dB) are nearly always lower than that of the other types;
3. the line that represents the closed phase never meets the zero baseline; and thus
4. the estimated peak glottal area (210 mm2) is greater during the open phase than it is in any of the other pho nation modes.
Compared to other phonation modes, a voice source spectrum of breathy phonation typically will show (see Figure II-10-3):
1. the least number of upper partials; 2. reduced intensity in all partials, with the least inten sity in the highest ones; 3. the most intense partials are around the F0; 4. non-harmonic components that reflect the air-tur bulence noise. The Pressed-Edgy Phonation Family of Voice Qualities When vocal folds are adducted with high muscular
and vocal fold waving amplitude are suppressed below opti mum levels, then pressed-edgy phonation results (intro
duced in Chapter 9). Typically, unnecessary external la ryngeal muscles also are contracted and participate in forcing the necessary internal muscles to contract with more in tensity than is necessary for a given vocal task. The degree of intense adductory force can be varied, of course, so that
a continuum of extreme to moderate to minimal pressededgy phonation can be produced. Common descriptors for perceived voice quality during pressed phonation are edgy, pressed, tense, strained, constricted, strident, and harsh. Typically, the CQ in pressed phonation is greater than 0.6 and the OQ is less than 0.4 (Titze, 1994d; Book V, Chapter 5 has suggestions). When voice research subjects produce pressed phona tion, the following typical characteristics may be recorded (see Figure II-10-2A; Sundberg, 1987b):
1. transglottal airflow is about .2 liters per second (1/s); 2. subglottic air pressure is about 1.4 kPa 3. SPL is about 70-dB;
4. estimated peak glottal area is about 43 mm2.
Compared to other phonation modes, a voice source spectrum of pressed-edgy phonation typically will show (see Figure II-10-4):
forces, more subglottic air pressure is required to initiate
Figure II-10-3: Spectrogram of a breathy phonation voice source spectrum that is produced
Figure II-10-4: Spectrogram of a pressed-edgy phonation voice source spectrum that is
by a male. [Courtesy ofthe National Center for Voice and Speech.]
produced by a male. [Courtesy ofthe National Center for Voice and Speech.]
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1. the greatest number of upper partials; 2. relatively suppressed intensity in the F0, when com pared to breathy phonation; 3. higher intensity in the upper partials, with sup
2. subglottic air pressure (.8-kPa) is 43% less than the
pressure shown for pressed phonation (1.4-kPa); 3. SPL (78-dB) is ll% greater than the 70-dB SPL for pressed phonation;
pressed intensity in the lower ones;
4. subglottic air pressure (.8-kPa) is 6O% greater than the pressure shown for breathy phonation (.5-kPa);
The Optimally Efficient or Flow Phonation Family of Voice Qualities When the vocal folds are completely adducted during voicing (but not to hyperintense levels), a nearly infinite number of subtle adjustments can be made, and they may be described as physically and acoustically efficient. All of those adjustments contribute to a continuum of voice quali ties that Sundberg refers to as flow phonation (Sundberg, 1987b, pp. 79-85). Categorical descriptors for the range of perceived voice qualities during flow phonation are firm flutier to richer-warm/mellow to richest-brassier. In flow phonation (sometimes referred to as normal phonation), the range of vocal fold waving amplitudes are always optimal, and they produce optimal intensities in the voice source spectrum throughout the frequency range (see Figure II-10-2C). Commonly, the vocal processes are slightly separated during flow phonation, as presented in
5. SPL (78-dB) is 13% greater than the SPL for breathy phonation (68-dB);
Chapter 9 (see also Titze, 1992), and the vocal folds make contact gradually in both the inferior-to-superior and anterior-to-posterior directions (Titze, 1994a,b). At minimum, in flow phonation, the adductory force of
the vocal folds is just enough to achieve complete (or es sentially complete) closed-phase contact during mucosal waving in relation to an optimal range of phonation thresh
old pressures. Typically, breathy phonation occurs when the OQ is about 0.7 or more, with CQ at about 0.3 or less.
Clear or flow phonation occurs when OQ is 0.7 or less and CQ is 0.3 or more. Typically, larynx coordinations for flow phonation achieve a minimal OQ of about 0.4 with a CQ
that can range as high as about 0.6 (Titze, 1994d). Com
pare these figures with the "chart" in Figure II-10-1. The following phonatory characteristics are displayed in Figure II-10-2C for flow phonation: 1. transglottal airflow is optimal at just under .5 1/s, compared to over .6 l/s for breathy phonation (a differ ence of just over 2O% ) and .2 1/s for pressed phonation
(about a 4O% difference);
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6. estimated peak glottal area for flow phonation (150 mm2) is 249% greater than the EPA shown for pressed pho nation (43 mm2), but is 33% less than the EPA for breathy phonation (210 mm2).
In flow phonation, some of the external laryngeal muscles are involved only when they must stabilize the laryngeal cartilages or assist the necessary muscles in car rying out their primary functions. Compared to pressededgy phonation, flow phonation involves less respiratory and laryngeal effort, yet greater SPL is produced. Greater
SPL results in an obvious, audible gain in perceived vocal volume. In fact, changing from pressed-edgy to flow pho
nation can increase the intensity of the F0 by 15-dB or more
(Sundberg, 1987b). In this case, the principle of "less is more"
applies. Voice source spectra within efficient, flow phonation show that:
1.
adduction is always complete enough so that air
turbulence noise is not present;
2. the most intense partials are always around the F0;
the number of partials increases with increased strength of vocal fold adduction and decreases with de creased strength of vocal fold adduction; 4. the intensity of the upper partials also increases with increased strength of vocal fold adduction and decreases with decreased strength of vocal fold adduction. 3.
When the vocal volume range in flow phonation is
about pianissimo to mezzo-piano, voice qualities may be de scribed as firm-flutier. Voice source spectra typically indi cate: 1. comparatively few partials at the upper end of the voice source spectrum;
2. lesser degrees of amplitude-intensity in all of the
3. a decline of lowest-to-highest partial intensity at the rate of about 6-dB per doubling of the fundamental fre
partials;
3. a decline of lowest-to-highest partial intensity at the
quency (see Figure II-10-5).
rate of about 18-dB per doubling of the fundamental fre
quency (see Figure II-10-5). When the vocal volume range in flow phonation is about mezzo-piano to mezzo-forte-plus, voice qualities may be described as richer-mellow/warm. Voice source spectra typi cally indicate:
1. increase in the number of partials at the upper end of the voice source spectrum; 2. increase of amplitude-intensity in all of the partials; 3. a decline of lowest-to-highest partial intensity at the rate of about 12-dB per doubling of the fundamental fre quency (see Figure II-10-5). When the vocal volume range in flow phonation is
about mezzo-forte-plus to fortissimo voice qualities may be described as richest-brassier. Voice source spectra typically indicate: 1. greater increase in the number of partials at the upper end of the voice source spectrum; 2. greater increase of amplitude-intensity in all of the partials;
Summary Sustained voice source spectra can be altered in at least
three general ways. 1. Vocal fold adduction can be reduced below the point of optimum closure so as to add or subtract degrees of air-turbulence noise to the spectra and creating breathy pho nation. 2. The vocal folds can be intensely adducted beyond
optimum closure so as to suppress the amplitude of mucosal waving below optimum, thereby suppressing the intensity of the F0 while increasing the intensities of the uppermost partials, creating pressed-edgy phonation. 3. Vocal fold adductory force can be increased or decreased within an optimum range so as to add to or sub tract from the number of overtones/harmonics produced in the voice source spectrum, and to increase or decrease the intensity of the voice source partials, creating flow phonation.
References and Selected Bibliography Ananthapadmanabha, T.V. (1995). Acoustic factors determining perceived
voice quality. In O. Fujimura & M. Hirano (Eds.), Vocal Fold Physiology: Voice
Quality Control (pp. 113-126). San Diego: Singular. Ananthapadmanabha, T.V. (1991). Spectral parameters of a voice source pulse. Journal of the Acoustical Society of America, 90(4), part 2, 2345.
Colton, R.H. (1994).
Physiology of phonation.
In M.S. Benninger, B.H.
Jacobson, & A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of
Professional Voice Disorders (pp. 30-60). New York: Thieme Medical Publish ers.
Colton, R.H., & Estill, J.A. (1978). Mechanisms of voice quality variation:
Voice modes. In V.L. Lawrence (Ed.), Transcripts of the Seventh Symposium: Care
of the Professional Voice (pp. 71-79). New York: The Voice Foundation. Colton, R.H., & Estill, J.A. (1981).
Elements of voice quality:
Perceptual,
acoustic, and physiological aspects. In N.J. Lass (Ed.). Speech and Language:
Advances in Basic Research and Practice (pp. 311-403).
New York: Academic
Press. Estill, J. (1982). The control of voice quality. In V.L. Lawrence (Ed.). Tran
scripts of the Eleventh Symposium: Care of the Professional Voice (pp. 152-168). New
Frequency (kHz)
York: The Voice Foundation.
Figure II-10-5: An idealized male voice source spectrum with a fundamental frequency of 130-Hz (C3). Three spectral slopes are indicated that are associated with the perception
of (1) "brassier" voice quality (6-dB per octave slope); (2) "normal" or "flow" voice quality
Estill, J. (1995).
Some basic voice qualities.
In Voice Craft: A User's Guide to
Voice Quality. Santa Rosa, CA: Estill Voice Training Systems.
(12-dB per octave slope); and (3) "lighter" or "flutier" voice quality (18-dB per octave slope). [From I.R. Titze, Principles of Voice Production. Copyright © 1994, Allyn & Bacon. Used
with permission.]
Estill, J. (1996). Primer of compulsory figures. In Voice Craft: A User's Guide to
Voice Quality (Vol. 2). Santa Rosa, CA: Estill Voice Training Systems.
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Estill, J., Baer, T., Honda, K. & Harris, K.S. (1983). The control of pitch and
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Titze, I.R. (1994d).
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Estill, J., Fujimura, O., Sawada, M., & Beechler, K. (1996). Temporal pertur
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(pp. 252-278). Needham Heights, MA: Allyn & Bacon.
oscillation.
Physiology: Controlling Complexity and Chaos (pp. 237-252). San Diego: Singu
Titze, I.R. (1994g). Voice classification and life-span changes. In I.R. Titze,
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Principles of Voice Production (pp. 169-190). Needham Heights, MA: Allyn &
Fletcher, N.H. (1996). Nonlinearity, complexity, and control in vocal sys
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tems. In P.J. Davis, & N.H. Fletcher (Eds.), Vocal Fold Physiology: Controlling
Titze, I.R. (1995). Definitions and nomenclature related to voice quality. In
Complexity and Chaos (pp. 3-16). San Diego: Singular.
O. Fujimura & M. Hirano (Eds.), Vocal Fold Physiology: Voice Quality Control Fujimura, O., & Hirano, M. (Eds.) (1995). Vocal Fold Physiology: Voice Quality
(pp. 335-342). San Diego: Singular.
Control. San Diego: Singular. Titze, I.R., & Sundberg, J. (1992). Vocal intensity in speakers and singers.
Howard, D.M., Lindsey, G.A., & Allen, B. (1990). Toward a quantification
Journal of the Acoustical Society of America, 91(5), 2936-2946.
of vocal efficiency. Journal of Voice, 4(3), 205-212.
Vennard, W., Hirano, M., & Ohala, J. (1970). Laryngeal synergy in singing. Gauffin, J., & Sundberg, J. (1980). Data on the glottal voice source behav
The National Association of Teachers of Singing Bulletin, 27(1), 16-21.
ior in vowel production. Speech Transmission Laboratory Quarterly Progress and
Status Report (pp. 61-70). (KTH, Stockholm) 2-3.
Yumoto, E., Kadota, Y., Kurokawa, H., & Sasaki, Y. (1995). Effects of vocal
fold tension and thyroarytenoid activity on the infraglottic aspect of vocal Liljencrants, J. (1995).
Control of voice quality in a glottal model. In O.
fold vibration and glottal source sound quality.
In O. Fujimura & M.
Fujimura & M. Hirano (Eds.), Vocal Fold Physiology: Voice Quality Control (pp.
Hirano (Eds.), Vocal Fold Physiology: Voice Quality Control (pp. 127-145).
97-112). San Diego: Singular.
Diego: Singular.
Pabon, J.P.H. (1991).
Objective acoustic voice-quality parameters in the
computer phonetogram. Journal of Voice, 5(3), 203-216. Stevens, K.N., & Hanson, H.M. (1995).
Classification of glottal variation
from acoustic measurements. In O. Fujimura & M. Hirano (Eds.), Vocal Fold
Physiology: Voice Quality Control (pp. 147-170). San Diego: Singular. Sundberg, J. (1987a). The voice organ. In The Science of the Singing Voice (pp.
6-24). DeKalb, IL: University of Northern Illinois Press. Sundberg, J. (1987b). The voice source. In The Science of the Singing Voice (pp.
49-92). DeKalb, IL: University of Northern Illinois Press. Sundberg, J. (1987c). What is voice? In The Science of the Singing Voice (pp. 1-
5). DeKalb, IL: University of Northern Illinois Press. Sundberg, J., & Gauffin, J. (1979). Waveform and spectrum of the glottal
voice source. In B. Lindblom & S. Ohman (Eds.), Frontiers of Speech Commu nications Research: Festschrift for Gunnar Fant. London: Academic Press.
Sundberg, J., Hammarberg, B., Fritzell, B., & Gauffin, J. (1985). The voice source as analyzed by inverse filtering (20-min. videotape).
San Diego:
Singular Press, The Voice Foundation. Titze, I.R. (1992). Voice research: Voice quality, part I. The National Associa
tion of Teachers of Singing Journal, 48(5), 22, 45. Titze, I.R. (1994a). Biomechanics of laryngeal tissue. In I.R. Titze, Principles
of Voice Production (pp. 23-52). Needham Heights, MA: Allyn & Bacon.
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chapter 11
the voice qualities that are referred to as ’vocal registers’ Leon Thurman, Graham Welch, Axel Theimer Elizabeth Grefsheim, Patricia Feit
emale: "You can't make me sing that song. Those notes
F
above A are past my break and I'd have to use that weak part of my voice that just sounds awful. I won't do it." "I've always been a soprano, so my lower pitch range is pretty weak. In fact, I was taught that singing in chest register can damage your voice. I certainly don't want to hurt it." "I've always been an alto and when I sing pitches in the middle of the treble staff, my voice has a kind of edgy, hard sound that sticks out in the choir. Then, above that, my voice is breathy and weak. I've always wanted to be able to sing with a high, clear soprano voice, but I can't." Female: "I had one singing teacher who called my head voice
falsetto'. Does that mean I'm supposed to sound like a man when he
tent. Sometimes it just goes out of tune, and sometimes it just flips or cracks. Can you help me?" "Boy, that Mariah Carey can really sing high notes-and I mean high notes! It's incredible. She was blessed with a one-in-a-million gift-
What are vocal registers and their "breaks"? How many registers are there? What are their names? How are they related to (1) voice quality, (2) vocal volume, and (3) the ability to sing pitches accurately?
The Production and Perception of Vocal Registers, Their Number and Names
sings in his falsetto?"
"What is my chest voice and my head voice? And somebody told me there is supposed to be a middle voice in between them. I'm confused. Can you explain about my voices and show me when I'm supposed to be in one or the other?" "My choir director says there are two voices-chest and head. My singing teacher talks about chest, middle, and falsetto registers. I read a book on voice that said there was a heavy mechanism and a light mechanism. I wish you guys would make up your minds." Male: "I can sing fine up to about a D, and from G on up is
sort of OK. But right around Eb through F# my voice is real inconsis
Every time you produce and change vocal pitch and volume, you have adjusted the contraction of several inter
related larynx muscles. As discussed in Chapters 3 and 6 through 9, these adjustments are carried out primarily by the agonist-antagonist action of your closer, opener, short
ener, and lengthener muscles. Adjustments of those same muscles also produce changes in the quality or timbre of your voice as you inflect or sustain a wide range of pitches. The muscle adjustments change the way your vocal folds ripple-wave, and the way they wave creates differences in your voice's sound pressure waves that ears-brains then hear and interpret.
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As presented in Chapter 10, your larynx muscles can
coordinate to produce four basic voice quality families: (1) the whisper-noise family, (2) the breathy family, (3) the pressed-edgy family, and (4) the clear and richer family This continuum of voice quality families is created primarily (but not exclusively) by different degrees of vocal fold closure force that are enacted by your closer and opener muscles, working in their agonist-antagonist relationship. Your basic voice quality families are all intermarried with another family tree of voice qualities that are com
monly called vocal registers. These vocal register families are created primarily (but not exclusively) by different de grees of contraction intensity between your shortener and lengthener muscles, working in agonist-antagonist relation ships. These are the same muscles that enact your capable range of vocal pitches. Within your entire capable pitch range, there are sev eral pitch regions that have distinct sound qualities. Typi cally, for instance, when you make sounds in your lower pitch range, then make sounds in your higher pitch range, your voice quality will be different. When you slide (or sing) from a higher pitch area to a low pitch area, you will sense one or more shifts or changes of function in your larynx and with it you will hear a change in your voice
quality. Because you are a human being who lives in a
in and outside conscious awareness (explicit and implicit memory, see Book I, Chapter 7). When similar abrupt or
gradual quality changes are repeated enough times, your brain creates a perceptual category and a memory is formed, both in and outside conscious awareness. If the abruptchange perceptions have been associated in memory with past unpleasant or pleasant feeling states, then the occur rence of similar abrupt changes in the future usually will trigger a similar feeling state in you (emotional memory). If
the abrupt changes have same-or-similar tonal characteris tics and occur in about the same pitch areas nearly every time, then an explicit conceptual category is formed in your brain's "memory banks", (such as, "That's where my break
is.")
Over the centuries, experienced observers of singing and speaking have detected patterns in these pitch-region voice quality changes (vocal registers). People, of course, tend to form habitual larynx coordination patterns, and singing and speaking teachers tend to form language-bound concepts about (1) the nature of the voice quality changes, and (2) the pitch areas where their transitions occur. Be cause such changes occur under a variety of vocal circum stances and at different pitch areas in different people, the variety of verbal descriptions has been varied and are com monly conflicting.
culture of people who, over many centuries, have linguisti cally labeled unique perceptual and conceptual categories, you probably have already encountered some of the labels that have been given to unique vocal register qualities, la bels such as chest voice and head voice, for instance. When your voice changes from one of these pitch region qualities to another, your larynx muscle coordina tions have changed in one of two ways: 1. with minimal-to-strong abruptness at a particular pitch; 2. with gradual small-increment changes over the sev
Two voice quality families are by far the most com monly used vocal registers. They are associated with your lower and upper pitch ranges. During the Middle Ages, singers thought that their voices came from different places in their bodies. When they sang in their lower pitch range, they felt prominent vibrations in their upper chest, so they
eral pitches that seamlessly mesh any two pitch-region quali ties [a gradual transition from one quality to the other is
that seemed to be a blending of chest and head voices, and it has come to be called middle voice. Roughly eight hundred years later, the terms are still in common use. A third family of voice qualities is used less frequently but is fairly common. It involves your highest capable pitch region and your lightest-thinnest voice quality. In males,
commonly described as blended, smooth, or meltedl. Whether your voice quality changes are abrupt or
gradual, your kinesthetic and auditory senses respond both
learned how to "place" that voice there. That voice was named-you guessed it—chest voice. When singers sang in their upper pitch range, they felt prominent vibrations in their
head, so they learned how to "place" that voice there. That voice was named head voice. Some singers noticed a voice
this register is named falsetto voice. In females some people
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have called this register "whistle voice" because, until re cently, its production was thought to involve a whistling function of the vocal folds that was like whistling with your lips. In the mid-19th century, a Spanish singing teacher,
Manuel Garcia, was the first person to use a small mirror attached to a thin, curved metal stem to observe his own vocal folds during sound-making and pitch-sustaining. He
also used the mirror to observe singers produce different vibrational modes as they changed from chest to head voices. He is credited with introducing the term register among sing ing teachers as a more scientific term than voice.
By the late 1960s and early 1970s, speech-voice scien tists had collected enough scientific evidence to devise de scriptions and propose labels for four vocal registers. 1. The lowest pitch-region register was named pulse. It included the "sizzling" sound quality of vocal fry. 2. The next higher pitch-region register was named
modal. It was the vocal fold vibratory mode in which all normal speech was sounded and is the basic equivalent of chest register in singing. Some scientists have suggested the term heavy mechanism for use by singers and singing teach ers. 3. The next higher pitch-region register was named loft, a reference to its lighter or loftier quality when com
pared to modal. Loft register is the basic equivalent of head register in singing. Some scientists have suggested the term light mechanism for use by singers and singing teachers. 4. The next higher pitch-region register was named flute, a reference to its lightest-thinnest quality. Flute register is the basic equivalent of falsetto register in males and
"whistle" register in females. In actual practice, many voice scientists and a few
speech and singing teachers have adopted the pulse and modal
For reasons that relate to control of variables, most voice scientists have adopted the point of view that each of
the registers can be produced throughout a singer's capable vocal pitch range. Although there may be merit to that point of view, nearly all singers who sing Western "classical" and "popular" musics do not produce register phenomena that way. In this book, the following labels will be used for the
larynx coordinations that produce five voice quality changes and are referred to as voice registers: (1) pulse register, (2) lower register, (3) upper register, (4) falsetto register for males and flute register for females, and (5) whistle regis ter. Because the pulse and whistle registers are not used very frequently in speaking and singing, they will be de scribed only in the For Those Who Want to Know More... sec tion.
Lower Register
Do this: (1) Speak the following question 2 to 3 times in a comfortable lower pitch area of your voice, and with a smooth, flow ing sound. Hold the first word longer than the final two words. "Whoooooo are yoooooou?" Staying "lowish" in your voice, say the question with a rising slide on the held first word that peaks when you reach the second word, then slides down through the third word. (2) With the same smooth, flowing sound, sing those words on an appropriate 5-4-3-2-1 scale: Females and unchanged boys: Eb4-Db4-C4-Bb3-Ab3 Changing-voice males Midvoice I-same as unchanged; Midvoice II and IIA-C4-Bb3-A3-G3-F3; Newvoice-G3-F3-E3-D3-C3; Emerging Adult Voice-E3-D3-C#3-B2-A2
(see Book IV, Chapter 4)
terms for the two lowest vocal registers. Many singing teach ers commonly use the term falsetto to refer to the voice quali ties above modal in both males and females. That usage is confusing because the larynges of both males and females are capable of making at least two distinguishable voice qualities above the modal/chest register, and the term fal setto is used very commonly among English speaking people
your closer-opener muscles are contracted simultaneously. As in all voicing, your closer muscles are prominently con
as a reference to the highest and thinnest voice quality that
tracted and your opener muscles interact with your closers
Changed-voice males: E3-D3-C#3~B2-A2
When you speak or sing in your lower pitch range,
changed-voice males can produce. vocal
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Upper Register
Do this: (1) Pretend that you are going to get the attention of someone who is about a city block from you, and you use the follow
Figure ll-11-1:
Sequential cross-sectional drawings that illustrate the
configuration of the vocal folds over one vibratory cycle when sustaining a
pitch in the lower register coordination.
Dots indicate air molecule densties
in sound wave creation. [From: Vennard, W. (1967).
and Technic.
New York: Carl Fischer.
Singing: The Mechanism
Used with permission.
to vary the degree of steady vocal fold closure and medial compression (see Chapters 7 and 9 for review). Your shortener and lengthener muscles also are con
ing expression that is rarely (if ever) used anymore. Females: Speak it in your upper pitch range with a high-flutey sound. Males: This is "real voice", not falsetto. "Yoo hooooooooooooooooo!" (2) With the same high-flutey sound, sing the following 5-4-32-1 scale: Females and unchanged boys: F5-Eb5-D5-C5-Bb4 Changing-voice males (see Book IV, Chapter 4): Midvoice I-C-Bb-A-G-F.; Midvoice II-A-G-F#-E-D.; 5 4 4 4 4' 4 4 4 4 4' Midvoice IIA-F-Eb-D-C-BbNewvoice-C-Bb-A-G-F4 4 4 4 3' 4 3 3 3 3' Emerging Adult Voice-D4-C4-B4-A3-G3 Changed-voice males: Eb4-Db4-C4-Bb3-Ab3
tracted simultaneously. Because you are making pitches in your lower pitch range, your shortener muscles are more
When you speak or sing in your upper pitch range,
prominently contracted than your lengthener muscles (see
your shortener and lengthener muscles also are contracted
Chapters 7 and 8 for review). As you may recall, the more
simultaneously. Because you are making pitches in your upper pitch range, your lengthener muscles are more promi
your vocal folds are shortened, the more their cover tissues become thicker and more lax. That means that when you
nently contracted than your shortener muscles. The more
are singing or speaking, more of the bottom-to-top dimen sion of their surface tissues are involved in the ripple waving (see Figure II-11-1 and 8A).
your vocal folds are lengthened, the more all of their cover
Those behaviors of your vocal folds produce sound wave characteristics that result in a listener's perception of a family of sound qualities that can be called thicker and more full-bodied. These sound qualities are produced in your lower pitch range, thus the term lower register. In traditional vocal pedagogy, the common term for this register has been chest voice. In the past few decades the term heavy mechanism was adopted by some vocal pedagogs. In speech science circles, it has been called modal register. All or nearly all of your speaking, and much of your singing, are produced in your lower pitch range. Every time you speak and sing in your lower pitch range, there
(the intermediate and deep layers of the cover tissue), leav ing only the surface layer free for ripple-waving. That
fore, the above larynx coordinations are activated. Because that way of using your larynx muscles is used so frequently, they are nearly always fairly strong, and their habitual acti
vation is well entrenched in your nervous system.
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tissues become thinner and more taut Most of the stretch
ing tension is borne by the ligament portions of the folds
means that when you are singing or speaking, less of the bottom-to-top dimension of the surface tissues are involved in the ripple-waving (see Figure II-11-8A). Those behaviors of your vocal folds produce sound
wave characteristics that contribute to a listener's percep tion of a family of sound qualities that can be called thinner and less full-bodied. These sound qualities are produced in your upper pitch range, thus the term upper register. In traditional vocal pedagogy, common terms for this register are head voice and, more recently, light mechanism. In voice and speech science circles it also is often called falsetto register, leading to confusion with the common use of the term as an exclusive reference to male falsetto quality. The term loft is almost never used.
These larynx coordinations are much less frequently
In this register, your shortener muscles are not con
used in speech. Unskilled speakers almost never use this register. When it is first used by unskilled speakers or sing
tracted at all. If your shortener muscles are contracted when you attempt to sing or speak in this pitch range, you will
ers, therefore, the larynx muscles that create it have mini
not be able to produce the really high pitches of which you are capable. With no opposing pull by your shortener muscles, your lengthener muscles can act alone to stretch your vocal folds even longer and more taut than in the upper register coordination. Also, because the shortener
mal strength for those particular coordinations. The combina tion of vocal fold closure and lengthener-prominent larynx
coordinations, then, commonly produce less vocal volume even breathiness. Because that way of coordinating the lar ynx muscles is used so infrequently, the coordinations are comparatively weak and unskilled so that the habitual ac tivation of them by the nervous system can be quite minimal. Falsetto/Flute Register
Do this: Pretend that you are in a children's play and you have to imitate the sounds of a very tiny puppy newly born, eyes still un opened. The puppy has been separated from its mother, cannot find her, and is very distraught and anxious. The puppy-cry sounds are made with your lips touching on a /hmmm/ in your uppermost pitch range (males in falsetto), very tiny-sounding, and can be a series of short, falling slides. "Hmmm; hmmm; hmmm." Can you convert the puppy-cry sounds into a series of sliding pitch circles? Can you spin the pitch circles up and up and up, higher and higher, perhaps tinier and tinier? If you reach a point where your voice seems like it doesn't want to go any further, can you just nudge the pitch circles through that area to a perhaps even tinier sound on the other side? Do it again. How high can you nudge your pitch circles?
All people with normal, healthy vocal anatomy and physiology are capable of making vocal sounds in a very high pitch range. It is used only in very high-pitched sing
ing and for vocal impersonations and comic characters as
performed by comedians and actors. As with all voicing, your closer-opener muscles are contracted simultaneously
to vary the degree of vocal fold closure and medial com pression.
muscles are not contracted, your vocal folds become even thinner. That means that when you are singing or speaking
in this pitch range, even less of the bottom-to-top dimen sion of the vocal fold surface tissues are involved in their ripple-waving (see Figure II-11-2).
Figure II-11-2: Sequential cross-sectional drawings that illustrate the configuration of the
vocal folds over one vibratory cycle when sustaining a pitch in the faIsetto/flute register coordination. [From: Vennard, W. (1967). Singing: The Mechanism and Technic New York:
Carl Fischer. Used with permission.
Those behaviors of your vocal folds produce sound
wave characteristics that contribute to a listener's percep tion of a family of sound qualities that can be called thinnest. In females and unchanged boys, the resulting voice quality most resembles the tone quality of a flute, thus the term flute register. In changed-voice males, this coordination of larynx muscles produces the sound qualities that histori cally have been called falsetto register. Falsetto register ca pability begins during adolescent voice transformation, spe cifically in Cooksey's Midvoice II classification (see Book IV Chapter 4, and Book V, Chapter 10). Many females are often unaware of this register capa bility. Its skillful use is often attributed to special genetic endowment. It is rarely considered when assessing pitch range capability in female or male singers. Its presence means
that the capable pitch range for all human beings of most ages is at least 3 to 3-and-one-half octaves.
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Register Transitions
1. transitions that are the result of deliberate or habitual motor signaling for shortener-lengthener muscle adjustments; and
Do this: (1) Beginning in the "yoo hoo"part of your voice (that you used in an earlier Do This), slide downward on the "hoo" slowly (but not too slowly) between the following pitch borders. Females and unchanged boys: from E5 downward to A3 Changing-voice males (see Book IV, Chapter 4): Midvoice I-from C5 downward to Ab3; Midvoice II-from A4 to F3; Midvoice IIA-from F4 to D3; Newvoice-from C4 to C3; Emerging Adult Voice-from Eb4 to Ab2 Changed voice males: from Eb4 downward to Ab2 Did you notice a change in your voice during the falling slide? a kind of "gear shift"? Was your shift smooth and "melted", or was it more abrupt and sudden like a flip or break? (2) Now, slide your voice upward, at moderate speed, through the same pitch range. Did you notice a change in your voice? Compared to the down ward slide, was it the same or different?
When you sense the change from one type of larynx coordination to another and you hear the sound quality of your voice change, that is when you transition from one
vocal register to another. If your register transition was abrupt, with a sharp change in voice quality, then there was a relatively sudden adjustment in your larynx coordina tions at a particular pitch. Typically, that type of register transition is called a register break. If your register transi tion was not abrupt, but was smooth and melted, then your larynx coordinations were adjusted very gradually over several pitches. The first register transition(s) that you ex perienced if you did the above Do This, occurred in an upper-to-lower (or top-down) pitch direction. Of course, register transitions also occur in a lower-to-upper (or bottom-up) pitch direction, so that your larynx muscle adjust ments occur in reverse order, and these can be more notice
able because of the relative strength of your shortener
muscles. There are two major circumstances under which reg ister transitions occur: 426
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2. transitions that are triggered by sensations that are produced by vocal resonance effects, that then trigger shortener-lengthener muscle reactions.
Do this: [If your larynx is fatigued or your voice sounds hoarse or in any way seems distressed, do not do this particular Do this. Also, do not repeat it more than about 2 or 3 times.] Sing a one and one-half octave major scale that begins on A3 (females) or A2 (males). Sing at a fairly loud volume (at least mezzo forte plus). Your first several pitches will be in your lower register, of course. Come as close as you can to carrying your fairly loud lower register higher and higher and higher, until it has to change to your upper register. What did your voice do? How did it sound? How did it feel?
Register Transitions Produced Primarily by Intentional or Habitual Adjustments of the Shortener-Lengthener Muscles When singing the above Do this, your voice-or
anyone's voice-begins in its shortener-prominent coordi nation (lower register). In order for the pitches to rise, your
lengthener muscles increase their contraction intensity to lengthen your vocal folds, and that lengthening increases your vocal fold rippling rate. In order to remain in the shortener-prominent coordination, your shortener muscles must increase their contraction intensity proportionately in order to retain their predominant contraction intensity over the lengthener muscles. That means that, as the pitch as cends, the two sets of muscles are engaged in an increas ingly intense "tug-of-war" relationship. If the shortener pre dominance continues at the same intensity, at some point they will prevent your lengthener muscles from continuing their lengthening function. When that happens to some
inexperienced singers, they might conclude that they have reached the highest pitch that their voice can produce, es pecially if unnecessary neck-throat muscles are tensed as well.
In order to continue singing higher pitches, your lengthener-shortener muscles will have to adjust their relation ship to a lengthener-prominent one. So, if your shortener muscles suddenly decrease their contraction intensity and
voice appears to have one seamless register from your lower pitch range to your higher pitch range.
your lengtheners react to that change in the best way that your brain knows how, then there will be an audibly abrupt
very gradual reductions of lengthener muscle contraction
change in your voice quality. With the necessary muscle conditioning, your voice is capable of using the shortenerprominent coordination up to at least C5 (females) and C4 (males). Singers who are inexperienced at taking the short ener prominent coordination into those upper pitches may
only be able to sing that way up to about A4/A3 at first, before the tug-of-war arrives at a muscular standoff. One of the fundamentals of skilled singing is to be able to gradually adjust the shortener-lengthener tug-of-war over several pitches in both the lower-to-upper and the upper-to-lower pitch directions. In other words, as you speak or sing with rising pitch, the shorteners reduce the intensity of their contractions in very small degrees over sev eral pitches, while the lengtheners increase the intensity of their contractions in very small degrees. The result is a very gradual lightening in perceived voice quality while in the shortener-prominent coordination that makes possible a blending or melting of the register transition . When this skill is well developed, your lower register voice quality will very gradually melt into your upper register voice qual ity. A less experienced listener, then, might say that your
Lower Register Family
Pulse Register Family Shorteners only Fry/pulsated quality Lowest capable sung pitch range
Predominance of shorteners more than lengtheners Thicker, more fullbodied quality Lower range of sung pitches
If you begin in the lengthener prominent coordina tion (upper register) and descend in pitch, then there will be
intensity and a very gradual increase of shortener muscle contraction intensity. As a result, there will be a very gradual, subtle thickening in perceived voice quality, and a similarity of voice quality from your higher pitches to your lower
pitches-the reverse of the quality changes that were de scribed in the previous paragraph. In the early stages of learning this skill for the first time, a singer's brain will need to do target practice for a
period of time to master the subtle contraction intensities involved in establishing a template coordination for regis ter blending. A person who is attempting this skill for the first time is likely to notice an "unstable voice" at first, with "crackly flips" around the transition pitch area. The brain hasn't yet learned the shortener-lengthener motor sequences that result in blended voice quality transitions between lower and upper registers. So, the sound qualities are likely to shift unpredictably at first-thus, crackly flips. Singing or speaking the register-blending pitch patterns softly at first will make it possible for you to establish the template skill sooner. Singing or speaking through the transitions loudly
raises the contraction intensity levels of all of the necessary laryngeal muscles, and almost always will interfere with the
Upper Register Family Predominance of lengteners more than shorteners Thinner, lighter quality Higher range of sung pitches
Flute/ Falsetto Register Family Lengtheners only Thinnest, lightest quality Highest range of sung pitches
Register transition pitch ranges
Figure II-11-3: Four voice quality families that are produced primarily by learned adjustments of the shortener and lengthener muscles.
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subtle sensorimotor adjustments that are necessary for
blended register transitions. When you transition between your upper and flute/
(see the For Those Who Want to Know More... section of this chapter). When the vocal fold surface tissues are ripple-wav-
falsetto registers, you adjust your shortener muscles toward zero contraction intensity. In flute/falsetto register, the ris
ing, you already know that they create sound pressure waves.
ing and falling of pitches occur because of increases (pitch raising) and decreases (pitch lowering) of contraction inten
in your vocal tract above the top of your vocal folds. You may be unaware that-at the same time-your mucosal wav ing also creates sound pressure waves that travel below your vocal folds through the air molecules that are located in your windpipe or trachea.
sities in your lengthener muscles only. An abrupt transi tion between your upper and flute/falsetto registers means that your shortener muscles released or engaged their con
traction intensity suddenly and somewhat extensively. A smooth, blended transition means that your shortener and lengthener muscles cooperate to make very gradual adjust ments over several pitches. As a result, your voice quality changes between the generally lighter quality of upper reg ister and the lightest-thinnest quality of flute/falsetto regis ter. When learning this skill for the first time, a singer's
brain will need to do target practice for a period of time to master the subtle contraction intensities involved in register blending. As a result, a voice will sound "unstable" at first, perhaps with "crackly flips", as the sound qualities of upper and flute/falsetto shift unpredictably.
Register Transitions that Are Produced by Vocal Resonance Effects, that then Trigger Reactive ShortenerLengthener Muscle Adjustments For centuries, experienced singers and singing teach ers have recognized that, in the pitch area between about D4
to F#4, male singers typically experience pressed voice quality, or diminished vocal volume, or vocal instability-with or without voice cracks-or some combination of all three. Above and below that pitch area, many singers find their voices perform well. Many inexperienced female singers experience the same type of problems in that same pitch area, as well as about one octave higher—D5 to F#5. Many experienced, trained female singers do, too. For many years, voice scientists could not document the physical and acoustic causes of these register phenom ena. Many singers and singing teachers insisted that the approximate octave in between D4 to F#4 and D5 to F#5 constitutes a singer's middle register. Research carried out by Ingo Titze, Director of the National Center for Voice and Speech, has opened the door for a scientific explanation
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The waves travel through the air molecules that are located
Do this: (1) Move the underside of one of your wrists so that it is less than one inch from your lips. Send a very rapid series of puffs
of air against your wrist by going "ph, ph, ph, ph, ph, ph, ph, ph, ph, ph, ph, ph" as rapidly as you can.
Feel the pressure of the air-puffs against the skin of your wrist? (2) Find a clean glass bottle that has a top opening that is not exceedingly narrow. Place the bottle top against your lower lip so that, when you make vocal sound, much of your voice's sound waves can enter the bottle. Then, on an /ah/ vowel, slide your voice slowly from a some what high pitch (say, around Eb5 for females and Eb4 for males) downward to almost the lowest pitch you can make, at a steady middle level of volume. Listen closely to any subtle changes in the sounds as you slide down. Hear any changes? How in the world do those two experiences relate to register transitions?
Most of your vocal tract sound pressure waves travel all the way through and out of your vocal tract, especially if you are a skilled singer. Your tracheal sound pressure waves, however, cannot travel outside of you. You would have to have a mouth in the middle of your chest for that to hap pen (but then, you might be able to sing duets with yourself!). Tracheal sound waves are trapped inside where they bounce around until they decay away. That means that your tracheal sound pressure waves are impacting on the underside of your rippling vocal folds [note task (1) in the previous Do this]. Your trachea is a rounded tube of fixed length and circumference. Tracheal dimensions vary between human beings and between males and females, but the differences for nearly everyone are comparatively minimal. Just like all
tubes, your trachea has a resonance frequency (see Chapter 2 for review).
ity", but your brain has no "program" for appropriately ad justing the dimensions of your vocal tract, then your vocal
As you may recall, the sound pressure waves that your
folds will experience acoustic overloading. It is as though your sensory nerves are telling your executive, "I'm trying
vocal folds generate when you speak and sing compress (higher pressure) and expand (lower pressure) to transmit fundamental vibrational frequencies. You perceive them as pitches. As the fundamental frequency of those sound waves approaches and then matches the resonance frequency of your trachea, the amount of pressure in your tracheal sound waves is reinforced or amplified (increased). In other words, they have greater intensity, and the force of their impact on
the underside of your vocal folds is that much greater. Indeed, research that was reported in 1988, and in subsequent years, indicates that the resonance frequencies of nearly all adult human tracheas can create interferences with vocal fold rippling somewhere within the D4 to F#4 and the D5 to F#5 pitch areas. If the interference occurs, then the way you shape your vocal tract triggers the interference. If the mouth and/or throat parts of your vocal tract are too short or narrow for a given pitch area and volume, then
enough of the sound pressure waves that are traveling through your tract are deflected with the same intensity back
to do what you want, but those bleeping sound waves are getting in the way—big time. Now, what are you going to do about it?" Well, in the absence of a program for skilled vocal tract adjustments, your executive has only two other choices: (1) work all of your larynx muscles harder in an attempt to
overpower the loading interference, or (2) reduce the rela tive tensions of your larynx muscles with the consequence that your closer-opener and shortener-lengthener balances are upset and instability occurs in your pitch accuracy, vo cal volume, and voice quality. Your voice may then "crack" or "break", which means that your shorteners have abruptly reduced their contraction intensity and a lengthener promi nent coordination has suddenly taken over (a register tran sition). In nearly everyone, such an abrupt change would
be unexpected and not desirable, and their brains would suddenly shut their voices off, and they might say (embar rassed), "Oops. My voice cracked" [Research evidence for
onto the topside of your vocal folds. This acoustic interfer
acoustic overloading is presented in the For Those Who
ence with your mucosal waving is referred to as acoustic
overloading of your vocal folds.
Want to Know More... section of this chapter.] Learning the skill of gradual or blended register tran
So, if your brain's "executive" has given the following order: "Sing me all of the pitches in this song with pitch
sitions is fundamental to your becoming a skilled, expres sive singer or speaker. Learning how to appropriately ad
accuracy and consistency of vocal volume and voice qual
just your larynx muscle coordinations in small increments
Lower Passaggio*
Upper Passaggio*
Changed-Voice Males:
Changed-Voice Females:
* The range of pitches allows for differences in the genetically endowed tracheal dimensions, with the lower passaggio pitch areas occurring in people with larger tracheal dimensions and the higher passaggio pitch areas occurring in people with smaller tracheal dimensions.
Figure II-11-4: The general pitch ranges within which the pressure of below-the-vocal-folds sound waves is increased in response to the resonance frequency of the trachea. Within these passagio pitch areas, appropriate vocal tract adjustments must occur in order to avoid acoustic overloading of the vocal folds and the resultant interference with their vibratory (ripple
waving) motions. [Original figure by Leon Thurman.]
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of change and to adjust your vocal tract dimensions to avoid
acoustic overloading are the two interrelated vocal register skills. Summary. Vocal registers are identified perceptually by changes in voice quality within a particular pitch area. Adjustments of larynx muscle coordination change the way the vocal folds vibrate and that changes the perceived sound quality.
There are two primary vocal registers-lower and upperwhich are used in a variety of ways to sing nearly all of the world's "classical" and "popular" musics. One other register
is used with some frequency-named falsetto in males and
flute in women. A lowest register-pulse-is rarely used in
singing because, usually, its pulse-like nature is unstable and its vibratory frequency is difficult to perceive. Register transitions may be audibly abrupt at a par ticular pitch, or they may be gradual and blended over sev eral pitches. All register transitions occur as a result of changes in larynx muscle coordinations. They can be the result of (1) deliberate or habitual motor signaling for shortener-lengthener muscle adjustments, and (2) acoustic over loading sensations that then trigger shortener-lengthener
muscle reactions.
Vocal Registers in Speech
accurately, those skills will nearly always develop first in their habitual speaking pitch region. The larynx coordina
tion that has been used most, therefore, will be the short-
ener-prominent or lower register one. When you first learned to sing pitches accurately, that was the pitch region in which your nervous system had by far the most experience at varying the contraction intensities of your shortener and lengthener muscles (Book IV, Chapters 1 and 3 have details). If you were lucky enough to have lots of experience experimenting with singing in your lengthener-prominent or upper register larynx coordinations, then you next de veloped the ability to sing pitches accurately in that pitch region of your voice.
Typically, most of your out-of-tune singing occurred around the transition between your lower and upper regis
ters. Those transition coordinations are extremely fine motor skills. More of the neurons in the motor cortices of your left and right hemispheres (and many other parts of your motor system) have to be selected for this fine-tuned skill and new synapses have to be generated and strengthened throughout the vocal sensorimotor system. Developing the skill takes time and lots of target practice in a safe, intrinsi cally rewarding setting (see Book I, Chapters 2, 7 through 9 for review). For approaches to register strengthening and transition blending, see Book V, Chapter 5.
The same array of neuromuscular adjustments that
When people have learned basic pitch accuracy in sing
produce voice quality families in your singing can produce the same voice quality families in your speaking. Speech predominantly uses lower register coordinations. Many
ing, they still can sing pitches inaccurately or out-of-tune. When pitches are sung slightly under the target ripple-wave
inexperienced and unskilled speakers tend to use relatively rigid shortener-lengthener coordinations that limit their pitch and quality ranges during speech. In other words, their brains tend to maintain a strong shortener contraction that prevents the lengtheners from thinning the vocal folds very much. They do not have neural networks that enable elabo rate variation of shortener-lengthener contraction intensi ties when they speak.
How Are Voice Registers Related to the Ability to Sing Pitches Accurately? When people are first learning the breathing and lar
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frequency, they are said to be flat. Flat singing typically occurs when a singer's shortener muscles are contracted more strongly than necessary, or their lengthener muscles
are not contracted enough. Either way, the pitch is lowered enough to make it sound flat to listeners. A variety of con ditions can influence singers to sing flat, such as, insufficient lung-air pressure underneath the vocal folds, bodymind fatigue, high room temperature, underaroused attentional mechanisms in the brain, threatening-distressing circum stances, modeling of physical tension in the bodies of nearby people (such as a conductor or singing teacher).
When pitches are sung slightly above the target ripple wave frequency, they are said to be sharp. Sharp singing typically occurs when a singer's vocal folds are slightly longer than they need to be to produce a target pitch. The most common source of such extra lengthening is lung-air pres
sure that is excessive in relation to the intensity of vocal fold closure. That excess of air pressure over vocal fold "resistance" causes a slight lengthening of the vocal folds, and thus a slight rise in the pitch (see Figure II-8-5 in Chap ter 8). For this reason, singing pitches sharp is common among singers who are still developing their upper register skills or their falsetto or flute register skills.
For Those Who Want to Know More... For centuries, singers and singing teachers have ob
served changes in vocal sound quality (timbre) when sing ing, for instance, consecutive fundamental frequencies (F0s) of a two-octave musical scale. Transitions of larynx muscle coordinations occur from one quality to another, and they can be sensed kinesthetically by singers and can be aurally perceived by listeners. In inexperienced singers, the transi tions are more commonly abrupt, but are blended and smooth in experienced or trained singers. Such changes of voice quality were once thought to be separate voices that were produced in either the head or chest parts of the body. Currently, they are referred to as vocal registers. Vocal registers are controversial in the pedagogical, clinical, and scientific domains of vocology. This section of this chapter is one attempt to clarify the history of vocal registers and to present a science-based theory that describes
what they are from perceptual, physiological, and acousti cal perspectives.
A Brief History of Vocal Registers Most of the considerable anatomical knowledge of the Greek civilization was not available during the anniDomimim development of Western civilization. Detailed knowledge of human anatomy began to be more widely disseminated
in the Western world after the 1643 printing of The Seven Books on the Structure of the Human Body by Andreas Vesalius (1514-1564). The earliest known writings about voice were written in the 13th century by Jerome of Moravia (c.1250) and John of Garland (c.1193 - c.1270) (Mori, 1970; Timberlake, 1990). Keep in mind that the "treble singing" in earlier writings
were about prepubescent boys and adult castrati until "ar tistic" singing by females became common practice. Scien tific findings about vocal anatomy, physiology, and the na ture of vocal sound only began to be widely distributed in about the middle of the 19th century. With limited science based knowledge of vocal phenomena, singers and singing teachers always did the best they could to explain the struc tures and functions of human voice production as a means to accomplish skilled, expressive singing. So, historically, vocal pedagogy and its terminologies had to be based sub stantially on logical assumptions and personal perceptions about the nature of voices. Jerome of Moravia and John of Garland wrote about the then current conceptual categories and linguistic labels for what are now called vocal registers. When singers sang in their upper pitch range, for instance, they felt a promi nence of vibration sensations in the front, sides, and top of their heads. To them, that meant that their voices were coming from the head, so they called that way of singing
their head voice (Latin: vox captis) . When they sang in their middle pitch range, they then felt a prominence of vibra tion sensations in their throats. They then thought that their
voices originated from the throat, so they called that way of singing their throat voice (Latin: vox gutturis = voice in the throat). When they sang in their lower pitch range, they then felt a prominence of vibrations and other sensations in their chest, so they called that way of singing their chest voice (Latin: vox pectoris = voice in the breast). When they changed from one voice to the other, they physically felt the transition and they heard the sound quality of their voices change at the same time. Skilled singers thought they were deliberately placing their voices in these anatomic areas. In 1601, Caccini wrote of voce piena (natural voice) and vocefinta (feigned voice). In 1627, Monteverdi wrote of la vocale della gola (the voice of the throat) and la vocale del petto (the voice of the chest). Eighteenth century Italian writers
appeared to interchangeably use the terms voce di testa (voice of the head) and voce di falsetto (false or feigned voice), and they also wrote of voce di petto (voice of the chest). In the 19th century, Garcia and others wrote of three registers in ascending order of pitch range: chest, head, and falsetto (Mori, 1970; Timberlake, 1990).
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Also in the 19th century, a medium or middle voice
was labeled, because the pitch range of this voice was be tween the chest and falsetto voices. When singing in their middle pitch range, some singers noticed sensations and
sound qualities that were different from those that they observed when singing in their uppermost and lower pitch ranges. This way of singing seemed to be a mixture of the sounds and sensations of chest and head/falsetto, so it was
called mixed voice (Italian: voce mista; French: voix mixte). When singing in mixed voice, singers observed transitions to other registers at both the top and bottom of the mixed voice (Mori, 1970; Timberlake, 1990). In the mid-19th century, Herbert von Helmholtz, a German physicist, began to analyze vocal sound using the
vocal folds in live action. Manuel Garcia, a Spanish singing teacher, brought these findings to the attention of vocal pedagogs by using a mirror attached to a curved metal stem to view his own live vocal fold movements for the first time, and describe them. [Otolaryngologists now use such a mirror during routine laryngeal examinations.] Garcia (1894) believed that he observed three different vibratory
modes within the entire singing pitch range that corre sponded to chest, middle, and falsetto "voices". He coined the term register for these phenomena and it has become a substitute for voice. In the middle to late 1960s, Hirano, Vennard, & Ohala (1970), two voice scientists and a sci ence-based singing teacher, carried out landmark studies on fundamental frequency, intensity, and register phenom ena. They suggested the label heavy mechanism as a sub
science of acoustic physics. Beginning in the early 19th century, several scientists began to experiment with arrange
stitute for chest register and light mechanism as a substi
ments of small mirrors and reflected light to observe the
tute for registers above heavy mechanism.
Figure II-11-5: (A) The bars represent Tarneaud's (1961) classification of the pitch ranges of the lowermost, middle, and uppermost vocal registers in singers. (B) The bars represent the physiologic vocal pitch ranges of the lowermost, middle, and uppermost vocal registers as classified by Nadoleczny (1923) and Preissler (1939). The spaces between the bars represent
register transition points. The dots refer to register transitions that Miller (1986) identified. [Adapted from Titze, Principles of Voice Production. Copyright © 1994, Needham Heights, MA:
Allyn & Bacon. Used with permission. 1
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The terms head register and falsetto register both have been used by various vocal pedagogues as labels for the differ ent sound qualities produced in middle and higher pitch ranges. For many singing teachers, head register is immedi ately above chest, and falsetto is above head. To others, falsetto refers to all sound qualities above chest in both males and females, and sometimes the traditional high-range male falsetto is termed pure falsetto. In other register concepts, head register is above falsetto (based on personal observa tions of presentations and informal discussions with many singing teachers at various conventions and meetings). The common, societal use of the term falsetto refers only to the voice quality that a male makes when he attempts to "sound like a female." In some register concepts, prepub escent chil dren and changed-voice adult females have a whistle, flute, or flageolet register that enables pitches that are high above head register (Large, 1973; Miller, 1986, pp. 147-148; Mori, 1970; Timberlake, 1990).
the secondo passaggio is the passage from middle to head reg ister. Men and women of various voice classifications will experience the passages at different pitches. Table II-11-2 shows the approximate pitches at which the primo and secondo passaggi occur in trained adult males of the indicated voice classifications, according to Miller (1986, p. 117). In the late 60s, the research team of Minoru Hirano, William Vennard, and John Ohala (1970; Vennard, et al., 1970a,b, for example) heightened interest in the use of the scientific method to resolve many controversies in the vo cal pedagogy tradition, including vocal register phenom
Table II-11-l
research, and of resources for science-based voice educa
Approximate pitches at which the primo and secondopassaggi occur in trained adult males of the indicated voice classifications, according to Miller (1986,
p. 117). Classification
Primo passaaaio
Secondo Passaaaio
• Tenore lirico
D4
G4
• Tenore robusto
C4
• Baritono lirico
B3
f4 e4
• Basso cantante
A3
D4
ena. In 1971, the late Wilbur James Gould, M.D., founded
the Voice Foundation in New York to raise money for and fund voice research, and to bring medical, scientific, clinical, and pedagogical voice professionals together for an annual symposium. The symposium was titled Care of the Profes sional Voice, and was presented at the Juilliard School until 1988. It was then moved to Philadelphia. The Voice Foun dation became the catalyst for a virtual explosion of voice tion, around the world. In 1974, Harry Hollien, an internationally prominent
speech-voice scientist, presented new terminologies for use in the voice science communities, based on his wide re search experience. 1. Pulse register is the name that was given for a pulsated quality that can be produced in a very low pitch range below modal. "Vocal fry" is one manifestation.
2. Modal register is the name that was given for a heavier or thicker voice quality that is produced in a lower
Table II-11-2 Approximate pitches at which the primo and secondo passaggi occur in trained adult females of the indicated voice classifications, according to Miller (1986,
pp. 134, 135).
Classification
Primo passaaaio
Secondo Passaaaio
• Soprano
Eb4
F#5
• Mezzo-soprano
f4 g4
E5
• Contralto
D5
According to Miller's description of the Italian vocal
pedagogy tradition (1977; 1986, pp. 115-149), the primo passaggio is the passage from chest to middle register and
pitch range. The label was a reference to the most common "mode" of voice function in speech. It has been described as the speech equivalent of chest register in singing peda gogy3. Loft register is the name that was given for a voice quality that is lighter or thinner, compared to modal regis ter, and is produced in a higher pitch range. It has been described as the speech equivalent of head register in singing pedagogy. 4. Flute register is the name that was given for an even thinner quality that can be produced in a very high
pitch range above loft. In singing it is called falsetto in males
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and in females the term whistle register has been equivalent
ceived vibratory sensations are the result of differences in
(flageolet in trained female opera singers who are classified as coloratura sopranos).
(1) anatomic structure and dimension among people, and
With increased sophistication of instruments that are
interoceptive and proprioceptive sensory networks to bring
capable of documenting the physical phenomena of voic
vibratory sensations to conscious awareness is variable; causative interpretations and verbal descriptions of them are rather subjective, and therefore, are likely to be incon sistent across human beings. In order to begin the process of register identification
(2) the nature of the physical coordinations used and their acoustic consequences in body tissues. The ability of the
ing came curiosity about the actual physiologic and acous
tic realities of vocal registers and their transitions in both speaking and singing. In the late 1970s, an international medical organization, the Collegium Medicorum Theatri
(CoMeT), formed an International Committee on Vocal Reg
isters with Dr. Hollien as Chair. The committee included prominent otolaryngologists, speech and voice scientists,
and singing teachers. Their charge was to attempt a defini tion of vocal registers perceptually, physiologically, and acoustically. After their early meetings, they agreed that at least four
and definition, the committee report identified four registers based on past research. In an attempt to reduce semantic
confusion, numbers were used to refer to the registers. They were designated as #1, #2, #3 and #4 (Hollien, 1985). Based on information from the tradition of singing pedagogy, a possible middle register between #2 and #3 was added and
designated #2A (Hollien & Schoenhard, 1983a,b). No sci
different vocal registers existed, but that a definitive physi
entific evidence for the existence of this register was found
ological and acoustic definition of all register phenomena
by the committee at that time. The committee agreed that registers #2, #2A, and #3 are the most frequently used in singing by most people.
was not possible at that time. The committee agreed (Hollien,
1985) that registers: 1. involve a series of consecutive fundamental fre quencies that have the same perceived timbre; 2. are not only detectable perceptually, but also in the recorded spectra of the different timbre groups; 3. are initiated by changes of laryngeal physiology involving at least the thyroarytenoid, cricothyroid, lateral cricoarytenoid, and interarytenoid muscles. The committee's report questioned the scientific use
fulness of the older names for registers such as head and
As voice science and voice medicine became more
prevalent, the National Institute on Deafness and Other Communication Disorders (NIDCD), a division of the U.S. federal government's National Institutes of Health (NIH), began funding national centers for research and education
in voice and speech. For instance, in 1990 the NIDCD pro vided funding to establish the National Center for Voice and Speech (University of Iowa, Ingo Titze, Ph.D., Director)
and the Center for Neurogenic Voice Disorders (University of Arizona, Thomas Hixon, Ph.D., Director).
chest. The historic terms attribute the identification of regis
As a result of these developments, research into the
ters to areas of vibratory sensation in singers. While vibra
phenomena of vocal registers has increased over the past
tory sensations definitely occur, they were not considered to be defining characteristics of registers. Defining character istics are the physical and acoustic events that give rise to the sensations. While the committee agreed that the sensations may be helpful in the education of singers and speakers, they could not accept them as scientific evidence for defining registers. The sensations themselves vary widely between human beings, and replication of vibratory sensations in
20 years. In addition to Harry Hollien, three scientists have
registers and associated voice qualities: Jo Estill, Johann Sundberg, and Ingo Titze (see references). Within the vocal pedagogy tradition, and among voice scientists, many questions have been raised by the wide variety of register concepts and labels, and the variability of register transition areas in the same voice under different
groups of singers was nearly impossible to measure and study with precision at that time. Differences among per
circumstances (Morner, etal., 1964; Timberlake, 1990). What are vocal registers, really? What anatomy and physiology
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consistently allied themselves with various scientist and
pedagogical colleagues to collaborate on the study of vocal
terns in voices; for example, strong lower-pitch-range reg
lated by a number of interconnected neural networks. When some characteristics change but one stays the same, then typically, a separate perceptual category is formed in the neural networks that process those events, and they are likely to be recorded in auditory memory. For instance, when a range of different F0s are produced but prominent spectral characteristics remain nearly the same, then a per ceptual category of perceived voice quality is formed. But when a range of F0 changes occur and a significantly different set of spectral characteristics are produced, then a slightly different combination of neural networks process and record those events, and two perceptual categories are formed. A language label is not needed in order for such perceptual categories to occur, but human beings typically assign such labels (Book I, Chapter 7 has details about neural categori zation of sensory perception).
isters and weak/breathy upper-pitch-range registers, or vice
In Chapter 10, some basic voice quality categories, or
versa; or register transitions that occur around several dif ferent pitches? How does "belting out a song" relate to
families, were described, and they were correlated primarily
produce their acoustic phenomena? How many registers are there? Some singing teachers believe that there are two registers, some three, some four, some seven, and some be lieve that there is, or should be, only one register. Some singing teachers argue that with every pitch change there is a change of register. To what extent would sunset assump tions and part-elephant perceptions account for the mystery of vocal registers? (The Fore-Words to this book presents these concepts.) What are the most accurate and helpful word labels for vocal registers? What happens physically and acousti cally when register events occur? Can the pitch areas where register transitions occur be changed, or do they indicate
unchangeable, genetically inherited vocal characteristics? How is it that there can be so many different register pat
registers, and are there voice health issues involved in the use of belted singing? How do registers and their sound qualities relate to the musical styles of the world's cultures and subcultures? Do registers occur when speaking? If so, are speaking registers different from singing registers? Some of these questions are addressed below. Some
are addressed in Chapters 15 and 16; Book III, Chapters 1 and 14; and Book V, Chapter 4.
with changes of voice quality and intensity and thus with (1) degrees of vocal fold adduction and (2) adductory force. The agonist-antagonist functions of the lateral cri coarytenoid, interarytenoid, and posterior cricoarytenoid muscles were identified as the muscles that primarily influ ence adduction and adductory force. The thyroarytenoid and cricothyroid muscles and aerodynamic flow were de scribed as participating in vocal fold adduction and related voice quality change, but in a secondary role. Under cer tain circumstances, some of the extrinsic larynx muscles
A Current, Science-Based Theory of Vocal Registers Hollien (1974) described a vocal register as "...a totally laryngeal event; it consists of a series or a range of consecu tive voice frequencies which can be produced with nearly identical phonatory quality..." (italics added) He further stated that "...the operational definition of a register must depend on supporting perceptual, acoustic, physiologic and aero dynamic evidence." Titze (1994) described vocal registers as "...perceptually distinct regions of vocal quality that can be maintained over some ranges of pitch and loudness." When bodymind auditory systems perceive a series of sound events that share the same (or nearly the same) acoustic characteristics, then those characteristics are corre
also participate in vocal fold adduction. The primary agonist-antagonist function of the thy roarytenoid and cricothyroid muscles is to change vocal fold F0s. They do so by lengthening-shortening, thinning
thickening, and tautening-laxing the folds. These changes
also alter voice source spectra and produce perceived voice quality changes. There are five categories of thyroarytenoid and crico thyroid adjustments that produce five categories of per ceived voice quality. These five voice quality categories have come to be referred to as vocal registers, and they are cor related with changes of F0. The basic voice quality catego ries that are described in Chapter 10, therefore, overlap and are correlated with the voice quality categories called vocal registers (Chapter 15 has details).
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The vocal register word labels that have been selected for use in this book were chosen according to the following
criteria. The terms must: 1. reflect discrete, defining, perceivable acoustic-audi tory characteristics that can be recorded and described in physical and acoustic measures (if the instrumentation is sufficiently sensitive to subtle acoustic signals); 2. relate to definable vocal anatomy and their func tions; and 3. be easy to assimilate into colloquial English.
The voice register labels are:
frying food. The CoMeT committee referred to pulse regis ter as Register #1.
The more a pulsed F0 lowers past about 70-Hz, the more
experienced voice judges identify the continuing sound as a
series of pulses with gaps (fry). The more a pulsed F0 raises above about 70-Hz, the more experienced voice judges identify con
tinuing sound as vocal tone rather than bursts and gaps (see Figure II-11-6A). The 70-Hz mark is the average cross over frequency between the perception of pulses and the perception of sustained sound within the pulse register, but the crossover can occur anywhere between 60-Hz to 80-Hz (Hollien & Michel, 1968; Hollien, 1974, 1985; Titze, 1994, pp.
1. pulse register; 2. lower register;
254-259). Different vocal tract vowel shapes can produce
3. upper register;
continuation of pulsed sound (presented later and in Titze, 1994, p. 257). For instance, the greater vocal tract opening
acoustic loading of the vocal folds and thus interrupt the
4. falsetto register for men, and flute register for women; and 5. whistle register. Pulse Register Pulse register is produced when the cricothyroid muscles
(lengtheners) have completely released so that vocal fold length is determined solely by increases and decreases in the contraction of the thyroarytenoids (shorteners). The vocal fold mucosa, therefore, is quite short, thick, and lax. There is a comparatively minimal range of subglottal air pressures and minimal adductory force, resulting in a mini mal aerodynamic flow between the vocal folds. Pulse reg ister can be produced in both speaking and singing. One defining sound characteristic of this register is a
series of sound bursts with audible gaps in between each
The recorded waveforms show a series of "wave packets" with a temporal gap in between (see Figure II-11b). Some vocalists can intentionally shorten and lengthen the temporal gaps, mostly by subtle increases and decreases of subglottal air pressure and aerodynamic flow. When a vocalists' vocal folds are thick enough-by genetic endow ment or by sufficient swelling-they are capable of increas ing the subglottal pressure and vocal fold adduction just enough to shorten the temporal gaps to produce a range of very low-frequency sustained tones. At the present time, speech-voice professionals label the audible gap version of this register as vocal fry or fry. Presumably, this perceived sound quality reminded some people of the sound of slowburst.
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Figure II-11-6: (A) is a graph that shows the percentage of experienced voice judges that perceptually discriminated F0s that were (1) continuous, sustained sound, versus (2) a series
of sound pulses with audible gaps in between. (B) shows recorded waveforms of temporal
gap pulses (vocal fry "wave packets"). [From I.R. Titze, Principles of Voice Production. Copyright© 1994, Allyn & Bacon. Used with permission.]
of an /ah/ vowel is more conducive to continuation of
als label this register as chest register, modal register, or heavy
pulsed sound, whereas the tongue and lip narrowing of the
mechanism. The CoMeT committee referred to lower register as Register #2.
vocal tract on an /oo/ vowel is more likely to produce the loading, and modification of vocal tract vowel shape will
be more of a challenge (Chapter 13 has details). This register may be developed by some singers into an unusually low singing range. Fry also can be used to help some singers-in-training to activate and begin to de velop their lower register with physical efficiency. Pulse register is easier to produce when the vocal folds are swol len, so singers with a history of fairly frequent tobacco smoking and alcohol drinking have much greater chance of developing their pulse register coordination. Some Russian and Eastern European male classical music singers are well known for developing this register and have become contrabass singers (Strohbass is the Ger man label = straw bass, having a voice quality that suggests the sounds that are made when straw is crushed). In the choral singing of those cultures, contrabasses sometimes sing the bass part one octave lower than the written nota tion, contributing to a characteristically thick and dark tonal quality.
Members of some Asian cultures use pulse register in
chanting-Tibetan monks, for instance. Some cultures have developed highly skilled "mouth" or "throat singing" that
uses a sustained, very firm low-pitched drone to produce many overtones. The singers then shape their vocal tracts in special ways to amplify overtone regions so prominently that melodic contours and other acoustic effects can be pro duced. Lower Register Lower register voice qualities are produced when both
the thyroarytenoid and the cricothyroid muscles are si multaneously contracted, but the thyroarytenoids are more prominently contracted than the cricothyroids (Hirano, et al., 1970; Vennard, et al., 1970a,b; Titze, 1994; Titze, et al., 1989). The simultaneous, agonist-antagonist contraction of the two muscles results in a stabilization of vocal fold length,
thickness, and tautness so that the F0 also is stabilized for
the perception of a sustained pitch. The prominence of contraction by the thyroarytenoid muscles results in a gen erally shorter, thicker, more lax vocal fold cover and a lower
The essential tone quality of this register, when com pared to the essential quality of upper register, can be de scribed as thicker and more full-bodied. That voice quality is reflected in its voice source spectra, as the F0 and the lower overtones have greater intensity when compared to upper register spectra, and they have enough intensity to create a
distinct perceptual category described above (see Figure II11-7). There is strong evidence that the increased intensity in the lower partials is produced when greater masses of vo cal fold tissues are involved in vocal fold oscillation (as compared to the thinner vocal fold tissue masses when upper register qualities are produced). The greater tissue masses appear to be produced when the vocal folds are shorter and thicker, so that adduction of both the superior and inferior portion of the vocal folds occurs (see Figure II-118A; Hirano, et al., 1970; Vennard, et al., 1970a,b; Titze, 1994; Titze, et al., 1989). The thyroarytenoid muscle bulges the portion of the vocal folds that is below the level of the arytenoid cartilage's vocal processes. The vocal ligaments also are more lax and can participate in vocal fold oscilla tion. Even the vocalis portion of the TA muscle is some times lax enough to vibrate to some extent (Titze, 1994). The vocal fold ligament and the thyrovocalis muscle tissues vibrate with much less amplitude, however, than the outer, superficial layer of the cover because of their greater
structural stiffness. Typically, that means that there is: 1. more vertical tissue mass that creates a larger bottom-to-top contact area for the surface tissues (see Figure II-11-8B); 2. more horizontal depth in the oscillating vocal fold tissues.
These characteristics of vocal fold function result in
longer closed phase times, that is, the CQ of each vocal fold oscillation is nearly always above 0.5. These functions are observable in electroglottographic (EGG) recordings (de scribed in Chapter 7). The EGG recording in Figure II-118B(a) shows the greater CQ. The EGG for lower register shows a broader peak than the one for upper register. That
range of F0s. At the present time, various voice profession vocal
registers
437
Figure II-11-7:
A typical voice source spectrum for lower register phonation.
[Figure courtesy of Jeffrey Fields, National Center for Voice and Speech.]
"knee" in the lower register EGG waveform reflects the greater contact time that is produced by the bulging of the vocal folds below the level of the arytenoid vocal processes (Titze, 1990, 1994). Figure II-11-8:
Upper Register
Upper register voice qualities are produced when both
the thyroarytenoid and the cricothyroid muscles are si multaneously contracted, but the cricothyroids are more prominently contracted than the thyroarytenoids (Titze, 1994). The simultaneous, agonist-antagonist contraction of the two muscles results in a stabilization of vocal fold length,
thickness, and tautness so that the F0 also is stabilized for
the perception of a sustained pitch. The prominence of contraction by the cricothyroid muscles results in a gener ally longer, thinner, more taut vocal fold cover and a higher
range of F0s (Hirano, Ohala, & Vennard, 1970; Shipp & McGlone, 1971; Titze, 1994). At the present time, various voice professionals label this register as head, falsetto, loft, and light mechanism. The CoMeT committee referred to upper register as Register #3. The use of the label head for this register by some, and falsetto by others; the colloquial
438
bodymind
&
(A) is a drawing that compares a cross-section of a right
vocal fold configured for upper register (left side) and for lower register
voice
(right side).
(B) is an electroglottogram that compares vocal fold
closed
phase time and contact area in lower register (a) and upper register (b). The arrow indicates the "knee" in the waveform that corresponds to the greater bulge of vocal fold tissue below the level of the arytenoid vocal
processes.
[Adapted from Titze, Principles of Voice Production.
© 1994, Allyn & Bacon.
Copyright
Used with permission.]
use of falsetto for register #4 in males; and the occasional use offalsetto for register #3 and head for register #4 in males, has produced considerable semantic confusion. In this book, the term upper register is used to reflect the pitch-depen dent nature of this register's laryngeal coordination. The essential tone quality of this register, when com pared to the essential quality of lower register, can be de scribed as lighter and thinner. This voice quality is reflected in its voice source spectra (see Figure II-11-9). Typically, the F0 and all of the overtones have lesser overall intensity when compared to lower register voice source spectra, al though, proportionately, the F0 and lowest overtones are
These characteristics of upper register vocal fold func tion result in longer open phase times, that is, the OQ of
each vocal fold oscillation is nearly always above 0.5. Pre sumably, some trained singers are able to produce this reg ister with a CQ that is slightly above 0.5 because they have the conditioning to strongly adduct their vocal folds. These upper register functions also can be observed in
electroglottographic (EGG) recordings. The EGG for upper register shows a narrower peak than the one for lower reg ister, reflecting the fact that only the more superior area of
the vocal fold mucosa is in contact (see Figure II-11-8B).
Falsetto Register (Males) and Flute Register (Females) In common usage among English-speaking people, there is no confusion about the meaning of the term falsetto
Figure II-11-9:
A typical voice source spectrum for upper register phonation.
[Figure courtesy of Jeffrey Fields, National Center for Voice and Speech.]
voice. It refers to a voice quality that is produced by adult males but is female-like and is produced within the female pitch range (Book IV Chapter 4 has details of its emergence during adolescent male voice transformation). Because of that near-universal identification, labeling this register with any other term would be confusing to a very large majority
still the most intense. These intensity differences are great enough to create a distinct perceptual category.
same function and quality in females also would be con
There is strong evidence that the generally decreased
fusing. The term flute was selected as the term for this reg
intensity in the lower partials is produced when compara
ister in females because its essential tone quality resembles
tively thinner mass of vocal fold tissues are involved in
the tone quality of the flute instrument Although there is great variability among individual
vocal fold oscillation (as compared to the thicker vocal fold tissue mass when lower register qualities are produced). The thinner tissue mass appears to be produced when the vocal folds are lengthened and thinned, so that only the superior portion of the vocal folds adducts (see Figure II11-8A). The vocal ligaments bear the vocal folds' passive stretch tension so that only the lengthened and thinned epi thelium and superficial layer of the lamina propria can par ticipate in oscillatory motion (Titze, 1994, Vilkman, et al., 1995). Typically, that means that there is: 1. less vertical tissue mass, thus creating a smaller bottom-to-top contact area for the surface tissues; 2. less vibrational depth in the vocal fold tissues and a CQ that usually is below 0.5, although skilled and well conditioned singers can produce an upper register CQ that is just above 0.5 (Howard, et al., 1995).
of English speakers. Likewise, to use the same term for the
singers, there is evidence that the basic biomechanics of
falsetto/flute register are essentially the same in both males and females. The thyroarytenoid muscles (primary short ening influence) release completely so that vocal fold length is determined entirely by action of the cricothyroids (Ardran & Wulstan, 1967; Titze, 1994; Welch, et al., 1988), and they
are assisted by some of the external larynx muscles at the highest and lowest F0s (Vilkman, et al., 1995). Zero contrac tion of the thyroarytenoids removes all of its shortening, thickening, and laxing influences on the vocal fold mucosa. In male falsetto, for instance, a typical lower pitch range is about E3 to C4. In that range, the vocal folds are as short and thick and lax as they can be without activation of the thyrovocalis muscles. Also, without the adductory gesture
that is provided by thyrovocalis contraction, the mem branous portions of the vocal folds are likely to be sepa vocal
registers
439
rated (a "bowed" appearance) and a breathy quality will be
setto/flute register shows an even narrower peak compared
perceived.
to the one for upper register, reflecting the fact that a small
As F0 is increased in falsetto/flute register coordina tion, optimally strong action by the primary adductor
amount of the superior area of the vocal fold mucosa is waving. On the other hand, when falsetto/flute register co ordination is used in its middle to highest F0 range, or when
muscles, combined with the lengthening action of the cricothyroids, results in complete adduction and a fairly wide intensity range. In this register's higher pitch range, the vocal fold mucosa is arranged in a quite long, thin, and taut range of configurations. In this state, the ligament lay ers of the lamina propria bear even more of the passive stretch tension that they exerted in upper register, and mucosal waving occurs only in the epithelium and superfi cial layer. Typically, that means that there is:
1. a thin vertical tissue mass that creates a thin bottom-to-top contact area for the surface tissues;
2. minimal horizontal depth in the oscillating vocal fold tissues.
At the present time, various voice professionals may refer to this register as flute or whistle in females and falsetto or pure falsetto in males. The CoMeT committee referred to falsetto/flute register as Register #4. The essential tone quality of falsetto/flute register, when compared to the essential quality of upper register, can be described as lighter and thinner than upper register. An optimally longer vocal tract
the laryngeal adductor muscles are well conditioned, the open phase times approach 0.5. In some professional falsettists, open phase falls below 0.5 (Shipp, et al., 1988). Male falsetto quality has been referred to with the value-laden term "effeminate" (Fuchs, 1963; Miller, 1977) and with such terms as "unnatural", "artificial", and a "trick voice" that can only be performed at the pianissimo dynamic (Allen, 1935; Emile-Behnke, 1945). Its longer-term use has even been associated with impaired vocal health (Miller, 1986, p. 122; Procter, 1980, p. 129), although zero evidence has been produced to verify such a claim. Videostroboscopic and electroglottographic studies of professional male falsettists and countertenors have invalidated all of the previous pre sumptions (Lindestad & Sodersten, 1988; Welch, et al., 1988, 1989). Many professional countertenors use a form of up per register when they include a very skilled degree of thyrovocalis and cricothyroid contraction. The perceived quality is sometimes described as upper register with a high percentage of falsetto quality mixed in (Chapter 15 has more
details).
and expanded pharyngeal cavity can add "fullness" to the quality that is contributed by the voice source (Shipp, et al., 1988). The voice source's contribution to perceived voice quality is reflected in its voice source spectra (see Figure II11-10). Typically, there are the fewest number of partials compared to the other registers, the F0 is the most promi nent partial, and the overtones that are present have com paratively minimal intensity (Titze, 1994; Walker, 1988). These voice source spectrum characteristics resemble those pro duced when flutes are played in the same F0 range, and result in a distinct perceptual category that identifies this register. When falsetto/flute register coordination is used in its lowest F0 range, or when the laryngeal adductor muscles are underconditioned, then the longest open phase times are produced compared to upper and lower registers. The OQ of each vocal fold oscillation is nearly always above about 0.7. These functions are observable in electroglottographic (EGG) recordings. The EGG for fal
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&
voice
Figure II-11-10: A typical voice source spectrum for a male falsetto register. [Figure courtesy Figure II-11-10: typical voice source spectrum for a male falsetto register. [Figure courtesy of Jeffrey Fields,ANational Center for Voice and Speech.] of Jeffrey Fields, National Center for Voice and Speech.]
Whistle Register The biomechanical details of whistle register coordi
nations are the least documented of all the register coordi nations. Current documentation of this register relies on visual observation, using the laryngeal videostroboscope. The biomechanical coordination of the larynx that pro
duces flute/falsetto register is a prerequisite for the induc
tion of whistle register, that is, absence of thyroarytenoid contraction and maximum or near maximum cricothyroid contraction. An as-yet undocumented biomechanical ac
tion appears to create a suppressed cessation of oscillation
in the posterior "halves" of the vocal folds' membranous portions (personal communication, Robert Bastian, M.D., Loyola Voice Institute, Chicago, Illinois, 1999). Only the front
Figure II-11-11: General description of an abrupt vocal register transition. [From I.R. Titze,
"halves" vibrate, therefore, and produce Fos that are quite
Principles of Voice Production. Copyright© 1994, Allyn & Bacon. Used with permission.]
high (in the E6/F6 to C7 range, one octave lower in males) and an even tinier (smaller) voice quality than flute/falsetto.
to the other-only a subtle, blended change-then that is
These conditions appear to markedly minimize in
creases and decreases of vibratory amplitude; thus changes of vocal volume at the respiratory/vocal fold level may be
minimal. Increased conditioning of the biomechanical co ordination and the vocal fold surface tissues and ligaments are likely to enhance the "full-bodiedness" of this tiniest of all voice qualities. Presumably, perceived volume can be en hanced by vocal tract adjustments, but they are likely to be minimal due to the necessity for a quite wide jaw-mouth opening and a comparatively small pharynx. Current ob servations are that only some people can produce this reg ister. Even though they may not be able to produce whistle register under normal circumstances, some people with vocal fold nodules are able to produce "whistle-like" sounds be cause the nodular swelling presumably induces the cessa tion of oscillation in the rear "half" of the folds.
Register Transitions When people speak expressively within a relatively wide range of F0s, most of their F0s will be produced in their
lower register larynx coordinations (thyroarytenoid promi nence), but some of their F0s will be produced in their up per register coordinations (cricothyroid prominence). That means that they are transitioning between the two register coordinations. If there are no audible, abrupt changes in their voice quality when they transition from one register
evidence that their habitual neural networks have enacted a blended, "melted" transition between the two coordinations. If their voices do produce abrupt changes in voice qualityoften called voice cracks or breaks-then that is evidence that they do not have habitual neural networks that enact a blended transition. The likelihood of voice cracks or breaks is greater when adolescents are experiencing voice transfor mation (Book IV Chapters 4 and 5 have details) or when people have inflamed and swollen or stiffened vocal folds (Book III, Chapters 1 and 2 have details). A register transition is identified perceptually by the F0 area where the larynx coordination is adjusted to pro duce a categorical voice quality change. Register breaks or cracks are abrupt voice timbre changes that occur at an iden tifiable crossover frequency (Keidar, 1986; Keidar, et al., 1987; Titze, 1994). They result from sudden, relatively ex
tensive adjustments of the thyroarytenoids, cricothyroids, and the adductory muscles. Minimally abrupt adjustments produce more subtle-yet categorically audible-timbre changes and some singing teachers have named them lift points. Register blending ("melting" or "smoothing" two voice register qualities together) means that the thyroarytenoids, cricothyroids, and adductory muscles ad just their relative tensions in gradual, complementary, small increment degrees over several F0s. Those voice timbre changes can be labeled crossover frequency regions. Both the more abrupt and the blended register transitions can be vocal
registers
441
recorded in flow glottograms, voice source spectra, and electroglottograms. Abrupt transitions are easy to hear (see Figure II-11-11). Transitions between pulse and lower registers. When transitioning from pulse to lower register, the crico
thyroid muscles engage to assist in the stabilization of the shorter vocal fold lengths, and thus they participate in the production of intended F0s. When the cricothyroids are engaged, the intensity of contraction by the thyroarytenoids increases and that action moves the vocal fold cover tissues closer to each other. That results in a slight increase of
vocal fold adduction and necessitates a complementary increase in subglottal air pressure. Aerodynamic flow and mucosal waving then become more periodic, the temporal gaps no longer occur, and a more sustained vocal sound is perceived. When transitioning from lower to pulse register,
the cricothyroids disengage and subsequent shortening and lengthening of the vocal folds is carried out exclusively by increases and decreases in the contraction of the thyroarytenoids (Titze, 1994; Titze, et al., 1989). If vocal fry pulses are perceived as a result of the pulse register coordination, then with the transition to lower reg ister, mucosal waving converts from pulsed "wave packets"
with temporal gaps to the periodic waving that produces sustained vocal sound. If the increases of subglottal pres sure, aerodynamic flow, and engagement of the thyroarytenoids are abrupt, the transition will be perceived as a sudden crossover from one quality to another at a particular Fo. If the increases of subglottal pressure, aero
dynamic flow, and engagement of the thyroarytenoids are evenly parceled in very small increments over several F0s, the transition will be perceived as a blended change from one quality to the other. If the pulse register coordination
mucosa and it also becomes more taut. As lengthening
proceeds, the intermediate and deep layers of the lamina
propria become increasingly stretched and taut and only
the superficial layer is involved in the mucosal waving (Titze, 1994). When transitioning from upper register to lower reg ister, the cricothyroid muscles reduce the intensity of their contractions and the thyroarytenoid muscles assume pre dominance in their agonist-antagonist relationship. The mucosa then becomes shorter and more lax, and the inter mediate and deep layers of the lamina propria become less
and less taut and eventually begin participating in the mu cosal waving. The shortening of the folds and the increased contraction of the thyroarytenoid muscles create a thicker tissue bulk in the lamina propria (Titze, 1994; see Figure Il 11-8). In general, the shorter-thicker mucosa that is created by the lower register coordination, and the greater depth of waving tissue, result in greater amplitude-intensity within
the F0 and the lower overtones of the voice source spectra, and a perception of greater "full-bodiedness" of voice qual ity. The longer-thinner mucosa that is created by the upper register coordination, and the shallower waving tissue, re sult in less amplitude-intensity within the F0 and the lower
overtones of the voice source spectra, although the F0 is still proportionately the most prominent partial. If the changes of predominance between the thyroarytenoids and the cricothyroids are abrupt, the reg ister transition will be perceived as a sudden crossover from one quality to the other at a particular F0. If the changes are evenly parceled in very small increments over several F0s, the transition will be perceived as a blended change from one quality to the other over a crossover frequency region
produces perceived sustained tones in singing, then the per ceived transition to lower register coordination is much less
(see Tables II-10-2 and 4). The likelihood of audible or even kinesthetic detection is minimized.
obvious; if it is skilled, the likelihood of audible or even kinesthetic detection is minimal.
Transitions between upper and falsetto/flute regis ters. When transitioning from upper register to falsetto or
Transitions between lower and upper registers. When transitioning from lower register to upper register, the thyroarytenoid muscles reduce the intensity of their contractions and the cricothyroid muscles assume predomi nance in their agonist-antagonist relationship. The result ing reduction of bulk in the thyroarytenoids and the length
flute register, the thyroarytenoid muscles reduce their con traction to zero so that the cricothyroid muscles assume total influence over the lengthening and shortening of the vocal folds. The resulting elimination of thyroarytenoid bulk and the lengthening and thinning of the vocal fold cover tissues create a thinnest, longest, and most taut range
ening action of the cricothyroids create a thinning of the
of mucosal conditions. As F0 increases, the intermediate
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&
voice
and deep layers of the lamina propria become stretched and taut even more extensively than in the upper register condition. Very high F0s are possible in this register. In the falsetto/flute register coordination, the shortest-thinnest-most taut mucosa, and its shallowest depth of oscillating tissue, result in reduced production of overtones and a proportional predominance of the F0 intensity among
Transitions between falsetto/flute and whistle reg ister. When transitioning from falsetto or flute register to
whistle register, an undocumented biomechanical action appears to suppress vocal fold oscillation in the membra nous portions of their posterior "halves". As described ear lier, then, only the front "halves" vibrate and produce F0s that are quite high and even tinier in quality than flute
the partials of the voice source spectra (Walker, 1988; Titze,
falsetto. When singers first produce this register, the transi
1994). The perceived voice quality can be described as thin nest and flutiest. When transitioning from falsetto or flute register to
tion from flute-falsetto commonly is "unstable" and may be
upper register, the thyroarytenoid muscles re-engage but the cricothyroids are predominant. The increased shorten ing and the addition of a degree of thyroarytenoid bulk not only lowers the F0 but reintroduces the spectral characteris tics of the upper register voice source and its contributions to perceived voice quality. If the disengagement or re-engagement of the thyroarytenoids is abrupt, the register transition will be per ceived as a sudden crossover from one quality to another
together, the transitions may become blended. The coordi
at a particular F0. If the changes are evenly parceled in very small increments over several F0s, the transition will be per ceived as a blended change from one quality to the other over a region of crossover frequencies (see Tables II-10-2 and 4), and the likelihood of audible or even kinesthetic detection is minimized. Prepubescent males and females share the same gen eral register characteristics, although there is wide variety in the coordinations that have been learned. A history of swol len vocal folds from voice abuse, upper respiratory infec tions, or other disease states are but a few of the sources of variation in learned register transitions and pitch range (sev
phases always contribute to a generally thicker, more fullbodied tonal quality. In upper register, prominence of cri
eral chapters in Book III have details). During pubescent female voice transformation, as the vocal folds lengthen and thicken and the trachea increases its dimensions, the basic register coordinations continue to be present, but register transition coordinations appear to go through a period of adjustment (see Book IV, Chapter 5). During pubescent male voice transformation, as the vocal folds lengthen and thicken
abrupt. With vocal slides from flute-falsetto to whistle and back again, and with an imagined model of melting the two nations of sung pitches can then be learned and the two
registers can become melted in those laryngeal coordina tions as well.
Summary So Far In lower register, prominence of thyroarytenoid short ening influence, the shorter-thicker-more-lax folds, larger vertical contact area, deeper tissue waving, and longer closed
cothyroid lengthening influence, the longer-thinner-more taut folds, smaller vertical contact area, shallower tissue os
cillation, and longer open phase always contribute to a gen erally thinner, lighter tonal quality, when compared to the tonal quality of lower register (see Table II-11-5). In flute or falsetto register (females and males, respectively), thy
roarytenoid muscles are disengaged, creating a longest-thin-
nest-most taut range of vocal fold cover conditions, small est vertical contact area, shallowest tissue oscillation, and longest open phase. These conditions always contribute to a generally thinnest, lightest, tonal quality, when compared
to the tonal qualities of lower and upper registers. Some people are able to use an as-yet undocumented coordina tion of external and internal laryngeal muscles to completely suppress vocal fold oscillation in the rear portion of the vocal folds in the upper pitch range of flute-falsetto coordi nation. Only a considerably short front segment of the folds
and the trachea increases its dimensions, the basic upper and lower register coordinations continue to be present (see Book IV, Chapter 4). Falsetto register first appears, however,
are then oscillating to produce very high F0s above the flute falsetto register, and a tiniest tonal quality.
in the high mutation stage (Midvoice II in the Cooksey Voice Classification Guidelines).
ordination create the voice source spectra changes that we perceive and refer to as register transitions. Voluntary pro-
Voluntary, learned changes in laryngeal muscular co
vocal
registers
443
Table II-11-3: Some Common F0 Areas in Which Learned Laryngeal Register Transitions Occur [Adult Males and Females with Larger Larynges and Vocal Fold Tissues]
Males
Females
Pulse and lower registers:
Db2 to E2
Db3 to E3
Lower and upper registers:
D3 toA3
D4 to A4
Upper and falsetto/flute registers:
G44 to A44
G5 to A5
Falsetto/Flute and whistle registers:
D5to E5
D5to E6
4
4
Adult Males and Females with Smaller Larynges and Vocal Fold Tissues Pulse and lower registers:
Ab2 to B2
Ab3 to B3
Lower and upper registers:
D3 toA3
D4toA4
Upper and falsetto/flute registers:
A4to B4
A5to B5
Falsetto/Flute and whistle registers:
F5 to G5
F5 to G6
Table II-11-4: Some Common Capable F0 Ranges for Four Learned Laryngeal Registers Adult Males and Females with Larger Larynges and Vocal Fold Tissues
Males
Females
Pulse register:
Ab1 to Eb2
Ab2 to Eb3
Lower register:
Db2to Bb3
Db3 to Bb4
Upper register:
D3 to Ab4
D3 to Ab5
Falsetto/Flute register:
Eb2 to D5
Eb5 to D6
Adult Males and Females with Middle-sized Larynges and Vocal Fold Tissues Pulse register:
C2 to E2
C3 to E3
Lower register:
E2to C4
E3toC5
Upper register:
E3 to C3
E4 to C6
Falsetto/Flute register:
F4 to F5
F5 to F6
Adult Males and Females with Smaller Larynges and Vocal Fold Tissues
444
Pulse register:
F2 to Ab2
F3 to Ab3
Lower register:
Ab2to D4
Ab3 to D5
Upper register:
Gb3 to Eb5
Gb4 to Eb6
Falsetto/Flute register:
Ab4 to Bb5
A5 to C7
bodymind
&
voice
cessing is initiated by various areas in the brain's cerebral
port indicated that a Register #2A was possible.
cortex. The muscles needed to produce chosen pitches, loud
In 1983, 1984, and 1988, however, Titze reported stud ies showing that reverberating subglottal sound waves can
ness levels, and voice qualities are recruited and sequenced by the subcortical motor networks of the nervous system. Bodyminds can learn habitual register "breaks" as well as habitual "melted" transitions in predictable pitch areas. Bodyminds also are capable of producing deliberate regis ter transitions in a variety of pitch areas, and of changing old habitual transitions into new habitual transitions. In other words, voluntary register transitions can be produced in conscious awareness or outside conscious awareness, and many register coordination patterns can be learned.
Effects of Vocal Acoustics on Laryngeal Register Adjustments: “Middle Register” and “Lift Points” Singing teacher members of the 1982 CoMeT Voice Registers Committee (previously described) strongly argued that a middle register exists between the chest (#2 or lower)
and head (#3 or upper) registers. They indicated that middle register is thought to result from "mixtures" of the chest and
head registers that can be auditorily and kinesthetically per ceived. The centuries-old concepts of voce mista (voix mixte) and the zoni di passaggi were cited as evidence of a middle register. Voice scientist members indicated that there was not yet any measurable evidence for a middle register, so its certain existence had to be denied, but the committee's re
influence reactive, involuntary adjustments in laryngeal muscle coordinations. Those adjustments, in turn, result in acous tic changes in the radiating source waves that singers and other listeners perceive as register transitions. These re corded register transitions coincided with the F0 ranges of the zoni di passaggi. Austin (1992) extended those findings, and they appear to indicate the lower and upper borders of a "middle" register in singing. These laryngeal adjustments also may explain other perceived phenomena that are re lated to vocal registers, such as lift points. How do reactive, involuntary register transitions occur? When vocal sound is produced, radiating sound pres sure waves are created in opposite directions. They radiate: 1. upward through the supraglottic vocal tract and into the surrounding air; and 2. downward into the subglottic trachea. In each person, the trachea is a fixed-dimension tube
that is held open by nearly rigid rings of cartilage. When the vocal folds are closed and oscillating, there is no open ing from which subglottic sound waves may radiate out and away. During voicing, therfore, sound pressure waves in the trachea repeatedly impact on the underside of the waving vocal folds.
Table II-11-5: Internal laryngeal musdes that interact to produce voice source spectra variations that are perceived as voice quality variations and are referred to as vocal registers.
Muscles
Functions and Influences on Voice Source Spectra
Thyroarytenoids (TA)
Primary shortening, thickening, and laxing influence on the vocal fold lamina propria Increasing degrees of TA contraction intensity produces increasing degrees of vocal fold "bulking" and results in an adductory influence on the membranous portion of the vocal folds
With increased thickening/bulking of the vocal folds, the inferior aspects of their membranous portions are adducted, so that more tissue is recruited into oscillation, that is, greater inferior-to-superior surface area is created
and the intermediate and deep layers of the lamina propria are included in the oscillations
Cricothyroids (CT)
Primary lengthening, thinning, and tautening influence on the vocal folds
Increasing degrees of CT contraction intensity produces increasing degrees of vocal fold tautness, with the inter mediate and deep layers of the lamina propria receiving the most strain (passive stretch tension)
Typically, only the thinned epithelium and superficial layer of the lamina propria are involved in vocal fold
oscillations
vocal
registers
445
Between human beings of the same age range, tra cheal dimensions vary only a relatively small amount, in cluding between males and females. There is only about a 10% to 20% difference of tracheal length between the long est in adult males and the shortest in adult females (Titze,
Above the vocal folds, the vocal tract provides an open end from which vocal sound waves can radiate. Unlike the trachea, the vocal tract can vary its dimensions in nu merous ways. Very generally, two vocal tract cavities can open or narrow: (1) the pharynx (its "throat part") and (2)
1994). Because the dimension of each person's trachea is invariable, its resonance frequency also is fixed, just like the resonance frequency of a bottle or a segment of a water hose is fixed. The resonance frequency of average-sized tracheas can range from ± 500-Hz (± C5) to ± 600-Hz (± D5) (Ishizaka, et al., 1976; Cranen & Boves, 1987). When the F0 of the waving folds approaches the reso nance frequency of the trachea, the dimensions of the tra chea will effect an increase in the SPL of the subglottic sound waves. Due to that intensity gain, the impact of the sound pressure waves on the underside of the vocal folds is in creased. Those repeated impacts produce interference with vocal fold mucosal waving. That interference has been referred to as acoustic loading or acoustic impedance of vocal fold mucosal waving (Rothenberg, 1981a,b; Titze, 1983, 1984, 1988, 1994). When motor areas within the cerebral cortex have set in motion the singing of a learned F0 pattern, but one or
the oral cavity (its "mouth part"). When the adjustable vocal tract becomes more narrow, more and more of the radiat ing sound wave activity within it will be deflected down
more of the F0s approach or match the resonance frequency of the trachea, then the pressure-sensitive mechanorecep tors in the vocal folds will detect acoustic loading of the continuously waving mucosa. The interference will be re ported to the brainstem in milliseconds of time. High-speed involuntary or reflexive motor commands will then be en acted and sent to the laryngeal muscles to make compensa tory coordination adjustments so that voicing can continue.
In both male and female adult bodies, the involun tary, reactive adjustments take place in the F0 areas that approximately match the resonance frequency of the tra
ward onto the topside of the oscillating vocal fold tissues
and at nearly the same F0 and SPL as the original sound waves. Under those conditions, the vocal folds are receiv ing increasingly intense pressurized impact from both the
subglottic and supraglottic sound waves. When this "double dose" of acoustic loading occurs, it can be referred to as acoustic overloading of the vibrating vocal folds. The pharyngeal and oral cavities, or both, can be over opened, over-narrowed, or optimally opened when speak ing or singing occur. Inexperienced, unskilled singers use the only vocal tract adjustments that they know—habitual adjustments for conversational speech. When speaking or singing in wider F0 and intensity ranges, those conversa tional speech vocal tract adjustments will result in acoustic
overloading by the subglottal and supraglottal sound waves. Under those conditions, one of two reactive laryngeal ad justments can take place: 1. overcompensation, that is, increased contraction in tensity in the internal larynx muscles, and typically some of the external larynx muscles, so that the acoustic interfer ence can be overpowered and the continuation of vocal sound can be preserved; or 2. undercompensation, that is, an abrupt adjustment of laryngeal musculature that produces an abrupt voice qual ity change that is referred to as a register break or, if the abrupt adjustment is relatively minimal, a register "lift".
chea. Those F0 areas correlate with the zoni di primo and
secondo passaggi or the frequencies of their prominent har monics. The acoustic loading phenomenon, therefore, can explain the auditory and kinesthetic perception of a middle register. Some laryngeal muscle adjustments can be subtle and produce mildly abrupt voice quality changes—volun tarily or involuntarily—that are often referred to as lift points.
Skilled adjustments of the internal laryngeal muscles occur in singers whose brains have learned to blend the as
Sometimes, they may be reactions to prominent harmonics
sociated laryngeal vocal register transitions (Titze, 1994). If, however, the vocal tract's pharyngeal and oral dimensions are appropriately adjusted during performance of the F0s that approach and match the tracheal resonance frequency, then continuity of voice quality will be preserved over those
of the tracheal resonance frequency.
F0s. When these adjustments have been brought into con
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scious awareness enough times ("target practice" see Book I,
Chapter 9), they eventually will become learned, habitual sensorimotor patterns. A common method of helping people adjust the "mouth part" of the vocal tract is called vowel
modification (Chapter 13 has details). As experienced, skilled singers sing many pitches and create many vowel formations of the vocal tract, there is a constant "tuning" and "retuning" between the laryngeal
muscle coordinations and the shaping of the vocal tract in order to maintain sustained vocal sound, vowel intelligibil ity, and desired voice qualities (Colton, 1994; Sundberg, 1987; Titze, 1994). The thyroarytenoid and cricothyroid muscles always interact with the three adductory-abductory muscles that primarily produce the basic voice qualities described in Chapter 10. How those muscles interact with acoustic pres sures to achieve physical and acoustic efficiency in speak ing and singing are presented in Chapter 15.
Emile-Behnke, K. (1945).
The Technique of Singing.
London: Williams and
Norgate.
Estill, J. (1982).
The control of voice quality. In V.L. Lawrence (Ed.). Tran
scripts of the Eleventh Symposium: Care of the Professional Voice (pp. 152-168). New
York: The Voice Foundation. Estill, J. (1996). Primer of compulsory figures. In Voice Craft: A User's Guide to
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chapter 12
how your vocal tract contributes to basic voice qualities Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
our vocal tract is an enclosed, curved tube (first
Y
described in Chapter 3). When you are speak ing or singing, it is open at one end (mouth) and
Occasionally, the passageway between the upper end of your throat and your nasal cavity opens sufficiently
(your soft palate lowers) so that sound waves travel through closed or nearly closed at the other end (vocal folds). the By air in your nasal cavity, and a muffling effect occurs.
using an array of muscles in your head and neck, you can alter its size, shape, and to some extent, the density of its tissue borders. Your outward-flowing breath-air causes your vocal folds to ripple-wave, and their waving action creates the "raw" sound spectra of your voice (see Figure II-12-1ABC). During speaking and singing, your continuous voice source spectra are made up of complex sound pressure waves that have a fundamental frequency—F0—and overtones. The term partials refers to all of the component "parts" (fre quencies) that make up your voice's sound spectra, both the F0 and the overtones. In other words, the F0 is the first partial, the first overtone is the second partial, and so on. Those sound spectra travel through the air molecules that are located inside your vocal tract. The size, shape, and density of your vocal tract, however, alter the pressure in most of your raw, ever-changing, voice source spectra
(see Figure II-12-1DE). So, your vocal tract will increase the pressure in some partials of your voice source spectra (amplification), and it will decrease the pressure in other partials (damping). The result is your continuously evolv
All of the vocal tract and nasal cavity effects on the traveling sound waves, and even their vibratory effects on
your chest, neck, and head, are accurately referred to as vocal resonance (see Chapters 2 and 3 for a review). The various spatial areas of your vocal tract and nasal cavity, therefore, can be called vocal resonators.
Your Vocal Tract and the Quality (Timbre) of Your Vocal Sound As mentioned in Chapter 3, when your vocal tract as
sumes a particular shape, it functions as though it was a series of containers, each with a unique size and shape. Each of those vocal tract subareas has its own resonance frequency. When vocal-fold-produced sound spectra travel through the air in your vocal tract, the partial frequencies that are nearest to those resonance frequencies are ampli fied, creating peaks of sound energy within your radiated spec tra. Those energy peaks were not there when the spectra were originally produced by your larynx (see Figure II-121CDE).
ing radiated spectra that emerge from your mouth.
vocal
tract
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449
When you change the dimensional shape of one or
The several sound spectra energy peaks that radiate
more of your vocal tract subareas, your voice source spec tra are modified. After the modified spectra leave your lips, they carry what other people perceive as the pitch, volume, and quality (timbre) of your voice. As any one subarea becomes larger, it amplifies lower and lower par tials. As any one subarea becomes smaller, it amplifies higher and higher partials. In other words, by expanding and/or lengthening any of your vocal tract subareas—or
from your mouth are called formant frequency regions, or the shorter term, formants (Figure II-12-1E). Their short
hand labels are F1, F2, F3, and F4. The various spatial sub areas within your vocal tract that you shape to create the spectral formants are called formant frequency produc
your entire vocal tract—the frequency regions that are
amplified within the spectra are moved lower. By narrow ing and/or shortening any of your vocal tract subareas— or your entire vocal tract—the frequency regions that are
amplified within the spectra are moved higher. There are four vocal tract subareas that make the greatest difference in your perceived voice quality. When all four of those vocal tract subareas are in a fixed configuration, four different lower-to-higher frequency regions are amplified within your voice source spectra (compare Figures II-12-1 and 2). Every time those frequency regions are changed in your continuous sound spectra, your perceived voice qual ity also changes.
Do this: (1) Touch the tip of one of your index fingers to its own opposing thumb-tip. See a kind of circle? Allow your other three fingers to curve alongside your index fin ger. Now slide your index finger down the fingerprint side of your thumb, bringing your other fingers along, until all four of your fin gertips touch the heel of your hand. They should form a kind of tube that you can look through from the thumb end to the pinky-finger end. Now, sustain a comfortable pitch with your voice, and while doing so, move the thumb end of your hand tube to your lips. Press your hand onto your lips to make a "seal" between them. Notice a change in the sound of your voice? (2) While sustaining a pitch through your hand tube, first raise your pinky finger, then your ring finger, then the next. Reverse the order while sustaining another pitch. What did you hear?
Figure II-12-1: The process of creating vocal sound. (A) Power supply (breathflow), to (B) vocal fold vibrations (ripple-waving vocal folds) that produce (C) a voice source sound spectrum in the air molecules of (D) a vocal tract (resonator) that has within it several
spatial areas with their own resonance frequencies. Those spatial areas (D) affect the
voice source sound spectrum (C) by amplifying the overtone frequencies within it that are nearest the resonance frequencies of the spatial areas. The result is (E), the final
sound spectra that radiate from the mouth. Amplified peaks of sound energy appear in that sound spectrum. In voices, the amplified energy peaks within the radiated spectrum
are called formant frequency regions, abbreviated as formants. The spatial areas within the vocal tract that amplify the overtones are called formant frequency producing areas,
abbreviated as formant-producing areas. [From "The Acoustics of the Singing Voice" by
Johan Sundberg. Used with permission of Gabor Kiss and Scientific American, Inc. Copyright© 1977. All rights reserved.]
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ing areas (Figure II-12-1D). Your pharynx (throat) and
sions of the whole vocal tract or any of its subareas (see
your oral cavity (mouth) produce your first two formants, respectively. They are the most important of all, because when your vocal tract shapes itself to produce them, you and others hear the voice qualities that are referred to as vowels (Chapter 13 has details). When any formant frequency producing area becomes larger, it amplifies a lower formant frequency region within
Figure II-12-2). Your articulators are your:
your radiated spectra and that contributes to the percep tion of fuller or darker voice qualities. As any formant fre quency producing area becomes smaller, it amplifies higher formant frequency regions in your radiated spectra and that contributes to the perception of brighter voice qualities. Differences of relative fullness or brightness in your voice quality can be present for two reasons: 1. a congenitally longer-wider or shorter-narrower vocal tract; and/or 2. coordinated adjustments of your vocal tract sub area dimensions that shape them into larger or smaller formant producing areas.
Your vocal tract has several moving parts — articulators—that can be adjusted to change the dimen
1. lips (they can be lax, protrude forward and round or, retract back and away from teeth); 2. jaw (lower and raise); 3. tongue (many configurations including forward-
back, high-low, arched-cradled); 4. soft palate (raise and lower); 5. pharynx (expand and contract); 6. aryepiglottic sphincter or epilarynx (expand and contract); and 7. larynx (raise and lower). The names of the primary spatial areas whose shapes
are altered by your articulators to change the formant fre
quency regions are the: 1. pharyngeal cavity, producing and altering Fp 2. oral cavity, producing and altering Fp 3. area just behind the lower front teeth, producing and altering F3 (the dimension of which is changed by lowering-retracting or raising-extending the tongue tip—par ticularly noticeable when alternately changing from an /ee/ vowel to an /oo/ vowel); 4. epilarynx area, producing and altering F4 (the di mension of which is changed by constricting or expanding the aryepiglottic sphincter;
5. entire length of vocal tract, lowering all formant frequencies the longer it is, and raising all formant frequen
cies the shorter it is.
Do this: Use the /m/ consonant to sustain a humming sound for about two or three seconds:
mmmmmmmmmmmmmmmmmmmmmmmmm.
Notice the vibration sensations in your head? Notice any in
your neck? Anywhere else?
When you sustained the /m/ sound, your vocal folds began ripple-waving, and thus creating sound pressure waves that traveled (1) down through the air molecules in
your trachea and (2) up through the air molecules in your vocal tract and nasal cavity. The pressure waves impacted
vocal
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451
on the skin surfaces of those areas and initiated radiating
the frequency wavelengths become shorter. As vocal vol
vibrations through their soft, cartilage, and bone tissues.
ume decreases, the sound waves have less pressure and become smaller, and as vocal volume increases, the sound waves have more pressure and become larger. When a human vocal tract is fixed in size and shape, a few of the pitches and volume levels generated by that voice will match the dimensions of the vocal tract areas, and voice quality will sound very acceptable. But pitches and volume levels that are below and above those few pitches will sound quite pressed, edgy, overbright, and pinched to most listeners. So, if your vocal tract becomes too small-compared to the dimensions of the sound waves that are traveling through it—then the sound quality of your voice
The pressure-sensitive peripheral nerves in those tissues
were stimulated by the vibrations and sent signals to vari
ous areas of your brain to enable you to become con sciously aware of the vibrations.
Vocal Tract Shaping and Voice Quality If all human larynges were the same, but some human vocal tracts were fixed in size and shape, and others were
adjustable (the way they really are), then we could com pare the sound qualities of voices that did and did not have adjustable vocal tracts. Time for an experiment.
Do this: (1) Say the word [see], several times as you might in easy quiet conversation, and notice the sensation of the shape of both your throat and mouth. (2) Absolutely, no doubt about it, KEEP THAT /EE/ VOWEL SHAPE EXACTLY THE SAME, no matter what happens with the sound of your voice-while you sing a major scale that starts in your lowish pitch range and moves upward for about two octaves. [Particularly pay attention to keeping the throat part of
your vocal tract exactly the same size. If you do not keep the /ee/ vowel shape exactly the same, this experiment will not work.] Do it now. (3) Do the same two-octave scale, but this time feel free to experi ment with spatial adjustments of your vocal tract. What did you notice about the sound quality of your voice in those two situations?
As you know, the sound pressure waves that your vocal
folds generate have to pass through your vocal tract's vari ous shapes. As your larynx changes the fundamental fre quency (F0) of your vocal folds (perceived as pitch), the spatial dimensions of the sound waves they generate change. Also, as your larynx changes the sound pressure levels (SPLs) of your vocal sound waves (perceived as vocal vol ume), the spatial dimensions of the vocal sound waves change in a different way. As pitches go lower, the fre quency wavelengths become longer, and as pitches go higher,
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will become pressed, edgy, overbright, and pinched.
The General Action-Principle of Vocal Tract Shaping One of the fundamental skills of speaking and singing
is the ability to maintain relatively close similarity of voice quality throughout the F0 and vocal volume ranges of your
voice. Appropriately adjusting the dimensions of your vocal tract is one major skill that makes that possible.
The higher the pitches go, and the louder the volume gets regard
less of the pitch, both the throat and mouth parts of your vocal tract need to open more and more so that nearly all of your voice's sound spectra can be released for the world to hear. [Note that there are very important qualifications and exceptions to this prin ciple. This is just a beginning point for one fundamental skill of efficient voicing.] If your vocal tract's dimensions are not appropriately increased as pitch and volume rise, then a kind of muffler effect will gradually stifle the "amount" of your vocal sound to some degree. Because of acoustic loading of your vocal folds (introduced in Chapters 9 and 10), your larynx will be forced to overwork to some degree, so that register breaks will be more likely in your voice (Chapter 11), and your
voice quality will sound pressed and overbright or pinched.
Setting Up Your Vocal-Tract-Shaping Target: The Outside Borders
Do this: (1) Pretend that you are a tall, TEN-FOOT GIANT of a person, and you open up your throat and mouth as big and wide as possible and say:
"Ho, ho, hooooooooo, how are youuuuuu?" (2) Now, for a few seconds in vocal silence, observe sensa tions in your throat and mouth—inside and outside. Then open big and wide again and say those Ten-Foot Giant (TFG) words in the same way as before. What differences did you notice between your throat and mouth sensations: (a) during silence, and (b) during the Ten Foot Giant sounds? What changed? What moved? Where in your throat and mouth did you notice sensation differences? How much neck-throat "work" was involved in making the Ten-Foot Giant sound? (3) Just observe what your tongue does and repeat the silence sensation followed by the Ten Foot Giant words.
How does it move? Does it just passively lay in the bottom of our mouth and remain loose, or does it move to a particular location, shape itself, and hold there? (4) Place a hand on the front of your throat-on your larynxandjust observe whether or not it moves when you repeat the silence sensation followed by the TFG words. Did your larynx move? If so, in what direction?
Typically when producing the extreme Ten Foot Giant (TFG) sound: 1. muscles that are attached to the bottom of your larynx and the top of your sternum contract to pull it down about as far as it can go, to lengthen your whole vocal tract at that end; 2. your lips protrude forward and are rounded to make the two sustained language sounds, but that lip pro trusion lengthens your whole vocal tract at its other end; 3. your jaw (mandible) lowers considerably, and your tongue tenses and presses down into the bottom of your mouth, making a downward curve with a prominent hump in the back of your mouth—all to make maximum space in your mouth cavity; 4. your soft palate (velum) is strongly pulled back and tensed to seal off your nasal cavity, and is arched upward to create extra space at the top of your pharynx; other muscles that are located around the rest of your pharynx cavity con tract to expand its "circumference"; 5. your aryepiglottic sphincter muscles open it toward a maxi mum (also termed epilarynx, laryngeal vestibule, or laryngopharynx; see Figure II-12-2).
Generally speaking, when your whole vocal tract is lengthened and widened to its maximum, all of your formant producing areas are enlarged, so all of your spec tral formant frequency regions are lowered. The intensity of your lowermost formant is greatly increased, while the intensity of your uppermost formants is diminished. Your voice then produces a general quality that can be described as overfull, overdark, throaty, and woofy. When some people say the TFG words, they shove their tongue maximally back and down so that the epiglottis blocks substantial amounts of the sound spectra. That maneuver adds a no ticeably blocked-constricted or bottled-up quality to the al ready overdark quality (see Figure II-12-2). Making the Ten Foot Giant sound requires a lot of head and neck muscle work that is obviously sensed, so this maneuver also could be called the Ten Foot Giant sensation.
Do this: (1) Now, it's time to use your voice to imitate BUGS BUNNY's voice and say, "Neeeeeeah! What's up doc?" (2) As before, take a few seconds of vocal silence to observe sensations in your throat and mouth—inside and outside. Then say those Bugs Bunny words in his unique way again. Compare the sensations in your neck-throat-mouth when you were silent to your sensations when you said the Bugs Bunny words. What differences did you notice? What changed? What moved? Where in your throat and mouth did you notice sensation differences? How much neck-throat "work" was involved? (3) Observe what your tongue does and repeat the silence sensation followed by the Bugs Bunny words. How does it move? Does it move to a particular location, shape itself, and hold there? (4) Place a hand on your larynx, as before, and just observe whether or not it moves when you repeat the silence-sensation fol lowed by the BB words. Did your larynx move? If so, in what direction? (5) Compare the Bugs Bunny sensations to the Ten Foot Giant sensations. Hmmmmmmm.
Typically, when producing the extreme Bugs Bunny sound: 1. muscles that are attached to the top of your larynx, and to the hyoid bone above your larynx, contract to pull it up about as far as it can go, to shorten your whole vocal tract;
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2. your lips retract back and away from teeth and that means that your teeth become the upper border of your
vocal tract length—it's shorter, in other words;
3. your jaw raises and tenses at its joint with your skull, and your tongue tenses and arches up into a high
curve inside your mouth cavity, making a near-minimum space in your mouth cavity for sound waves to travel through; 4. your soft palate is tensed some, but is lowered to open your nasal cavity to your voice's sound waves, adding nasality to the overall voice quality; the upper, middle, and lower constrictor muscles that form the rear and sides of
your pharynx are contracted to narrow your phayngeal "cir cumference"; 5. your aryepiglottic sphincter muscles constrict it toward a minimum size. Generally speaking, when your whole vocal tract is shortened and narrowed to its minimum size, all of your
formant producing areas become quite small, so all of your
spectral formant frequency regions are raised. The inten sity of your lowest two formants is greatly diminished, while the intensity of your uppermost formants is increased. Your voice then produces a general quality that can be described as overbright, narrow, squeezed, and pinched (see Fig ure II-12-2). Typically, the extreme constricting action of the aryepiglottic sphincter coincides with a toward-maximum closure of your vocal folds to produce the pressed-
edgy family of voice quality (Chapter 15 has some more information). Making the Bugs Bunny sound also requires a lot of head and neck muscle work that is obviously sensed, so this maneuver also could be called the Bugs Bunny sensa tion. Bull’s-eyes for Your Vocal-Tract-Shaping Target
Do this: (1) Pretend that you have to yawn. [If ever you go into a real one, you are required to enjoy it before going on.] Really com mit to a realistic yawn...yawn big, and do it now. Did that yawn sensation seem familiar to you, like something you did one or two pages ago? [The yawn sensation and the TFG sensation are intended to be the same.]
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(2) Did you notice what you did just before you went into the intense part of the yawn? [Do another one, if you want to, and check what you do just before the fullness of your yawn.] Notice anything about breathing? And what your vocal tract did while you were breathing?
Just before you spontaneously yawn, you bring air
into your lungs. While you are inhaling, your vocal tract
muscles quickly contract to lengthen and expand the di mensions of your vocal tract. Maximum dimension hap
pens. In spontaneous yawning, those moves happen very fast.
Do this: Let's say that the intense part of your yawn-which is like the TFG sensation-represents 100% of a yawn-feel. In other words, a 100% yawn-feel is a maximum enlargement of your whole vocal tract, so that your throat and mouth are as long and wide as possible. For just a moment, consider a slow-motion yawn. Theoreti cally, as you slowly open the throat and mouth parts of your vocal tract and allow breath to flow in, you could allow your throat-andmouth opening movement to cease well before you reached the 100% opening. And you could allow your throat and mouth to just con tinue being open that much. So, here's what to do: (1) Inhale, and allow your vocal tract to open only to about 20% of a 100% yawn-feel (your best rough estimate; being heavily analytical about this is not fair; just let it happen). (2) Allow that amount of opening to continue in your throat and mouth, while you immediately create a soft, light, down ward sigh-glide-sound on /uh/, that begins in your upper register and moves down into your lower register. Breathe in with vocal-tract-open, then immediately sigh-glide-out. Got it?
(3) When you completely understand what to do-do it. Several times for familiarity. Did both your throat and mouth open during the breath inflow? Did you sense your amount of vocal tract opening to be in the neigh borhood of 2O%? Did some amount of vocal tract opening continue to be felt during the entire sigh-glide? Did your vocal tract remain exactly the same size throughout the sigh-glide, or did its size adjust as the slide proceeded downward?
If you are not sure that any of those sensations occurred, then
effect and acoustic overloading happened. As a result, your
enjoy some more sigh-glides and find out about how your vocal tract moves.
voice's amount of sound was stifled and your vocal folds
had to over-compress to overcome the loading, thus creat
ing a pressed voice quality and a sensation of increased effort. Soft sigh-glides, that begin in the lower end of your upper register, do not begin with a very high pitch, do
they? So, your vocal tract doesn't need to open very much to maintain consistency of voice quality and ease of effort, right?
Do this: (1) Do exactly the same thing, but this time, your soft sigh-glide on the vowel /uh/ becomes a 5-4-3-2-1 major scale. Start on about the same pitch that your sigh-glide started on. Remember: Inhale, and allow your vocal tract to open only to about 20% of a 100% yawn-feel, then on /uh/, do a soft, light 5-43-2-1 scale. Do it. Did the pitched scale feel the same as your previous sigh-glides? As you started the pitches, did you notice a tendency for more effort to happen in your vocal tract? If so, alternate the easy, 20%-open sigh-glide sound with the 20%-open pitch scale several times, until the scale feels as easy as the sigh-glide. (2) Do the major scale exactly as you did in (1) above (only the 2O% vocal tract opening), but this time, sing it loudly--at least a middle level of vocal volume, forte if you can. Do it. What did you notice? Did that feel and sound like what your voice did in a previous Do this? (3) Finally, do the major scale yet again, and sing it loudly as before, but this time-on your breath-inhale-open your throat and mouth about 50% of a 100% yawn-feel. No thinking, just do it. Do it several times-50%. Compared to the loud/20% vocal tract opening in (2) above, did this loud/50% opening feel different; did your voice sound different? How were they different?
When the volume was low, your vocal tract dimensions
and the dimensions of your sound waves were relatively matched to each other. When the volume went high, with
no change in the vocal tract dimensions, then a muffler
Do this: This time, (1) on the vowel /uh/, sing the scale againloudly and with a 2O% vocal tract opening--but on the following pitches: Changed-voice females and prepubertal children: Eb5-Db5-C5-Bb4-Ab4 Changed voice males: Eb-Db-C-Bb-Ab 4 4 4 3 3 (2) And again with at least a 60% throat and mouth open
ing, perhaps more, if you are quite loud with your voice. Compare. (3) Experiment with even higher pitch levels, if you like, also with volume levels, and vocal tract dimensions. What feels compara tively easy in your neck throat area, and yet enables you to sing in your voice's higher capable pitch range and greater vocal volume range.
When the pitch range was low, your vocal tract dimen
sions and the dimensions of your sound waves were rela
tively matched to each other. When the pitch range and volume went highish, with no change in your vocal tract dimensions, then a muffler effect and acoustic overloading happened. As a result, your voice's amount of sound was
stifled and your vocal folds had to over-compress to over come the loading. A pressed voice quality is almost al
ways created along with a sensation of increased effort.
Do this: (1) Lay the fingers of one hand on your larynx. Pre tend you are an inexperienced singer and the pitches that you start with are really high for you, so reach up with your
voice to get them as you sing the scale from the previous Do this's on an /uh/ vowel. Do it. Did your larynx move when you sang the scale? If so, how did it move? (2) Fingers on your larynx again: Sing the 5-4-3-2-1 scale, but sing it with the Ten Foot Giant, 100% yawn-feel sound.
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limp-like to the bottom of your mouth when you sing the /ah/ vowel.
Did it move? How?
(3) Fingers on again: This time, breathe in, and open your throat and mouth to about a 5O% yawn-feel. Continue that sensation of easy openness as you sing the scale. Did it move?
Another fundamental vocal tract skill (bull's-eye) for efficient, expressive singing and speaking, is the stabiliza tion of your whole larynx in a location that is near—usu ally just a small bit beneath—its at-rest location. If you
inhaled by releasing your abdominal muscles and con tracting your diaphragm muscle (among others), then the
descent of your diaphragm created a small downward in fluence on your larynx. Continuing the open-space sensa tion in your throat while singing the pitch pattern meant that, at minimum, one pair of your larynx-lowering muscles (your sternothyroids) and one pair of you larynx-raising muscles (your thyrohyoids) contracted simultaneously to help stabilize the location of your larynx in a slightly low ered location throughout the singing of all five pitches. That slightly downward stabilization of your larynx location while singing—resulted in a stabilization of all of your
formant frequency producing areas, and therefore, the formant frequency regions in your sound spectra, and the contribution of an appropriately fuller aspect to your voice's sound quality.
Do this: (1) Observe your tongue and what it does as you sing the 5-4-3-2-1 scale on the word [glide]. Sing all of the pitches on the word's /ah/ vowel. Have any sense of what your tongue did? Was it tight or tense? Was it held in a position toward the back of your mouth or the front? How would you describe your voice quality? (2) Sing the same pitch pattern on the same word, but this time notice what your tongue does on the /gl/ part of the word, then notice what it does on the /ah/part of the word, and then finally on the /d/ part of the word. Do it. What happened? (3) Sing the pattern on [glide] again, and this time, how close can you come to allowing your tongue to: (a) feel almost limp when you inhale, (b) move for the /gl/ sounds, and (c) then seem to fall
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Compare the sensations and sounds that you noticed in (1), with the sensations and sounds you noticed in (3). Any differences? Or
were they pretty much the same?
Yet another fundamental vocal tract skill for efficient, expressive singing and speaking, is a flexible, agile tongue that only contracts its complex array of muscles when they become necessary to form a vowel quality of sound. If your tongue typically (1) tenses noticeably, (2) is shoved to the back of your mouth, and (3) down into your throat, then you may have noticed a "holding" or "locking" effort at the base of your tongue and the top of your larynx. Sometimes, people learn that tongue coordination as part of larynx stabilization, or because it resulted in a no ticeably darker (more "resonant") sound quality. Some people associate the darker quality with a desirable mezzo so prano, alto, bass, or operatic "sound". Typically, voices with that quality sound as if something is "covering them". In fact, something is covering them. The epiglottis—attached to the back of the tongue—is shoved back by a shoved-back tongue and the larynx is moved lower in the throat. The epiglottis is then positioned over the epilarynx area where it functions as a muffler that "bottles up" the amount of vocal volume to some degree. That entire action also results in a lengthening of the whole vocal tract, so that all of the spectral formants are lowered. When all of the formants are lowered, the per ceived sound quality is often described on a continuum of fuller, darker, overdark, woofy, bottled up. When the sug gested "limp tongue technique" is learned (flexible, efficient tongue, actually), more amount of sound is possible, and the innate vocal tract dimensions are allowed to introduce more brightness to mix with an appropriate fullness. That is balanced resonance (see Figure II-12-3).
Do this: (1) Sing a 5-4-3-2-1 major scale in an easy, comfort able pitch range. Observe what your tongue does when you sing each pitch on a /dah/ syllable, with a very strong /d/ consonant. (2) Sing the scale and use the /nah/ syllable, but observe what your tongue does when you sustain each /n/ consonant for al most one second of time.
Any differences? Did you notice any other contrasting sensa tions? (3) Sing exactly the same pitch pattern, but, how close can you come to making all of the /ah/ vowels very nasal sounding on purpose? Sing them "through your nose". Now sing the pitches on the /dah/ syllable again. In the two tasks of (3), what articulators coordinated differently to produce the sensation differences that you noticed?
That overbright quality is actually produced by a vocal tract that is somewhat narrow and it produces intense, highfrequency vibratory sensations in the nasal area of the singer or speaker. Perhaps that is how this misnomer was invented. If this quality was nasalized, it would resemble the sound of a person with a cleft palate. When singing through the secondo passaggio and above (about D4 to F#4 for men and D5 to F#5 for women; see chapter 11), in order to maintain consistency of voice qual ity and to avoid a screamy or yelly quality, the "open way" of shaping the vocal tract is a prerequisite coordination. When
Soft Palate Influences on Voice Quality When your soft palate is strongly pressed against the back of your throat, that action tends to be connected with
passing through the passaggio, however, the soft palate's ten sor muscle needs to contract with more than normal inten
other muscle contractions that result in slightly
sity to lift or arch the palate upward even more than for the
overconstricted vocal folds and a slightly wider and longer pharynx. All of the formant regions are slightly lowered
open way. That "lifted way" of shaping the vocal tract pro
and a slightly dull, brightness-reduced voice quality re
sults. This quality is sometimes referred to as de-nasalized. On the other hand, if your soft palate is insufficiently
lifted toward the back of your throat, your sound spectra will be split, with some of it entering your nasal cavity muffler. A nasalized quality will be heard, and sometimes
it is referred to as hypernasalized. When your soft palate is sufficiently raised, but not excessively, it may not even completely touch the back of your throat. But it will sufficiently close your nasopharynx so that nasalized sound does not occur and appropriate
brightness of tone quality can be mixed with appropriate
fullness—balanced resonance, again (Figure II-12-3). When some people hear a somewhat squeezed, overbright, even pinched voice quality, they refer to it as nasal or as having nasal resonance, even though it is not nasalized. Pressed, squeezed, overbright, pinched voice qualities usu ally do not include very much resonance influence from the nasal cavity, if any. Typically, the nasal port is closed.
vides the acoustic circumstances that enable singers to sing loud or soft "high" pitches with a quality that is consistent
with the qualities that are produced below the upper passaggio area. Western "classical music" singers use this adjustment as a matter of course. Popular music singers, who are well known for their ability to sing high pitches with a strong, full-out voice, also use this skill. Roy Orbison, for example, used this skill in all of his high-note singing (for example, at the end of his hit, "Runnin' Scared"). The final voice qualities that leave your mouth are in fluenced by (1) how your larynx coordinates to produce the initial voice source spectra, and (2) by how your vocal tract articulators coordinate to modify those spectra. When voice qualities are labeled, however, the same words can refer to either the effect of the voice source, the vocal tract, or both. For instance, the words light, rich, and full can be used to describe voice qualities that are generated by either your larynx or your vocal tract. Chapter 15 includes suggestions about how the semantic confusion might be resolved.
The Overdark Family______The Balanced Resonance Family_____ Generally Increased Dimensions Optimum Dimensions Range
Overdark Throaty Sob-like Woofy Bottled-Up
The Over bright Family Generally Decreased Dimensions
Balanced Resonance
Darker Fuller
Brighter More brilliant
Overbright Narrow Squeezed Pinched
Figure II-12-3: A continuum of voice quality families that are produced primarily by varying the adjustments of vocal tract dimensions.
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Summary Sound spectra are created by complex vibrating ob
jects like piano strings and vocal folds. Spectra are made
up of elements called partials—a fundamental frequency (F0) and a series of overtones. When voice source spec tra are sent through an attached vocal tract, some of the partials are amplified and some are damped. The vocal tract is, however, shaped into several subar eas of different sizes and shapes, so each subarea (like a group of different-sized containers) has a different reso nance frequency. Larger subareas have lower resonance frequencies and smaller subareas have higher resonance frequencies. Each subarea also has an effect on the partials in the voice source spectra—they each cause one region of the spectral partials to be amplified. Those partials that are closest to each subarea's resonance frequency are the ones that are amplified. If complex sound spectra were sent into one end of a series of different-sized but connected containers, each con tainer would amplify a different region of partial frequen cies within the original spectra. The amplified regions within those spectra would be termed resonance frequency regions. Within radiated voice spectra, however, each region of ampli fied partials is referred to as a formant frequency region, abbreviated as formant region or formant. The vocal tract subareas that have that amplifying effect can be termed formant frequency producing areas. The size and shape (to some extent, the border den sity) of formant frequency producing areas within a vocal tract are quite variable, so their formant frequencies can be quite variable, and therefore, the formant frequency regions
within the radiated spectra can be quite variable.
Seven adjustable articulators can vary the size of the
formant frequency producing areas and have a variety of
acoustic effects. They are the lips, jaw, tongue, soft palate, pharynx, aryepiglottic sphincter, and larynx. Four vocal tract adjustment principles relate strongly to its contribu
tion to basic voice qualities. 1. All formant frequencies uniformly become lower as
the vocal tract becomes longer, that is, when the larynx
lowers and/or the lips protrude forward and become rounded.
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2. All formant frequencies uniformly become higher when the larynx rises and/or the lips retract away from the
teeth or spread at their sides.
3. A constriction of the oral cavity lowers the first formant frequency and raises the second formant frequency;
that is, when the tongue moves up out of the throat cavity,
the spatial area of the throat is larger. At the same time, the tongue moves into the mouth cavity to make its spatial area smaller. 4. A constriction of the pharyngeal cavity raises the first formant and lowers the second formant frequency; that is, when the tongue moves backward out of the mouth cavity, the spatial area of the mouth is larger. At the same time, the tongue moves into the throat cavity to make its spatial area smaller.
For Those Who Want to Know More... The complex waving vibration of the vocal folds pro duces sound pressure waves that create (1) the funda
mental frequency (F0) with which the folds vibrate, and
(2) an array of overtones with frequencies that are higher than the F0. Multiple evolving voice source spectra then
travel through the air molecules in the vocal tract. The term partials refers to all of the component "parts" (fre quencies) that make up the radiated spectra—both the F0 and the overtones. The F0 is the first partial and the first overtone is the second partial, and so on. The vocal tract is an enclosed, curved tube that ex tends from the top of the vocal folds to outside the lips. It increases the pressure of several groups of partials in the voice source spectra. When this amplification of selected partial groups occurs, the original voice source spectra are altered into the radiated spectra that exit the lips and enter the outside world. The amplification of groups of partials occurs because the voice source spectra pass through sev eral constituent vocal tract subareas or chambers that are of various genetically inherited sizes and shapes when at rest. They also are highly variable in their sizes and shapes because various muscle groups can coordinate to alter their dimensions (Titze, 1994, pp. 154, 155). Changes in the shape
Vocal Tract
Figure II-12-4: Key components of the vocal tract. The relative influence of the tongue-to-palate narrowing will vary with tongue position. [Based on Titze (1994, p. 155) and Story, Titze & Hoffman (1997)]
of the vocal tract chambers are referred to as articulation
tials, or the effect of the length of the whole vocal tract on all
and the physical structures that effect such shaping are
of the spectral partials, is sometimes referred to as their area function. The cross-sectional size of the vocal tract cham bers varies along with their length, and the entire length of
termed articulators. The four most influential vocal tract articulatory cham
bers are listed below (compare Figures II-10-2 and II-12-4). 1. The epilarynx is the lowest chamber of the vocal tract It includes the aryepiglottic sphincter area just above the vocal folds and glottis, and the point where the two piriform sinuses join the main vocal tract (Story, et al., 1997; Chapter 6 has a brief review of the anatomy). 2. The pharynx is the largest chamber, and is com monly referred to as the throat 3. The oral cavity, commonly referred to as the mouth. 4. A small "pocket" within the oral cavity that is lo cated just behind the lower front teeth.
the vocal tract varies along its longitudinal axis from the top
of the vocal folds to outside the lips (Sundberg, 1987, p. 93). The area function determines how the component frequen cies (partials) of the voice source spectra are modified. The larger the chamber, the lower the partials that are amplified, and the smaller the chamber, the higher the partials that are amplified. When all four of the vocal tract chambers listed above are in a fixed location, four different lower-to-higher frequency regions are amplified within the spectral partials (see Figure II-12-5). By narrowing, expanding, shortening,
or lengthening any of the vocal tract chambers, or by length ening or shortening the entire vocal tract, the frequency re
Each of the vocal tract chambers is said to alter or interfere with the traveling voice source spectra. The cham ber-induced interferences either reduce the pressure of sev eral adjacent overtones (damping), or increase the pressure of several adjacent overtones (amplification) within the complex waveform (Fant, 1960). Acoustic scientists refer to the interference as acoustic impedance.
Voice scientists refer to all of these vocal tract influences as a filtering effect. The interaction between the laryngeal production of source spectra and the filtering effect of the vocal tract is referred to as the source-filter effect The overall effect of the larynx and vocal tract output is to pro duce a unique "vocal signature" for each individual that is capable of being measured as a "voice print" similar to the way that each finger has its own unique finger print.
The effect of a vocal tract chamber on the spectral par
gions that are amplified within the spectrum are moved lower or higher within the spectrum. When one or all of the fre quency regions are changed, perceived voice quality also
changes. The variable chambers within the vocal tract are known as formant frequency producing areas, and the groups of partials within the spectra that they amplify are formally known as formant frequency regions. The term formant is the common usage. Any of the component frequencies (partials) in the voice source spectrum that are closest to the vocal tract's own formants will be radiated from the tract with greatest ampli tude, giving a distinctive quality to the perceived sound. In fact, when any partial directly matches the formant frequency
of any vocal tract chamber, then that partial is greatly am plified. Conversely, frequencies that are not close to these
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formants will not be so enhanced. Because physiological changes in the shaping of the vocal tract alter formant re
gions, therefore, all speakers and singers can improve (or impede) their vocal resonance and modify their perceived voice quality by conscious or other-than-conscious move ments of their articulators. Formants are of paramount im portance to voice quality, and the first two formants totally determine vowel quality (Sundberg, 1991, p. 51). The nasal cavity is not regarded as a part of the vocal tract. A sufficient lowering of the velum (soft palate), how ever, (while the mouth remains open) causes a splitting of the traveling sound spectra. Sound spectra then travel through the nasal cavity and the oral cavity. This addi tional filter is significant in the production of nasalized voice qualities and the nasal consonants. Higher acoustic pressures are created in any part of the tract that is constricted (such as when the sound spectra enter the tongue-to-velum region), and lower pressures are
created in areas of expanded dimension (such as when the
sound spectra enter the pharyngeal or oral cavities (Titze, 1994, pp. 138-140).
Changes in the jaw opening, tongue body, tongue tip, lips, and vertical larynx location effect changes in the formants. 1. Opening the jaw increases the size of the oral cavity but decreases the size of the pharynx. 2. When the mouth is closed, a normally formed and conditioned tongue will assume a stable resting posture [Kellum, 1994; Landis, 1994]. The upper surface of its tip will rest against the alveolar ridge, just behind the upper teeth. During speaking and singing, the tongue can assume many different configurations in the mouth and pharynx (such as moving towards the velum or the hard palate), thus altering the relative spatial ratios between the pha
ryngeal and oral cavities and also the relative size of the narrow tongue-to-velum "border" between them. The lo cation of the tongue tip can increase or decrease the size of a small spatial "pocket" just behind the lower teeth. 3. The lips can be protruded and rounded or retracted and spread, effecting a relative lengthening or shortening (respectively) of the overall vocal tract length, and a nar rowing or expanding of the lip opening.
4. Changes in the overall length of the entire vocal tract also are brought about by raising or lowering the larynx (Sundberg, 1987, pp. 95-97).
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Those physical movements alter the formant regions and (often) the formant bandwidth to produce their im pact on overall voice production and quality. For example, protruding the lips or lowering the larynx (or both) has the effect of lowering all formant frequencies, whereas re tracting the lips and raising the larynx (or both) raises all
formant frequencies (Titze, 1994 pp. 165, 166). Such acoustic outcomes can be viewed positively (if
considered in relation to musical genres and vocal styles)
and/or negatively (in relation to voice dysfunction and 'ab normality'). The boundaries between these two perspec tives can be blurred sometimes if a musical genre requires
such vigorous and strenuous vocal performance that the vocal health of an underconditioned voice is put at risk (Chapter 16 and Book III, Chapter 1 have details). In general, certain articulators are particularly impor tant for creating the formant frequencies (Sundberg, 1991; Titze, 1994).
• The first formant is produced by the size and shape of the pharyngeal cavity. Its formant frequency range is about 200-Hz to 800-Hz in adult males. The dimensions of the pharyngeal cavity can be en
larged and its formant frequency lowered by (1) expand ing the circumference of the pharynx, (2) lowering the lar ynx, (3) arching the soft palate, and (4) moving the tongue forward and away from the top of the pharynx. Its dimensions can be reduced and its formant fre quency raised by (1) contracting the pharyngeal constric tor muscles to narrow its circumference, (2) lowering the mandible (jaw) to constrict its circumference, (3) raising the larynx, (4) un-arching the soft palate, (5) moving the tongue back into the upper pharyngeal area. • The second formant is produced by the size and shape of the oral cavity. Its formant frequency range is about 500-Hz to 2500-Hz in adult males. The dimensions of the oral cavity can be enlarged and its formant frequency lowered by (1) lowering the man dible (jaw), (2) protruding the lips, and (3) moving the tongue backward away from the cavity, and (4) lowering the tongue-cradling it-low into the cavity.
Its dimensions can be reduced and its formant fre quency raised by (1) raising the mandible, (2) retracting the lips away from the teeth, (3) moving the tongue forward into the cavity, and (4) arching it high into the cavity.
• The third formant is produced by the position of the tongue tip and the size of the cavity that is located between the lower incisors (lower front teeth) and the tongue
gibility was retained, but listeners were confused as to the speaker's sex (Wong, et al., 1997). This is, perhaps, not too surprising, given that the first two formants for different
tip. Its formant frequency range is about 1600-Hz to 3500Hz in adult males.
speech vowels in females are characteristically clustered dif ferently from the first two formants in males (Book II, Chap
The dimensions of this area can be enlarged and its
ter 13 has details). Recent advances in the application of magnetic reso nance imaging (MRI) to speech science have permitted volu metric analysis of sample vocal tracts for a male and fe male subject in the phonation of three cardinal vowels-/ ee/, /ah/, and /oo/ (Story, et al., 1996, 1997). As expected, the researchers found that the overall length of the female tract was shorter than the male, but there were some im portant differences. The relative sizes of the various vocal tract chambers were different. As can be seen in Table II12-1), two chambers of the vocal tract (the epilarynx and pharynx) were shorter in the female compared to the male. The exception was the oral cavity which was slightly longer
formant frequency lowered by (1) moving the tongue tip
backward. Its dimensions can be reduced and its formant
frequency raised by moving the tongue tip forward. Change in this dimension is particularly obvious when alternately changing from an /ee/ vowel to an /oo/ vowel. • In speech, there are fourth and fifth formant frequen
cies. In many singers, those formants appear to be com bined into one formant-the fourth formant-and thus has come to be named the singer's formant (Sundberg, 1974).
The singer's formant is normally found in the region of 3,000Hz (3 kiloHertz), although it varies between singer catego
ries. In fact, in many sopranos, the singer's formant appears to be formed by a clustering of the third and fourth formants, presumably because of their innate shorter/smaller vocal tracts and higher F0 range. The singer's formant is produced by the size and shape of the aryepiglottic sphincter (epilarynx). Its dimensions can be enlarged and its formant frequency lowered by expand ing its borders, and its dimensions can be contracted and its formant frequency raised by constricting its borders. • All formant frequencies are lowered when the length of the entire vocal tract is increased, either by lowering the larynx or protruding the lips, or both. All formant frequen
in the female subject. The authors concluded that the length relationships between female and male vocal tracts is nonuniform. Fur thermore, detailed analysis of the data suggests that, of the three chambers measured, the shorter pharynx (by com-
cies are raised when the entire vocal tract is shortened, ei ther by raising the larynx or retracting the lips, or both.
Similarities and Difference in Male and Female Vocal Tracts Researchers have been keen to determine the extent to which the male vocal tract can be conceived as a 'stretched' version of the female tract and whether or not the relation
ship is 'nonuniform' (with different sections of the tract being 'stretched' by different amounts).
In general, the female vocal tract is known to be about
15% to 2O% shorter than its male counterpart. Yet when
Figure II-12-5: Sung spectrum differences between trained and untrained
laboratory researchers attempted to apply this scaling dif ference uniformly in the transformation of sample male
singers. Deviations from a spectrum with a typical slope of 12-dB/octave
speech into 'female' speech, the results were mixed: intelli
(Eds.), Vocal Arts Medicine.
are shown as partials.
The first partial is the fundamental frequency.
[From
R. Colton, "Physiology of Phonation". In Benninger, Jacobson, & Johnson
Copyright ©1994, Thieme Medical Publishers.
Used with permission.]
vocal
tract
contributions
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parison to that of the male) is the key vocal tract determi nant of female voice quality.
Similarities and Differences in Trained and Untrained Vocal Tracts The effects of systematic voice education and enculturation are typically evidenced in the differences be tween the spectral envelopes of trained and untrained voices. According to several studies, training improves the "carry ing power" of voices, particularly in settings where there are competing sounds, such as when singing with an in strumental accompaniment. [The terms training, trained, and
untrained are used here in their broadest educative sense. When Western-trained voice scientists refer to trained voices, they almost always are referring to people who have taken several years of private singing lessons in the skills of West ern "classical" music, usually devoted exclusively to the voice skills that are necessary for singing Western opera.] This increased carrying power of trained voices can be measured acoustically. In one study that compared trained
and untrained singers (Gramming, et al., 1988), all of the subjects exhibited similar vocal pitch ranges and almost
Table II-12-1. Female to Male Ratios of the Vocal Tract Chamber Lengths and Maximum Areas
[From Story, Hoffman & Titze (1997, p. 158), based on articulation of three cardinal vowels.] Female/Male
mean ratio
epilarynx pharynx oral cavity total length maximum area
0.77 0.63 1.05 0.85 0.78
identical variations in vocal intensity across pitches. The trained voices, however, sang the pitches more accurately, sang with more variety and finesse of vocal intensity, and were able to sustain vigorous phonation for much longer
periods. The trained singers' voice spectra also displayed a clustering of intensity in the frequency range of the singer's formant-around 3,000-Hz-which is necessary for singing
Western opera (see Figure II-12-5). The untrained singers' spectra showed no such intensity peak. The prominent intensity peak in high-partial frequencies (singer's formant)
results in the prominent excitation of high-frequency au ditory receptors in listeners, just in the frequency range where ears are most frequency-sensitive. The effect creates
Figure II-12-7: Lateral cross section of the head and neck, showing the major resonating Figure II-12-6: Long-term average spectra for voice and orchestra [Titze,
I.R. 1994, p240; after Sundberg, 1991]
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areas of a voice. [From K.N. Anderson & W.D. Glanze (Eds.) Mosby's Medical Dictionary (4th Ed.). Copyright © 1994 by Mosby-Year Book, Inc., St. Louis. Used with permission.]
the illusion that greater overall intensity has been produced
by the singer, but that may not be the case. The intensity of the singer's formant also varies with loudness of phonation (itself a product of the voice source,
For bass singers, the center frequency of the singer's formant is around 2.2-kHz; for baritones, around 2.7-kHz;
Such variations are important to singers because hu
for tenors, around 3.2-kHz, and for altos around 2.8-kHz (Sundberg, 1991, p. 56; Morris & Weiss, 1997, p. 21). For sopranos, the singer's formant intensity peak is less promi nent. It is produced by a clustering of the third and fourth formants. Research indicates that it is the relative size ratio of the epilarynx to the pharynx which is important in the pro
man voices have a normal falling spectral slope in speech
duction of the singer's formant. The singer's formant can
of approximately 9-dB per octave.
be generated if the pharynx is wide relative to the size of the epilarynx (Sundberg, 1991, p. 58). The exact center fre
see Chapter 10). An increase of 10-dB at the voice source is
converted into a 12-dB to 15-dB increase in the region of the formant clustering (Sundberg, 1991). Conversely, the singer's formant is much less evidenced at low intensities.
In other words, the
intensity decreases in each successive partial of voice source spectra at the rate of about 9-dB per octave. That same
type of falling slope occurs in nearly all musical instru
ments, such as Western orchestral instruments (Sundberg, 1991, p. 56). However, the shaping of the vocal tract by the articulators produces formant intensity peaks which boost
quency is determined by (1) the acoustic length of the smaller resonator [the epilarynx is typically 2.5-cm to 3-cm long or about one-sixth of the length of the pharyngeal cavity],
and (2) the cross-sectional size of the epilarynx which is about one-sixth the width of the pharyngeal cavity. The
the spectral slope at around 3-kHz—the singer's formant— and that enables the trained singer to be heard over a loud
expansion of the ventricle that separates the true from the
orchestral accompaniment (see Figure II-12-6).
utes to these dimensions (Titze, 1994, p. 240).
false vocal folds, immediately above the glottis, contrib
GT, cricothyroid m. Es, esophagus H, hyoid bone M, mastoid process MB, malar bone MH, mylohyoid m. O, orbit obr, oblique ridge of thyroid ptmr, pterygomandibular raphe ptp, pterygoid plate (internal) shl, stylohyoid ligament stp, styloid process T, thyroid c. TH, thyrohyoid m. thl, thyrohyoid ligament Tr, trachea tr, triticeal c. I-V, cervical vertebrae
Dpb, digastric m., posterior belly Es, esophagus H, hyoid bone HG, hyoglossus m. M, mastoid process PM, pharyngeal membrane pr, pharyngeal raphe SG, styloglossus m. SH, stylohyoid m. SP, s.tylopharyngeus m. stp, styloid process T, thyroid c. tr, triticeal c.
Figure II-12-8: (A-left) lateral view of the pharynx and (B-right) the pharyngeal constrictor muscles. [From Vennard, W. (1967). Singing: The Mechanism and Technic. New York: Carl Fischer. Used with permission.]
vocal
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463
Similarities and Differences Within Trained Vocal Tracts Research by Agren and Sundberg (1976) and Cleve land (1977) indicate that there are stereotypical differences between basses and tenors and between tenors and altos. There also are differences between male and female trained singers. • The fourth formant (being highly dependent on
epilarynx dimensions) is higher in altos than tenors, but the other formant frequencies are basically similar when singing identical pitch ranges (Sundberg, 1987, p. 106). • When considering the four lowest formants of males who are singing identical pitches, those with relatively high average formant frequencies tend to be perceived and cat
The Pharyngeal Cavity The pharynx (the pharyngeal cavity or throat; see Figure
II-12-2 and 8) is a tube that extends upward from the trachea-larynx-piriform sinus complex to the opening of the nasal cavity and sits just in front of the cervical verte
brae. It serves the digestive and respiratory systems and is
a muscular structure lined with a mucous membrane (a musculomembranous tube). Three areas of the pharynx are labeled according to adjoining structures: The laryngopharynx is the area around and just above the vocal folds and glottis. It extends from just behind the hyoid bone (including the rim of the aryepiglottic sphinc ter) down to the true vocal folds and the piriform sinuses. The section of the laryngopharynx from the epiglottis down
egorized as tenors, while those with relatively low formant frequencies are classified as basses (Cleveland, 1977; Sundberg, 1987, p. 110-111). These differences were more obvious in certain sung vowels than others. • Similar differences are evident between male and fe male singers, with the latter having higher formants as a result of having a shorter pharynx (Fant, 1975; Sundberg, 1987, p. 111].
to the vocal folds and the piriform sinuses also is known
• The falsetto register tends to have fewer partials than the lower and upper registers and its bandwidth is also generally smaller (Colton, 1994, p. 50). The trained male countertenor or falsettist, however, can generate a broader
The front border is the thyroid and epiglottic cartilages
as the hypopharynx (the area of the pharynx critical for sepa rating airflow from food to be swallowed). The lowest part of the laryngopharynx is termed the laryngeal vestibule. It is a small quasi-circular tube, about
one or two centimeters long that extends upward from its lower border, the glottis. Its rear border is formed by the
two arytenoid cartilages and the tissues that cover them. and covering tissues. The lateral borders are formed by
the tissues that connect the front and rear borders. The vestibule extends upward into the lower end of the much
range of partials than the untrained male. Moreover, the fundamental frequency in falsetto tends to have more rela tive energy than in the other registers. • In quite high sung pitches, when a soprano's funda mental frequency rises above the first formant frequency,
the soprano will change the articulators to match the sung Fo to the first formant (Sundberg, 1991, p. 60; see Scherer,
1996, for a review). This Fo to F1 matching, often called
formant tuning, is accomplished by increased jaw open ing, lip spreading, and larynx raising.
The Articulation of the Vocal Tract Articulation of the vocal tract is the product of coordi nated physiological activity. shown in Figure II-12-7.
The major articulators are Figure II-12-9: A lateral-view illustration of the posterior wall of the oropharynx that exhibits
(A-left) over-constriction and (B-right) appropriate constriction when singing high pitches (just below and above about C6 for most females, and A4for most males). [Original
drawing by Graham Welch.]
464
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Figure II-12-10: The soft palate and nasopharyngeal port.
larger pharyngeal tube that surrounds it. A physiological
term for the laryngeal vestibule is the aryepiglottic sphinc
ter. Muscles that are interfaced with the larynx can con
Figure II-12-11: The tongue. [From K.N. Anderson, L.E. Anderson, & W.D. Glanze (Eds.), Mosby's Medical Dictionary
Ed.). Copyright©1994 by Mosby-Year Book, Inc., St. Louis,
strict and open this structure, thereby varying is dimen sions (see Color Photo Figure III-1-3 and 6). The "floor" between the smaller lateral borders of the vestibule and the larger lateral borders of the pharyngeal wall, is where the piriform sinuses are located. They are sphincteric openings that participate in swallowing and are part of the upper esophageal sphincter. The laryngeal ves tibule area has been described more recently in the vocal acoustic literature as the epilarynx because of a particular focus on the acoustic effects of widening and narrowing the vocal tract at the piriform junction (Story, et al., 1997, p.
oid ligaments and fan around to their rear attachments. The paired upper (superior) constrictor muscles are over lapped at the bottom (posteriorly) by the middle constric tors. Laterally, they are attached to part of a skull bone called the internal pterygoid plate and fan round to their rear attachments. The constrictors encase the lateral and posterior portions of the nasopharyngeal and oropharyn geal areas. When the constrictor muscles contract, the pharyngeal
155). The oropharynx is the area at the back of the oral cavity which extends from the soft palate down to the level of the hyoid bone. The nasopharynx is the area at the entrance to the nasal cavity, extending from the rear en
tube is narrowed or squeezed. That action is necessary for swallowing, and can be entrained to participate in varying the dimensions of the pharynx. A smaller pharynx raises Fl and a larger pharynx lowers Fl, thus contributing to variance in voice quality and vowel quality. When singing
trance to the nose to the level of the soft palate (see Figure II-12-7). During voicing, it is usually closed or nearly closed (McIver & Miller, 1996; Warren, 1967).
very high pitches, considerable narrowing of the pharynx
The posterior and lateral borders of the pharyngeal tube are formed by three overlapping muscles and their covering tissues (see Figure II-12-8). The paired lower (in ferior) constrictor muscles are attached to the sides of the cricoid and thyroid cartilages and fan around and up to their attachments onto the pharyngeal membrane in front of the spine (similar to all the other constrictor muscles). The paired middle constrictor muscles are overlapped at the bottom (posteriorly) by the lower constrictors. Later-
Used with Permission.]
ally, they are attached to the hyoid bone and the stylohy
becomes essential and the constrictors participate. Also, belted singing requires a degree of pharyngeal narrowing. When people are living in distressful life circumstances, xeroradiographic evidence indicates that when they sing, an over-constriction of the pharynx occurs. A "ridged" effect occurs laterally in the posterior oropharyngeal wall (see Figure II-12-9A). When the production of the highest pitches is most efficient, the cervical vertebrae are oriented
in the vertical direction, and the posterior wall of the
oropharynx lies "flat" against the cervical vertebrae (see Figure II-12-9B).
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When the velum, or soft palate, is not raised, the up per border of the pharynx is the opening to the nasal cav
ity (see Figure II-12-10). When the velum is raised, it be comes the upper border of the pharynx. The "doorway" between the pharyngeal and nasal cavities, therefore, is termed the nasopharyngeal port (also velopharyngeal port). The paired muscles that raise the velum are called the leva tor veli palatini. The muscles that can depress the velum also form what are termed the pillars of fauces that form a double arch on both sides of the rear of the mouth. These velum lowering muscles are (1) the palatoglossus (anterior pillars) which elevates the tongue upwards and backwards to constrict the pillars (Gray & Pinborough-Zimmerman, 1997), and (2) the palatopharyngeus which is responsible for the adduction of the posterior pillars and narrowing of the velopharyngeal orifice. This muscle also can be in volved in the raising and lowering of the larynx. The ten
sor veli palatini muscles tense the soft palate and, in co operation with the faucial pillar muscles, create an arching of the velum which slightly enlarges the oropharynx and also increases the density of the velar tissue. In summary,
Figure II-12-12: A drawing of the oral cavity, showing the uvula, the soft palate, the two faucial pillars, the tongue and other structures. The relative orientation of the levator veli palatini and palatoglossus muscles in raising and lowering the soft palate is
six muscles of the soft palate and pharynx are involved in
indicated. [From Moon & Kuehn, 1996, p. 152. Used with permission.]
velopharyngeal closure, and normal function (including
closure) varies among individuals (Gray & PinboroughZimmerman, 1997). The body of the tongue and its root, with the epiglot
tis attached at its base, form the front border of the phar ynx (see Figure II-12-7 and 11). The tongue is located in the floor of the mouth within the mandible and the tongue root is attached posteriorly to the hyoid bone. The tongue also connects to the epiglottis, to the soft palate (by the glossopalatine arches), and to the pharynx (by the upper constrictor muscle and mucous membrane). It is an ex ceedingly complex meshing of four interior and six exte rior muscles. The lingual tonsil, gland-like lymphoid tis
sue, covers the base of the tongue. Either side are the two palatine tonsils, located in the rear of the oral cavity, slightly higher than the tongue between the two faucial pillars. The
space between the lingual tonsil and the epiglottis is called
the vallecula epiglottica, abbreviated as the vallecula.
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Summary of Pharyngeal Cavity Articulation • The pharynx can be lengthened and shortened by raising and lowering the larynx. This action also has the effect of lengthening and shortening the entire vocal tract. It also affects the tongue shape because the larynx and tongue are connected by their mutual attachments to the hyoid bone. • The pharynx can be enlarged or widened from an at rest
location by moving the tongue root down and forward, and also by arching the soft palate (velum). • The pharynx can be constricted or narrowed from an at rest location in three ways: (1) by moving the tongue up and back into the pharyngeal space, (2) by contracting the pharyngeal constrictor muscles, and (3) by lowering the jaw, which moves slightly backward when not jutted for ward.
Changes in pharyngeal size alter the first formant re gion. Increased pharyngeal size tends to lower the first
1 . 2. 3. 4. 5. 6.
Temporalis Masseter External pterygoid Digastric Internal pterygoid Geniohyoid Mylohyoid
1. 2. 3. 4. 5. 6. 7. 8.
Orbicularis oris Quadratus labii superiori Zygomatic Risorius Quadratus labii inferior! Triangularis Mental is Buccinator
Figure II-12-14: The facial muscles involved in lip articulation. [From Daniloff, Schuckers & Feth, The Physiology of Speech and Hearing, Copyright©l 980 by Allyn & Bacon. Reprinted by permission.]
Figure II-12-13: The muscles of the mandible. [From Daniloff, Schuckers & Feth, The
Physiology of Speech and Hearing, Copyright©1980 by Allyn & Bacon. Reprinted by
permission.]
formant; decreased laryngeal size raises it. Movement of the tongue root forward and down enlarges the laryngopha
ryngeal and oropharyngeal areas and assists in lowering the formant frequencies. Modifications to the overall length of the vocal tract are closely associated with vocal pitch range. • In sopranos, typically pitches toward the bottom of the singer's vocal range are characterized by a longer phar ynx configuration, mid-range pitches are associated with a broadening of the pharynx and slightly shorter vocal tract,
Figure II-12-15: The nasal cavity. [From K.N. Anderson, L.E. Anderson, & W.D. Glanze
(Eds.), Mosby's Medical Dictionary (4th Ed.). Copyright©1994 by Mosby-Year Book, Inc.,
and the highest sung pitches have a raised larynx and a shorter and narrower pharynx with maximum jaw open
St. Louis, Used with Permission.]
ing.
erally at the same time (Welch, et al., 1989). Basses and
• However, although this is particularly the case for
baritones are significantly larger than tenors in the vertical
female singers, especially sopranos, there is some evidence that trained bass and baritone have a different stereotypical vocal tract configuration. For some trained male singers, there is a tendency for the larynx to descend with rising pitch (Shipp & Izdebski, 1975; Welch, et al., 1989), and for the lower oropharynx and laryngopharynx to expand lat-
dimensions of the vocal tract and in the lateral dimension of the laryngopharynx. These relative differences are main
tained across pitches and registers, giving rise to a similar
difference between basses/baritones and tenors in the fre quency location of the fourth formant (Welch, et al., 1989).
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• Trained falsettists (such as countertenors), like other male singers, increase the size of the resonators in phona tion, particularly in the pharyngeal tube area (Lindestad & Sodersten, 1988; Welch, et al., 1988). Vocal folds lengthen with increasing pitch. Unlike bass/baritone/tenor singers,
however, trained falsettists tend to increase the size of the laryngopharynx laterally with decreasing vocal tract length (Welch, et al., 1988, 1989). It is conjectured that this con tributes to the distinctive quality of the trained male falsettist in performance.
The Oral Cavity The upper border of the oral cavity (also termed the buccal cavity (Latin: bucca = cheek) is formed by the hard palate and velum (see Figures 11-12-12 and 15). The lower border is formed by the tongue and mandible (jawbone). The lateral borders are formed by the interior cheek tis sues, the teeth, and the mandible. The rear border is re garded as the faucial pillars, with the front border being the lips, front teeth, and mandible. Both the front and rear borders can be opened and closed. The rear border can be closed and opened by joining the tongue to the hard palate/velum/faucial pillars complex. The front borders of the mouth can be opened or closed by interactions of the lips, mandible, and tongue tip. The primary opening and closing of the mouth is per formed by lowering and raising the mandible (see Figure 11-12-13). It has four muscles that can pull it downward (if more than gravity is needed when the elevators are re leased): the external pterygoid, digastric, mylohyoid, and geniohyoid muscles. The elevator or "teeth clenching" muscles are the temporal, masseter, and internal ptery
goid muscles. The external pterygoids, contracting alter nately, can move the mandible in a left-to-right motion if the elevator muscles are released. The complex action of the lips (the fleshy structures
surrounding the opening to the oral cavity) deserve some special description (see Figure II-12-14). Movements of the mandible can stretch the lips at the mouth opening, but complex action of the lip musculature can create numer ous configurations. The orbicularis oris muscle encircles the lips and its contraction can create a rounding or sphincteric closing of them and can contribute to a forward ex tension of them (puckering). The fibers of this muscle are 468
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partly derived from other facial muscles such as the mentalis and triangularis muscles which can contract and pull
the lips into a vertical opening. The buccinator and the
risorius muscles can contract to create a horizontal re tracting or lateral spreading of the lip corners. The quadra-
tus labii inferiori, quadratus labii superiori, and zygo matic muscles can contract to angle the lip corners up (as in smiling), or down (as when frowning). The nasal cavity (see Figure II-12-15) becomes a sig nificant vocal resonating area only when the nasopharyn geal port is fully open (when the velum is lowered). In nearly all normal speaking and singing, the velum is auto matically raised to close or nearly close the port when form ing vowels and consonants. Particular exceptions are the nasal consonants /m/, /n/, and /ng/, and the nasal vowels of the French language. The nasal cavity is lined with highly porous tissue ridges, the turbinates, which are bones that are covered with mucosa that, in turn, contain mucus secre tion glands. Together, the structure moistens, warms, and filters the incoming air. Most of the nose is divided at the midline by a bone and cartilaginous septum that is nor mally uneven in its structure, often creating non-symmetrical airways, with one side being more likely to blockage than the other. If the blockage is extensive enough, there can be health consequences to the nasal cavity that may effect mucous flow in the entire vocal tract (Book III, Chap ters 3 and 7 have details). When the velum is lowered, sound wave intensity is attenuated by the porous and absorbent tissues of the nasal cavity and all partial amplitudes are greatly reduced, particularly those in the first formant region.
References and Selected Bibliography Agren, K. & Sundberg, J. (1978). An acoustic comparison of alto and tenor
voices. Journal of Research in Singing, 1, 26-32. Andersen K.N., Andersen, L.E. & Glanze, W.D. (Eds) (1994). Mosby's Medical
Dictionary (Fourth Edition). St. Louis: Mosby. Cleveland, T. (1977). Acoustic properties of voice timbre types and their influence on voice classification. Journal of the Acoustical Society of America, 61,
1622-1629.
Colton, R.H. (1994).
Physiology of Phonation.
In M.S. Benninger, B.H.
Jacobson & A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of
Professional Voice Disorders (pp. 30-60). New York: Theime Medical Publish ers.
Fant, G. (1960). Acoustic Theory of Speech Production. The Hague: Mouton.
Welch, G.F., Sergeant, D.C., & MacCurtain, F. (1989).
Xeroradiographic-
electrolaryngographic analysis of male vocal registers. Journal of Voice, 3(3),
Fant, G. (1975). Nonuniform vowel normalization. Speech Transmission Labo
244-256.
ratory Quarterly Progress and Status Report. 2-5 (pp. 1-19) Wong, D., Lange, R.C., Long, R.K., Story, B.H., & Titze, I.R. (1997). Age and
Gramming. P, Sundberg, J., Ternstrom, S., Leanderson, R. & Perkins, W.H.
gender related speech transformations using linear predictive coding. Jour
(1988). Relationship between changes in voice pitch and loudness. Journal
nal of the Acoustical Society of America. (in review).
of Voice, 2(2), 118-126. Gray, S.D., & Pinborough-Zimmerman, J. (1997). Velopharyngeal incom
petence. National Center for Voice and Speech Status and Progress Report, 11, 159152. Laryngeal and pharyngeal be
Lindestad, P-A., & Sodersten, M. (1988).
havior in countertenor and baritone singing: A videofiberscopic study.
Journal of Voice, 2(2), 132-139. McIver, W., & Miller, R. (1996). A brief study of nasality in singing. Journal
of Singing, 52(4), 21-26. Moon, J., & Kuehn, D. (1996). Anatomy and physiology of normal and disordered velopharyngeal function for speech. National Centerfor Voice and Speech Status and Progress Report, 9, 143-158.
Morris, J., & Weiss, R. (1997). The singer's formant revisited: Pedagogical implications based on a new study. Journal of Singing, 53(3), 21-25.
Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.) (1991). Otolaryngology (3rd Ed.). Philadelphia: W.B. Saunders.
Scherer, R. (1996). Formants in singers.
National Center for Voice and Speech
Status and Progress Report, 9, 27-30. Shipp, T., & Izdebski, K. (1975). Vocal frequency and vertical larynx posi tioning by singers and nonsingers. Journal of the Acoustical Society of America, 58, 1104-1106.
Story, B.H., Titze, I.R., & Hoffman, E.A. (1996). Vocal tract area functions from magnetic resonance imaging. Journal of the Acoustical Society of America,
100(1), 537-554.
Story, B.H., Titze, I.R., & Hoffman, E.A. (1997).
Volumetric image-based
comparison of male and female vocal tract shapes. National Center for Voice
and Speech Status and Progress Report, 11, 153-161. Sundberg, J. (1974). Articulatory interpretation of the "singing formant".
Journal of the Acoustical Society of America, 55, 838-844. Sundberg, J. (1987).
The Science of the Singing Voice.
Dekalb, IL: Northern
Illinois University Press. Sundberg, J. (1991). Vocal tract resonance. In R.T. Sataloff (Ed.), Professional
Voice: The Science and Art of Clinical Care (pp. 49-68). New York: Raven Press. Titze, I.R. (1994). Principles of Voice Production. Needham, MA: Allyn & Ba
con. Tucker, H.M. (1994).
Gross and microscopic anatomy of the larynx.
In
M.S. Benninger, B.H. Jacobson, & A.F. Johnson (Eds.), Vocal Arts Medicine: The
Care and Prevention of Professional Voice Disorders (pp. 11 -29). New York: Theime Medical Publishers. Warren, D.W. (1967). Nasal emission of air and velopharyngeal function.
Cleft Palate and Craniofacial Journal, 4, 148-156.
Welch, G.F., Sergeant, D.C., & MacCurtain, F. (1988). Some physical char
acteristics of the male falsetto voice. Journal of Voice, 2(2), 151-163.
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chapter 13 vocal tract shaping and the voice qualities that are referred to as ’vowels’ Graham Welch, Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
hen less skilled singers sing, they tend to form
W
their words the way they do in conversational talking. That's the only word forming pro
gram their brains know how to use. When singers sing in a somewhat large room with an audience
present, many words in the songs will not be clearly un
derstandable to most of the audience. Why? In a conversation, there are few people and short dis tances between them. When singing or speaking in front of an audience, most of the people will be some distance
from the performer(s). That distance requires that singers shape vowels and consonants more skillfully so that lis teners can hear the words clearly and understand their meaning. That enhances the feeling reaction of listeners to the performance. Singing involves a wider range of pitches than talking,
and pitches must be sustained for varying lengths of time. Those differences also require that singers learn to shape their vowels and consonants more skillfully for word clar ity and appropriate voice quality.
Where Do Vowels Come From? Your whole vocal tract has within it several subareas of different sizes and shapes. Just like the size and shape of a bottle determines the bottle's resonance frequency, so the
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size and shape of each vocal tract subarea determines its
formant frequency (Chapters 3 and 12 have details). Only bordered subareas within the human vocal tract have lessformant skilledfrequencies; all other bordered spaces have resonance frequencies. Just as in bottles, larger vocal tract subareas have lower formant frequencies, and smaller vocal tract sub areas have higher formant frequencies. When you are speaking or singing, the complex wav ing motions of your vocal folds create ever-changing fun damental vibratory frequencies (abbreviated as F0s; singu lar form is F0) and continuously evolving complex arrays of overtones. Those arrays of F0s and overtones are re ferred to as your voice source spectra. [Remember that the F0 and all the overtones are called partials.] As your voice source spectra travel through the air molecules within each of your vocal tract subareas, their size-and-shape formant frequencies will amplify different partial regions within your voice source spectra and thus creates your
final radiated spectra. Each of those amplified groups of partials is termed a formant frequency region (an inten sity or "energy peak"), or the shorter term, formant. (see Figure II-12-1). The dimensions of your vocal tract and its
subareas are changed by movement of your vocal tract's various anatomic structures—its articulators. In a human voice, the shaping of four to five formant-producing sub areas in your vocal tract produce four to five key formants
in the sound spectra that emerge from your mouth when
you speak or sing (radiated spectra).
Compared to other formant-producing areas in the vocal tract, the area that is the largest and amplifies the
partials with the lowest frequencies produces the first
Language Sounds and Formant Combinations We human beings make patterned combinations of noises and vocal tones that can convey denotative or ver bal meanings (language), as well as connotative, nonver bal, or "feeling" meanings (paralanguage; see Book I, Chap ters 7 and 8 for review). The smallest component sounds of all languages are called phonemes, that is, all consonant and vowel sounds. The simultaneous sounding of the lowest two formant frequency regions create, in your voice, the tonal characteris tics that are referred to as vowel qualities or vowels. All formants contribute to perceived voice quality, an aspect of nonverbal communication. The smallest combinations of phonemes that can con vey or change denotative meanings are called morphemes, and they are commonly composed of consonant-vowel combinations. We first learned to recognize and produce them intentionally and habitually when we learned speech as young children.
formant, abbreviated as F1 That vocal tract area is your pharyngeal cavity (throat). Your oral cavity (mouth) is the area that shapes the second formant, abbreviated as F2
(see Figure II-13-1). When speakers or singers shape their vocal tracts in such a way that they produce the first formant region some where between about 350-Hz and 550-Hz, and the second formant between about 600-Hz and 900-Hz, listeners will identify the vowel quality [oh] (see Figure II-13-2). If the vocal tract is shaped so that the F1 region is around 250Hz, and the F2 region is around 2,750-Hz, then you will
hear the [eel vowel. Synthesizers have been programmed to generate formant frequencies electronically so that clearly recognizable spoken and sung vowels can be generated. There are variations in the formant frequency regions for each vowel (the bubbles in Figure II-13-2) because of different adult vocal tract sizes, different vocal tract sizes
while "growing up," and personal and regional language variations such as accents and dialects. Because female vocal tract dimensions are not smaller versions of male
Figure II-13-1: A spectrogram of a person sustaining a comfortable pitch that first uses the vocal tract shape for the [eel vowel, then changes to the [ah] vowel, and then to the [oo]
vowel. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press. Used by permission.]
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tract
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448-Hz (12% higher) and her second formant region would
be around 760-Hz (17% higher). A child voice, also shap ing the [oh] in approximately the same way, may shape a first formant region around 528-Hz (32% higher than the adult male). These are some of the reasons why sex and age differences in human beings result in different vocal qualities.
Do this: When shaping the vowel sequence [ee] [ay] [ah] [oh] [oo], the first formant basically produces a rising-then-falling pitch arch (see Figure II-13-8B). A clever way to hear it is to close your vocal folds and use a finger nail to tap your neck outside your vocal tract just above your larynx while forming the vowel sequence. Hear the pitch arch? (May take a little practice.) The second formant in that vowel sequence produces a descend ing pitch pattern. The second formant can be heard if you whisper each vowel. Hear the descending pitch pattern? Figure II-13-2: Formant "bubbles" for the first two formants that create the linguistic sound qualities that are known as vowels. The keyboards and the numbers opposite them indicate vibratory frequencies (note where middle C4 is on each keyboard). The
Vocal Tract Articulations for Vowels
bubbles indicate the convergence of frequencies for the first two vocal formants that,
when sounded simultaneously, produce the vowel qualities of the English language. The keyboard at the bottom and its opposite numbers give the frequencies for F1 and the keyboard at the right side and its opposite numbers give the frequencies for F2.
From Vennard, Singing: The Mechanism and Technic. Copyright © 1968 by Carl Fischer, Inc., New York.]
dimensions, the average pitch areas for the first two formants are different between females and males.
Female first
formant regions are 12% higher than male first formants, on average, and female second formants are 17% higher
than male second formants. Formant regions in the vocal
tracts of children are, on average, about 20% higher than those of female adults. Children's first formants are about 32% higher than adult males, and their second formants are about 37% higher.
Three of your articulators change the size and shape of
your pharyngeal and oral cavities so that vowel qualities are produced: (1) jaw, (2) tongue, and (3) lips. Jaw Do this: Notice what your jaw-mouth does when you speak these vowels out loud: [ee] [eh] [ah] Notice your jaw-mouth again and speak the vowels: [oo] [oh] [ah] Did you notice your jaw-mouth move-even slightly—in a par ticular direction?
An adult male, a female and a child's voice, all singing an [oh] vowel on middle C4, obviously will produce differ
ent sound spectra. In addition to differently sized vocal folds, the different sizes of their vocal tracts will alter their vocal sound spectra differently. Suppose an adult male voice shapes an [oh] vowel with a first formant region around 400-Hz, and a second formant region around 650-
Hz. If a female voice shapes that vowel in approximately the same way, then her first formant region would be around
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When your jaw is nearly closed, your mouth is fairly
small, so its formant frequency (F2) is near its maximum high. Your throat, then, is relatively large, so its formant frequency (F1) is near its maximum low As your jaw gradu
ally opens, your mouth gradually becomes larger and your
throat gradually becomes smaller (unless you force it to stay open). That means your mouth formant frequency
will gradually lower, and your throat formant frequency will gradually rise. Compare the vowels in the previous
Do this with the vowel chart in Figure II-10-2 and gather even more information about how jaw opening affects vowels.
Tongue Do this: (1) Notice whether or not your tongue does anything when you alternate saying [ee] and [oo] several times out loud. Did your tongue move? If so, how did it move? (2) On a steady, continuous flow of sustained vocal sound, observe what your tongue does when you speak the following vowels: [ee] (as in eat) [ih] (as in it) [ay] (as in ate) [eh] (as in ebb) [ae] (as in at) [ah] (as in odd) Did your tongue stay in exactly the same location on every vowel, or did it move? If it moved, what did it do?
Your tongue is a major player in creating vowel quali ties. It has incredibly complex muscles that enable it to move to many locations and take on numerous shapes. When making vowels, it bulges itself in a different way for every vowel. The bulges create rather narrow areas within your mouth or throat. Both in front of and behind the narrow areas, a more open space is formed.
Do this: Say those six vowels again, slowly this time. Can you get a feel for where your tongue bulges to create a rather narrow area in your vocal tract? Can you sense the more open spaces on either side of its bulge? Was it easier to sense the front space more than the back space, or the other way around?
During vowel articulation, if your tongue has been
moved forward and elevated into a bulge that creates a
narrowing of your vocal tract more toward the front of your mouth, then the vowels are termed front vowels.
When the tongue bulge is highest and most toward the
front of your oral cavity, a rather small space is created in front of the bulge, and—even though you may not feel it precisely—a large space is created behind the bulge. In that configuration of your vocal tract, your second formant
(F2) is raised and your first formant (F1) is lowered toward their maximums, and the vowel quality [ee] is perceived (see Figure II-10-2 and check Figures II-10-2 and 2). From the [ee] vowel articulation, if your tongue re tracts and lowers just slightly and your jaw lowers slightly, then your pharynx will be slightly smaller and the oral cavity area in front of your tongue will be slightly larger. F1 will rise slightly and F2 will lower slightly, and the vowel [ih] will be heard. If your tongue retracts and lowers just slightly more, and your jaw lowers slightly more, then your pharynx and the area in front of the tongue become smaller and
larger, respectively. F1 will rise more, F2 will lower more, and the vowel [ay] will be heard. If all those trends con
Figure II-13-3: X-ray photograph of a vocal tract forming the vowel [eel. Notice the location and shape of the tongue and the sizes of the oral and pharyngeal cavities. The
tinue slightly more, the vowel [eh] will be heard, and slightly more than that, the vowel [ae] will be heard, and with a little more yet, an [ah] vowel will be heard.
arrows indicate the narrowest area that the tongue creates, with a small space in front
of it, and a large space behind it. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press. Used by permission.]
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a tongue-back version of [ah]. The [ah] vowel in several other languages is sometimes one or the other. When your tongue is bulged furthest back toward your
soft palate and faucial pillars, and your jaw is most raised, then the narrow area created by your tongue bulge is in the upper part of your throat. Your throat, then, is com
paratively small and your mouth is comparatively large. In this vowel articulation, both F1 and F2 are lowered to ward their maximums, and the vowel quality [oo] is pro duced (see Figure II-10-2 and check Figures II-10-2 and 2). On the vowel [oo], the tongue tip retracts and lowers to touch the jaw tissues below the lower teeth, thus enlarging that cavity and lowering F3, the third formant With the tongue bulge remaining rather close to its [oo] location, when the jaw lowers slightly, thus enlarging
the rounded lip opening and narrowing the pharynx slightly,
F1 rises and the vowel [u as in hood] is heard. F2 may alter Figure II-13-4: X-ray photograph of a vocal tract forming the vowel [oo]. Notice the
location and shape of the tongue and the sizes of the oral and pharyngeal cavities. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press. Used
relatively little in the back vowels, but it is considerably lower than it is in the front vowels. The remainder of the
back vowels are produced mostly by continuing a basic [oo] articulation and gradually lowering the jaw in rela
by permission.]
Do this: On a steady, continuous flow of sustained vocal sound, observe what your tongue does when you speak these vowels: [oo] (as in ooze) (as in hood) (as in own) [aw] (as in awe) [ah] (as in odd) How did your tongue move? [u] [oh]
tively small increments (lips also are rounded, see below). The central or middle vowels are formed either with no tongue bulging, thus no narrowing of the vocal tract— [uh]; or with the bulge formed by the middle of your tongue to create a vocal tract narrowing with the hard palate—[er]. In these vowels, the first two formants each are located at a
midpoint between their respective frequency extremes (check Figure II-13-2). Lips
During vowel articulation, if your tongue has been low
Do this: (1) Notice what happens in your throat and tongue
ered and moved back in your mouth into the top of your throat, and that is where you feel the narrowness that its bulge has created, then the vowels are called back vowels. The front of your tongue then lies in the bottom of your
when you speak the following vowels strongly, as clearly as pos
oral cavity. The back vowels are [oo], [u] as in hood, [oh], and [awl. Actually, when many people speak the back vowels in the above sequence, their tongues wind up just a
bit more back on the [ah] vowel than when they spoke the [ah] vowel at the end of the front vowel sequence. So, there can be a tongue-front version of the [ah] vowel, and
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sible, but without moving your lips at all. Got it?
[oo] [oh] [aw] Speak them again, even more distinctly and with no lip move ment. Notice what your throat and tongue do. Notice any throat and tongue movement? (2) Now, while you are silent, release your neck-throat area so that it feels very easy. Place your index fingers just beside your lip corners-not to press or hold, but to help you observe your lips. Re lease your throat into a comfortably open feel, and "pucker" your lips
Jaw-Mouth More Closed Tongue Front Vowels
Tongue Middle Vowels
Tongue Back Vowels
eat [ee]
[oo] ooze
it [ih] [er] = her
[u] hood
ate [ay]
[uh] up
[oh]
own
ebb [eh] [aw] awe
at [ae]
[ah] odd
Jaw-Mouth More Open ** Bolded vowels indude optimally rounded and protruded lips ** Figure II-13-5: This chart illustrates some of the basic characteristics of the common vowels in the English language.
in a forward and rounded way when you say those same vowels
again. Did the vowels sound distorted or exaggerated by any chance? Repeat the vowels several times using lip rounding-take target practice-and hear how close you can come to saying the vowels clearly-with lip rounding- but without any exaggerated distortion of what the vowels would normally sound like.
In order to produce the four back vowels and the middle vowel [er] (in American English), the vocal tract must be lengthened to some extent in order to bring both F1 and F2 low enough (check Figure II-13-2). There are only two ways to lengthen the vocal tract: lower the larynx and protrude and round the lips. If you want optimum range of motion (physical efficiency) in the function of your
larynx, then one of those options is more desirable than the other. Just for the fun of it, speak those vowels with your lips rounded and with your larynx lowered and "working". Does that sound remind you of any sounds you might have made in Chapter 12? In English, most syllables involve only one vowel, but in some syllables, two vowels are articulated quickly, as in the words my toy. Combinations of two vowels in one syllable are called diphthongs. There are four diphthongs in English:
Figure II-13-6: Contours of the tongue in a female singer when three different vowels are (A-upper left) spoken, (B-upper right) sung at 230-Hz (about Bb3), (C-lower left) sung
at 465-Hz (about Bb4), and (D-lower right) sung at 940-Hz (about Bb5). The vowels are [ee], [ah], and [oo]. Note that essentially the same tongue shape was used for all vowels
at the highest pitch, in order to preserve maximum jaw opening and reduction of pharyngeal dimensions (not shown). [After Johansson, et al., 1983. From J. Sundberg,
Science of the Singing Voice, Copyright © 1987, DeKalb, IL: Northern Illinois University Press. Used with permission.]
[ah/ih] [aw/ih] [ah/oh] [ey/ih]
as as as as
in in in in
fly boy cow bay
The traditional diphthong rule in classical singing is
that the first vowel is sustained on the prescribed pitch,
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tract
shaping:
vowels
475
How to Use This Chart Below 1. Males: In the pitch range from about C4 to F4— Females: In the pitch range from about D4/E4 (beginning with /ee/ vowels) to F5— modify mouth opening toward the vowels indicated by the arrows. 2. From middle levels to high of vocal volume, modify mouth opening toward the vowels indicated by the arrows. 3. Males: In the pitch range above about F4— Females: In the pitch range above about F5— modify mouth opening for all vowels toward an /ah/ opening or more.
4. When singing in a "belted way", vocal volume is always high. Males: In the pitch range above about G3— Females: In the pitch range above about D4— modify mouth opening for all vowels toward an /ah/ opening or more.
Jaw-Mouth More Closed
Figure II-13-7: This vowel modification (formant tuning) chart demonstrates one simple way to approach the adjustment of the vocal tract so that optimum vowel intelligibility is preserved while acoustic overloading is avoided and voice quality and amount of sound are optimized. The big-picture "forest look" at vowel modification is: The higher the vocal pitch goes and the louder the vocal volume becomes, the more a singer's jaw-mouth needs to open so that vocal sound waves can pass through the vocal tract unstifled. The chart
is a look at the specific trees in that forest- vowels. [Modified and simplified from Appelman, 1967, The Science of Vocal Pedagogy, pp. 216-247.]
and the second—the vanish vowel—is sounded just as you
change to the next sound or just as you release the sound. In some popular music styles this rule does not always
apply because that is not how the language sounds are performed.
Vowel Intelligibility and Consistency of Vocal Volume and Voice Quality Throughout Pitch and Volume Ranges
Do this: (1) In a moment, sing an upward one-octave major scale on a clearly articulated /ee/ vowel and with strong volume-at
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least forte. Males start on the pitch F3, and females start on F4. Notice sensations in your neck, throat, and jaw areas, and listen to your voice quality Whatever you do, keep the throat and mouth shape that you start out with EXACTLY THE SAME from the start to the finish of the scale. If you do not keep the /ee/ vowel shape exactly the same, this experiment will not work (this experience is similar to a Do this in Chapter 12). Experienced and/or trained singers are likely to make some adjustments out of habit. Don't. Violate your ha bitual tendency on this one. Sing that scale now. What sensations and sounds did you notice? Was your /ee/ vowel always intelligible as an /ee/ vowel?
(2) On an /ee/ vowel, males sustain the pitch E4, and females sustain E5. Start at a quite loud volume level (forte) with your jaw/ mouth nearly closed, and then gradually keep opening your mouth until it is almost as wide open as you can get it (but not if you have temporomandibular joint disorder). Do it two or three times, and notice what happens to your vocal volume, voice quality, and neck-throat effort. Was your /ee/ vowel always intelligible as an /ee/ vowel? Hitters in the sport of baseball say that hitting the ball for long distances is "easy" when you hit it in the 'sweet spot" of the bat. In the (2) task, do you suppose there could be an amount of vocal tract opening where vowel intelligibility, vocal volume, voice quality, and neck-throat effort were all in a "sweet spot"? Exploration anyone? Singers and speakers can retain vowel intelligibility in
their loud volume levels and higher pitches, but unless the dimensions of the vocal tract are adjusted, the volume will be stifled and they will be reunited with the pressed-edgy family of voice qualities. Chapters 9 and 12 introduced the skill of adjusting the vocal tract dimensions in order to retain consistency of vocal volume and desired voice quality
throughout the pitch and volume ranges. Maintaining consistency of vowel intelligibility is more of a challenge for women singers than for men singers, when singing in the higher upper and flute register pitch
vowel intelligibility, vocal volume, and voice quality are to co-occur. Those F0s are about 590-Hz, 660-Hz, and 700-
Hz, respectively. F1 for an /ee/ vowel must range between about 250-Hz and 350-Hz, and F2 must range between about 2,500-Hz and 3,000-Hz (see Figure II-13-2). In order to
preserve a semblance of vowel intelligibility, vocal volume, and voice quality, the singer would need to make her first formant frequency producing area smaller in order to raise its formant frequency. For these F0s, that probably can be done by only lowering her jaw, which narrows the phar
ynx and raises F1' At even higher F0s, she will have to continue lowering her jaw toward maximum and, particu larly in flute register, she would have to raise her larynx more and more with higher and higher F0s. Figure II-10-2 presents some evidence for the phenomenon of formant tuning, as do Figures II-13-11, 12, and 13, plus surround ing text.
Describing Tongue and Lip Articulations in Speech Vowels During vowel articulation, your tongue sometimes is in a high, middle, or low location inside your mouth. These locations are related to the location of a narrow area in the vocal tract that is created by tongue proximity to palate or pharynx. The narrow areas separate the oral and pharyn
geal cavities to help define their dimensions. The high, mid,
ranges. [This phenomenon is a challenge for many men too, especially on some vowels.] The best known chal lenge occurs when the fundamental frequency (F0) that a woman is singing becomes higher than the first formant
and low descriptions that follow refer to these tongue loca tion in the mouth and throat.
frequency (F1). That removes one of the two formants that are necessary for vowel intelligibility, and at the same time,
when making vowel shapes. The front label means that your tongue is more forward in your mouth than it is
removes a partial that the vocal tract can shape itself to amplify. As a result, voice quality in the higher pitch range
back. The hack label means that your tongue is more back in your mouth than it is front.
becomes increasingly pinched and pressed sounding, and vocal intensity or "carrying power" is reduced. The skill that makes the vocal "sweet spot" happen goes
In creating some vowel shapes, your tongue becomes
by at least three names, (1) vowel modification, (2), formant tuning, and (3) vowel equalization. For example, if a musical phrase requires that a female singer perform an /ee/ vowel on the pitches D5, E5, and F5, at mezzo-forte vol ume in upper register, formant tuning will be necessary if
Your tongue also is moved more forward or more back
noticeably more tense, while for other vowel shapes, your tongue is noticeably more lax. And on five vowels, your
lips are rounded, but on the rest, unrounded. The International Phonetics Alphabet (IPA) symbols are enclosed in brack
ets.
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Figure II-13-8: (A-left) is a time waveform and broadband spectrogram of a vowel sequence that could be represented by the phonetic spellings /ee/, /eh/, /ah/, /oh/, and /oo/. IBright) is a model spectrogram showing relative changes of the first and second formants in some common English vowels. The numbers on the vertical axis give an indication of the
frequencies of the various vowel formants. [A is from I.R. Titze, Principles of Voice Production. Copyright © 1994, Needham Heights, MA: Allyn & Bacon. Used with permission. (B) is adapted from Ladefoged, Elements ofAcoustic Phonetics, ©1962, University of Chicago Press.]
For Those Who Want to Know More...
The Tongue Front Series High, front, tense, lips unrounded High, front, lax, lips unrounded
ee ih
[i] [I]
ay eh
[ e ] chaos: [Ɛ] bet:
beet: bit:
[ ae ] bat: The Tongue Central Series ae
Mid, front, tense, lips unrounded Low-mid, front, lax, lips unrounded Low, front, lax, lips unrounded
er er
Mid-central, tense, lips rounded [ 3 ] burr: [ ] mother: Mid-central, lax, lips rounded
uh
[ A ] hub:
Low-mid, back-central, lax, lips unrounded Mid-central, lax, lips unrounded
[ e] The Tongue Back oo [ u ] u [u ] oh [ o ] aw [ c ]
await: Series boot: good: boat: law:
ah/ih oh/ih
[ aI ] [ oI ]
ah/u ay/ih
[ ao ] [ eI ]
uh
High, back, tense, lips rounded High-mid, back, lax, lips rounded
Mid, back, tense, lips rounded
Low-mid, back, tense, lips rounded ah [a ] box: Low, back, tense, lips unrounded Diphthongs are two vowels that elide or combine into each other.
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voice
The complex waving motions of the vocal folds create
a complex array of sound partials—the voice source spec tra. The whole vocal tract and its various subareas assume various dimensions that have formant frequencies (same as resonance frequencies in any enclosed space other than a vocal tract). The size and shape of several subareas within the vocal tract amplify various groups of partials within the voice source spectra, and those amplified groups of partials are termed formant frequency regions, abbrevi ated as formants. The dimensions of the vocal tract and its subareas are changed by movement of the vocal tract's various anatomic structures, termed its articulators. Formant creation is one of the crucial foundations upon which spoken language is based. Changes in the lowest two formants, abbreviated as F1 and F2, create the sound quali ties that human beings have categorized and labeled as vowels (Petersen & Barney, 1952; Sundberg, 1987; Titze, 1994). In the lower half of Figure II-13-8A, the second formant decreases in frequency across the vowel sequence, and the first formant moves up in frequency towards/ah/ , then back down again. Figure II-13-8B demonstrates a similar pattern of formant frequency changes that tend to be used in selected exemplar words. These changes in the lower two formant frequencies are the product of particular patterns of movement by the articulators (Sundberg, 1987, pp. 22, 23).
First formant frequency,
(Hz)
Figure II-13-9: Vowel chart showing general frequency regions of F1 and F2 for ten English vowels in speech. Vowel symbols are from the International Phonetics Alphabet. [After Petersen & Barney, 1952. From I.R. Titze, Principles of Voice Production. Copyright ©
1994, Needham Heights, MA: Allyn & Bacon. Used with permission.]
• All formants are sensitive to changes in overall vocal tract length, being raised by vocal tract shortening and low ered by vocal tract lengthening. Protruding and rounding the lips and lowering the larynx lengthen the vocal tract,
whereas retracting the lips and raising the larynx shorten the tract (Chapter 12 has details). • The first formant (F1) is formed and changed by altering the dimensions of the pharyngeal cavity. Lower ing the jaw, for example, has the effect of making the pha ryngeal cavity smaller. • The second formant (F2) is formed and changed by altering the dimensions of the oral cavity. Lowering the jaw and the tongue increase the size of the oral cavity, while raising the jaw and elevating the tongue decrease the size of the oral cavity.
Formant frequencies vary slightly between individuals because of size differences in basic anatomical structures.
Variability is also evidenced in habitual speech patterning and in the differences that arise from particular sociocul tural language codes, that is, different languages and their dialects. A speaker's age and sex influence vowel produc tion (and interpretation) and there also are important dif-
Figure II-13-10: Formant spectra for vowels/ee/,/ah/and/oo/for female (thick lines)
and male (thin line) subjects. [From Story, Hoffman, and Titze, I.R. (1997). Used with
permission of the National Center for Voice and Speech.]
ferences evidenced between speaking and choral singing (Sundberg, 1987; Hopkin, 1997). When vowel differences are measured scientifically, the general frequency region of F1 and F2 is observed and the central frequency within each formant is recorded. When the vowel usage patterns have been measured in many people who speak a culture's lan
guage (males, females, children, adults, and so forth), that language's general vowel patterns can be illustrated in a graphic way. In Figure II-13-9, the first two formant frequency re
gions have been graphically plotted against each other for each speech vowel in the English language. They are shown as "islands" to illustrate their relative general frequency regions (Petersen & Barney, 1952; Titze, 1994, pp. 148-149; Sundberg, 1987, pp. 23-24). As can be seen from the figure,
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if the first formant is between about 200 and 400-Hz and the second formant is between about 550-Hz and 1200Hz, the acoustic outcome is perceived as an /oo/ vowel. If F1 is between 600-Hz and 1300-Hz and F2 between 800-Hz and 1700-Hz, the resulting voice quality is perceived as an /ah/ vowel. The grand pattern of all the vowel islands in the figure can be thought of as a triangle, with the three corners defined by the vowels /ee/, /oo/ and /ah/. Tradi tionally, these vowels are associated with varying degrees of jaw-mouth opening and certain configurations of the tongue within the oral cavity. When producing the vowel quality /ee/, the tongue is formed in a high and front con figuration; for /ah/ it is low and back; and for /oo/ it is high and back. Tongue configurations are subject to con siderable modification in singing, however, in order to maxi
mize acoustic resonance.
Differences Between Male and Female Speech Vowel Spectra
Figure II-13-11: Average formant frequencies for vowels in normal speech and for four professional male singers. [From PROFESSIONAL VOICE: THE SCIENCE AND ART OF
CLINICAL CARE, 2nd edition, edited by R.T. Sataloff, © 1997. Reprinted with permission of
There has been considerable interest over the past two decades in the synthesis of the human voice and in pro ducing natural-sounding, machine-generated speech. Much of this synthesis has been based on male models, not least because of the difficulties encountered in determining the defining characteristics of female (and child) speech. More recently, new technological advances have afforded speech scientists greater insight into the nature of the differences between male and female speakers (O'Shaughnessy, 1987; Titze, 1989; Childers & Wu, 1991; Mendoza, et al., 1996).
F1 and F2 differences between males and females in
speech show an average difference across all vowels of about 12% and 17% respectively between men and women (Sundberg, 1987, pp. 102, 105). Most recently, Story, et al., (1997) used Magnetic Resonance Imaging (MRI) to deter mine acoustic resonance characteristics for the formants in male and female vocal tracts for three cardinal vowels /ee/ /ah/ and /oo/ (see Figure II-13-10). As can be seen from the figure, for the vowel /ee/, the female F1 is slightly higher than for the male. F2 and F3 are clustered together in the 2800-Hz to 3100-Hz range, with the equivalent male formants on either side. The female F4 is located at about 4700-Hz. By contrast the F3 and F4 region is highly accen
tuated in the male and found around 3500-Hz and 4000480
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Delmar, a division of Thomson Learning. FAX 800 730-2215.]
Hz respectively. Sex differences between the formant place
ments are also found for the two other vowels, /ah/ and /oo/. Moreover, the nature of these formant sex differ ences was confirmed subsequently by transforming the male /ee/ to a synthetic female-sounding /ee/ through modifi cation of the male formant spectrum to match that of the
real female example.
Differences Between Sung and Spoken Vowels by Males and Females There is considerable modification of vowel speech formants in singing. For example, because of physiological linkages between the tongue, hyoid bone, and external la ryngeal musculature, the intended fundamental frequency (F0) can be disturbed by different vowel configurations. There is a tendency, therefore, for some form of vowel modifica tion to take place, particularly if the text requires vowels to change quickly across sustained F There are also important differences between male and female singers because of the different acoustic overloading that is put on the voice mecha-
Figure II-13-12: Jaw opening of a professional soprano singing vowels across the pitch range. [Reprinted with permission by Singular Publishing Group, Inc., San Diego; R.T.
Sataloff (Ed.) (©1991), Professional Voice: The Science and Art of Clinical Care.]
nism in the singing of text. Classically trained male singers tend to keep the length of the vocal tract relatively stable across pitches, with some evidence of a lengthening of the tract through a lowering of the larynx as vocal pitch rises (Shipp & Izdebski, 1995; Welch, et al, 1989). This has the effect acoustically of keeping formant regions relatively stable in a neutral vowel position. In contrast, female singers sys tematically shorten the length of the vocal tract with in creasing pitch and, in doing so, raise all formants (again, assuming a neutral vowel position). That coordination of the vocal tract creates particular difficulties in vowel shap ing for females. Accordingly, the two sexes will be dealt
with separately in the text that follows.
Studying male singers, Sundberg (1974) compared the formant frequencies for various vowels in normal adult male speech with those sung by four male professional singers (see Figure II-13-11). He found that, typically, male singers managed to produce five formants (F1 to F ) in the frequency range occupied by four (F1 to F4) in normal speech. They did this by altering the articulators to cluster the third, fourth and fifth formants to create what Sundberg terms an "extra" formant, namely the singer's formant The fre-
Figure II-13-13: Increased jaw opening narrows the shape of the pharynx to raise the
firstformantfrequency so that it matches the fundamental frequency [C61052-Hz). The skill is termed formant tuning. [From I.R. Titze, Principles of Voice Production. Copyright
© 1994, Needham Heights, MA: Allyn & Bacon. Used with permission.)
quency separation between these formants is less for sung vowels. As can be seen from the figure, for the front vow
els (such as /ay/ and /ee/) the second and third formants
do not reach the same frequency values in singing as they do in speech, suggesting a more uniform tongue configu ration for sung vowels compared to speech. The effect,
perceptually, is to create a slightly darker voice quality for these vowels. These vocal tract and formant modifications have been referred to with three expressions: vowel modi fication (Appelman, 1967; Titze, 1994), formant tuning (Miller & Schutte, 1990), and vowel equalization (Hopkin, 1997). Furthermore, there is much greater stability across all vowels for formants four and five, indicating a signifi cant homogeneity of voice quality, irrespective of the vowel. Nevertheless, as far as vowel definition is concerned, the F1 and F2 contours for sung vowels are similar to those for
vocal
tract
shaping:
vowels
481
speech, indicating that listeners would continue to be able
her jaw more, thus narrowing her pharynx and raising the
to identify these singers' vowels with relative ease.
The major difficulties for male singers with vowel in
first formant to match the fundamental. Vowel intelligibil ity and evenness of voice quality are highly dependent on
telligibility arise with higher pitches (above about G , 392Hz), normally as a function of formant tuning linked to in
adjustments between F0 and F1 (see Figure II-13-13). So typically, higher pitches require greater jaw opening in or
creased jaw opening (Sundberg, 1987, p. 176). In general, the
der to ensure optimal F0 and F1 matching (Sundberg 1987,
higher the voice category, the higher the frequency region of
1991) and is another example of formant tuning. The only exception is the vowel /ah/ which tends to be sung
the first three formants, with tenors having slightly higher
formants than baritones, and baritones having slightly higher formants than basses (Morozov, 1996, p. 51). There is evidence (Miller & Schutte, 1990) that classi cally trained male singers intentionally modify the shape of their vocal tract in order to tune the lower formants higher. The effects of this formant tuning (sometimes re ferred to as vowel modification) are to increase the power of the voice source partials that fall within the general vowel formant region and to increase the intensity of the higher
with a relatively wide jaw opening across the pitch range
frequency components so that vocal "carrying power" also is increased. Studies of alto female singers and male tenors indicate that their vocal pitch ranges often overlap. They tend to adopt different vocal tract patterning, however, for musi
& Welch, 1985).
cally identical pitches (Agren & Sundberg, 1976). The larg est differences in F1 are evidenced in the low backvowel /ah/ region and the least difference with the high front vowel /ee/. In contrast, the F2 differences are minimal for the low back vowel /ah/, but greatest for front vowels
/ay/ and /ee/. These differences relate in part to male fe male differences in pharyngeal length and articulation and in part to laryngeal function. Although they are singing the same F0s, they are being produced in the upper part of the tenor vocal pitch range, but in the lower part of the alto range. The acoustic challenge for women arises when they
move into the upper part of their sung vocal range because of the potential (and often actual) mismatch between vocal tract shapes that are required by the text vowels and vocal tract shapes that produce optimum voice quality. The vow els /ee/ and /oo/ have a first formant of around 250-Hz. However, a melodic line might locate the F0s for the sung text vowels at around E5/660-Hz. That means that the F0 is
at a higher frequency than the normal first formant. In order to rectify this situation, the female singer must open
482
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anyway. Sundberg (1987, p. 127) estimates that such formant tuning might enable a gain of 30-dB in extreme cases. That is the equivalent of a thousandfold increase in vowel en ergy radiation. When pitches become even higher, as when moving from the upper register to the flute register, formant
tuning is aided both by jaw opening and also by raising the larynx (Johansson, et al., 1985; Wang, 1985; MacCurtain
Above F5 (698-Hz), vowel identification becomes in creasingly difficult because of the effects of formant tuning. Jaw, larynx, and tongue position all contribute to shift F1 to match the high F0, but this shift causes a perceptual migra tion within the vowel triangle away from vowels such as /ee/ and /oo/, and toward /ah/ (see Figure II-13-12). So the classical soprano (and tenor at an equivalent high sung pitch) often has to work harder at the other elements of the sung text (such as consonants and emotional context) in an attempt to maintain intelligibility, but without compro mising optimum voice quality. 'Success' will often be as
dependent on the acuity of a listener's categorical percep tion as on a singer's vowel intentions. If there is a conflict between text and melody/pitch, the idealized voice quality will always tend to dominate because of the preprogram ming of classical training.
References and Selected Bibliography Agren, K., & Sundberg, J. (1978).
An acoustic comparison of alto and
tenor voices. Journal of Research in Singing, 1, 26-32. Appelman, R. (1967). The Science of Vocal Pedagogy. Bloomington, IN: Indiana University Press.
Bladon, A. (1983).
Acoustic phonetics, auditory phonetics, speaker sex
and speech recognition. In F. Fallside & A. Woods (Eds.), Computer Speech
Processing. Englewood Cliffs, NJ: Prentice-Hall.
Childers, D.G., & Wu, K. (1991). Gender recognition from speech. Part II.
Titze, I.R. (1989). Physiological and acoustic differences between male and
Fine analysis. Journal of the Acoustical Society of America, 90, 1841-1856.
female voices. Journal of the Acoustical Society of America, 85, 1699-1707.
Crelin, E.F. (1987). The Human Vocal Tract. New York: Vantage Press.
Titze, I.R. (1994). Principles of Voice Production. Needham Heights, MA: Allyn
& Bacon. Denes, P, & Pinson, E. (1973).
The Speech Chain: The Physics and Biology of
spoken language. Garden City, New York: Anchor Press.
Vennard, W. (1967).
Singing: The Mechanism and Technic.
New York: Carl
Fischer. Hopkin, J.A. (1997). Vowel equalization. Journal of Singing, 53(3), 9-14. Wang, S. (1983). Singing voice: Bright timbre, singer's formant, and larynx Stockholm Music Acoustics Conference (SMAC83), July 28 -
Johansson, C., Sundberg, J., & Willbrand, H. (1983). X-ray studies of ar
position.
ticulation and formant frequencies in two female singers. Stockholm Music
Aug 1, Proceedings Royal Swedish Academy of Music, 46(1), 313-322.
Acoustics Conference (SMAC83), July 28 - August 1, 1983, Proceedings Royal
Welch, G.F., Sergeant, D.C., & MacCurtain, F. (1989).
Swedish Academy of Music, 46(1), 203-218.
Xeroradiographic-
electrolaryngographic analysis of male vocal registers. Journal of Voice, 3(3), Klatt, D.H., & Klatt, L.C. (1990).
Analysis, synthesis and perception of
244-256.
voice quality variations among female and male talkers. Journal of the Acous
Zemlin, W. (1981).
tical Society of America, 87, 820-857.
Speech and Hearing Science (2nd Ed.).
Englewood Cliffs,
NJ: Prentice Hall. Ladefoged, P. (1974). Elements of Acoustic Phonetics (10th Ed.). Chicago: Uni
versity of Chicago Press. MacCurtain, F., & Welch, G.F. (1985). Vocal tract gestures in soprano and
bass: A xeroradiographic-electrolaryngographic study. Stockholm Music Acoustics Conference (SMAC83), July 28 - August 1, 1983, Proceedings Royal
Swedish Academy of Music, 46(1), 219-238). Mendoza, E., Valencia, N., Munoz, J., & Trujillo, H. (1996). Differences in
voice quality between men and women: Use of the long-term average spectrum (LTAS). Journal of Voice, 10(1), 59-66. Miller, D.G., & Schutte, H.K. (1990).
Formant tuning in a professional
baritone. Journal of Voice, 4(3), 231-237.
Minifie, F., Hixon, T., & Williams, F. (Eds.). (1973). Normal Aspects of Speech,
Hearing, and Language. Englewood Cliffs, NJ: Prentice-Hall. Morozov, V.P (1996). Emotional expressiveness of the singing voice: The role of macrostructural and microstructural modifications of spectra. Lo gopedics Phoniatrics Vocology, 21(1), 49-58.
O'Shaughnessy, D. (Ed.) (1987). Speech Communication: Human and Machine. Woburn, MA: Addison-Wesley. Petersen, G.E., & Barney, H.L. (1952). Control methods in a study of vow els. Journal of the Acoustical Society of America, 24, 175-184.
Shipp, T„ & Izdebski, K. (1975). Vocal frequency and vertical larynx posi tioning by singers and nonsingers. Journal of the Acoustical Society of America, 58, 1104-1106.
Story, B.H., Hoffman, E.A., & Titze, I.R. (1997).
Volumetric image-based
comparison of male and female vocal tract shapes. National Center for Voice
and Speech Status and Progress Report, 11, 153-161. Sundberg, J. (1974).
Articulatory interpretation of the 'singing formant'.
Journal of the Acoustical Society of America, 55, 838-844. Sundberg, J. (1977). Acoustics of the singing voice. Scientific American, 236(3),
82-91. Sundberg, J. (1987). The Science of the Singing Voice.
Dekalb, IL: Northern
Illinois University Press. Sundberg, J. (1997). Vocal tract resonance. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (2nd Ed.). San Diego: Singular.
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tract
shaping:
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chapter 14 consonant clarity without vocal interference Leon Thurman, Axel Theimer, Patricia Feit, Elizabeth Grefsheim, Graham Welch
ituation 1: A stage director is auditioning a completely
S
with strong muscle effort on every consonant. The result? Tight, pinched but louder sounds that can be heard in an
inexperienced actor on a stage alone. The auditionee uses her/his most appropriate available bodymind large auditorium, and clearer consonants. Word under standing is now assumed. Problem solved? program to speak the lines-the program for conversational speech. The auditioner is not able to understand the words Word clarity is achieved at the expense of vocal tim bre or quality. The quality of the sound may not match the in the rear of the auditorium, and says, "Project more! We can't understand you! Spit out your consonants!" expressive content of the words and music. The over-tense Situation 2: A choir director is rehearsing a choir made laryngeal coordination can contribute to swollen vocal folds if used over enough time. The consonant articulation actu up of inexperienced singers. The singers use their most appropriate available bodymind program to articulate the
ally is less clear than what is possible and the unnecessarily
words of a song-the program for conversational speech.
tense articulators contribute to the over-tense larynx. There
The conductor knows that the amount of sound produced
are implications, therefore, for long-term vocal health. How can consonants be formed so that they are clearly audible across distance, and yet do not interfere with physical and acoustic efficiency?
by the choir will be "swallowed up" in the space of an au ditorium or gymnasium. The conductor also knows that
the words of the song will not be understood because the way the singers are forming the consonants is inadequate for the word clarity that is desired. The conductor says, "I'm one person and I can sing louder than all 50 of you! Open your mouths more when you sing! And spit out
General Articulation of Consonant Sounds
and grabbing. Novice actors/singers solve the challenge of
There are 26 sounds in the English language that are When you speak these consonants, your speech articulators (lips, jaw, tongue, soft palate, vo cal folds) interact with their surrounding anatomy, and with your breath-air, to create each unique sound. Seventeen
greater amount of sound by "pushing" more sound out with tightened throats; and they solve the challenge of clearer consonants by clamping and tightening their articulators
consonants involve vocal fold vibrations and are called voiced consonants. Nine consonants do not involve vo cal fold ripple-waving and are called unvoiced conso
those consonants! Grab those consonants, so the audience can understand what we're singing about!"
In both situations, no specific suggestions are given about how to coordinate the projecting, opening, spitting,
484
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termed consonants.
nants. Other than the presence or absence of vocal fold vibrations, consonants are articulated in the five general ways presented below. One consonant sound is commonly used in English speech, but there is no letter that represents it in the written English language. What is the mystery consonant?
Stop Consonants Do this: Listed below are symbols for eight pairs of Englishlanguage consonant sounds. (1) Speak each of the consonants 3 to 4 times (if a vowel is sounded, make it an /uh/ and extremely short). Can you figure out what you are doing to produce the sound? What articulators are you moving? What are they doing? Is your breath-air involved; if so, how? Are vibrations of your vocal folds involved or not?
/p/ - /b/
/t/ - /d/
/k/ - /g/
/tch/ - /dj/
Speak them again and notice any patterns of similarity and difference in those consonant pairs? (2) Repeat each of them about 3 or 4 times in the following three ways: a. loud, and with a lot of neck-throat-jaw-tongue effort; b. moderately loud, but with minimal energy in your articulators; and c. moderately loud, while using only the necessary articulator muscles, and using them only enough to create clarity in the conso nant sound. Felt some differences, didn't you?
The eight stop consonants listed above are formed
Fricative Consonants Do this: Listed below are symbols for eight other pairs of English-language consonant sounds. (1) As before, speak each of the consonants 3 to 4 times (if a vowel is sounded, make it an /uh/ and extremely short). What articulators are you moving? What are they doing? Is your breath-air involved; if so, how? Are vibrations of your vocal folds involved or not? /f/ - /v/ /s/ - /z/ /th/ (as in thin)
/sh/
-
-
/th/ (as in then) /zh/ (as in the last syllable of treasure)
Patterns of similarity and difference?
(2) Repeat each of them about 3 or 4 times in the following three ways: a. loud, and with a lot of neck-throat-jaw-tongue effort; b. moderately loud, but with minimal energy in your articulators; and c. moderately loud, while using only the necessary articulator muscles, and using them only enough to create clarity in the conso nant sound. Differences?
Eight of the nine fricative consonants are formed when a very narrow opening is created in the vocal tract through which air can flow continuously to create a noise sound.
Four of the fricative consonants are voiced and are paired with four unvoiced consonants that are articulated in almost an identical manner, as in the first consonant sounds of the following word pairs:
when air is dammed up and pressurized somewhere in the
vocal tract and then is "burst" through a barely open small space to create a noise sound. Four of the stop consonants are voiced and four are unvoiced. For each voiced stop consonant there is an un voiced version that is formed in almost the same way. The pairs are illustrated by the first sounds of the following word pairs: bit
pit
do to
go
judge
kit
church
very
zinc
feel
silly
this thin
azure
shape
There is one fricative consonant that has no pair. It is called an unvoiced glottal fricative and is the first sound of the word hear. When you make this sound, your vocal folds close considerably and make your glottal area rather narrow. You then flow air between your folds to create a brief, whispered, air turbulence noise.
consonant
clarity
485
Nasal Consonants
Four of the liquid/glide consonants are the first sounds
of the following words:
Do this: Listed below are symbols for three unpaired Englishlanguage consonant sounds. These consonants can be sustained, so sustain each of these con sonant sounds 3 to 4 times. What articulators are you moving? What are they doing? Is your breath-air involved; if so, how? Are vibrations of your vocal folds involved or not?
/m/
/n/
/ng/
Notice any sensations that you haven't noticed before?
The three nasal consonants are formed when air and
vocal sound waves pass through the nasal cavity because the mouth cavity is sealed and the soft palate is lowered to open the nasopharyngeal port There are three such con sonants, as in the final sounds of the words:
noon
roam
sing
light
river
will
yellow
Actually there is a fifth liquid/glide consonant, but
because it is coupled with a fricative consonant, it is re garded as a discrete sound. The fricative /h/ sound comes
first, followed immediately by the /w/ sound. It is used in such words as what, when, why, which, and whether. In collo quial American usage of English, this consonant appears to have been used less and less in the past few decades.
Do this: Three consonants are actually vowels that speakers form and then very quickly move away from into the main vowel of a syllable. The vowels are /ee/, /oo/, and /er/. The consonants are:
1. /w/ as in the first consonant of wish; 2. /y/ as in the first consonant of yank; and 3. /r/ as in the first consonant of real.
Liquid and Glide Consonants
So, which vowels are used for which consonants? Do this: Listed below are symbols for four more unpaired En glish-language consonant sounds. (1) Speak each of the consonants 3 to 4 times (if a vowel is sounded, make it an /uh/ and extremely short). What articulators are you moving? What are they doing? Is your breath-air involved; if so, how? Are vibrations of your vocal folds involved or not?
/I/
/w/
/r/
/y/
Physically Efficient Consonant Articulation Inexperienced and unskilled public speakers and sing
ers tend to form consonants with too little energy in the articulation of their consonant sounds. While their lan guage sounds may be recognizable to people at close dis
tance (one-to-one, up-close, quiet conversation, for instance),
Notice any patterns? (2) Repeat each of them about 3 or 4 times in the following three ways: a. loud, and with a lot of neck-throat-jaw-tongue effort; b. moderately loud, but with minimal energy in your articulators; and c. moderately loud, while using only the necessary articulator muscles, and using them only enough to create clarity in the conso nant sound. 486
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their speech may not be intelligible to people who are some distance away, or when other unfavorable acoustic circum stances occur. Public speakers and singers who are trying hard to make their diction better tend to articulate consonants with excessive effort. For example, a /t/ consonant would involve driving
the tongue against the gum ridge above the upper teeth and creating strong muscular supporting reaction from many
muscles of the neck-throat area that would create physi cally and acoustically inefficient voicing. Excess effort from
sonants are performed in almost exactly the same way,
the respiratory system to over-pressurize the air will add to the muscular excess. Within a few minutes of guided exploration, novice singers can learn the fundamental skill of how to articulate consonants clearly and without interfering with vocal effi
vocal sound. To perform the fricative consonants with vocal efficiency, just the minimum but necessary amount of mus cular involvement is needed. The high-frequency noise will insure audibility of these consonants. The essence of the stop and fricative consonants is not muscular strength in their formation, but the creation of the air turbulence noise (which will be less prominent in the voiced consonants). 3. To articulate the three nasal consonants, the mouth cavity is sealed in three different locations and the soft pal ate is lowered to allow sound waves to travel into and through the nasal cavity (see Figure II-14-3). In order to perform an /m/ consonant with clarity and physical effi
ciency. The following is a list of basic principles. 1. For the unvoiced stop consonants, your articulators completely seal the vocal tract at some point to stop the flow of pressurized air (see Figure II-14-1). When
performed efficiently, just the minimum but necessary amount of muscular involvement occurs. When abruptly released, then, the pressurized air behind the closure will suddenly flow out through a narrow opening in your vocal tract. The air molecules are then thrown into swirls and eddies of flow
as they collide with the air molecules on the other side and
with vocal tract borders, and that creates an air turbulence noise. Some of the air molecules can trail through the nar row opening to extend the duration of the turbulence noise. When performing the voiced stop consonants, the vocal folds begin ripple-waving just before the vocal tract re
except that the vocal folds are ripple-waving to created
ciency, the lips just touch together to seal off the mouth, the jaw is "floating" at its joint with the skull, and the teeth are not touching but are separated. The tongue is easy and flexible and resting on the floor of the mouth. A space will be formed in the mouth between the top of the tongue and the
palate. The soft palate automatically lowers, and noticeable
leases open. The vocal fold closure prevents the air turbu
lence noise. 2. For the unvoiced fricative consonants, your articulators form a rather narrow area within the vocal tract (not a seal), and pressurized lung-air flows through the opening to create a sustainable, high-frequency air turbu lence noise (see Figure II-14-2). The voiced fricative con
Figure II-14-2:
X-ray photographs of
articulation for (A) the fricative consonants
/f/ and /v/, (B) the fricative consonants /s/ and /z/, and (C) the fracative consonants
/f/ and /3/. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University
Press. Used by permission.]
Figure II-14-1: X-ray photographs of the articulation for (A) the stop consonants /b/ and /p/
and (B) the stop consonants /d/ and /t/. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press. Used by permission.]
consonant
clarity
487
vibration sensations are felt in the front of the face and elsewhere. Some singers are helped when they are asked to form an "easy" /uh/ vowel and then just touch lips and
float jaw with separated teeth. The vibrations are promi
nent because sound pressure waves are impacting on the sensitive tissues that line your nasal cavity and your bone and soft tissues conduct vibrations from your larynx more strongly into your facial mask. Your sensory nerves then
are stimulated so that you can consciously notice the sen sations. To articulate the /n/ consonant with clarity and physi cal efficiency the tongue tip just touches underneath the al veolar ridge and its edges lightly press into the upper teeth all around to seal off the mouth (see Figure II-14-3B). The soft palate automatically lowers, and noticeable sensations are felt in the front of the face and elsewhere, but not quite the same as on /m/. To articulate the /ng/ consonant with clarity and physi cal efficiency, what you sense as the back of your tongue touches the lowered soft palate to seal off the mouth, and noticeable sensations are felt in the front of the face and elsewhere, but not quite the same as for /m/ or /n/ (see Figure II-14-3C).
Figure II-14-3: X-ray photographs of the
articulation for the three nasal consonants/
m/, /n/, and /n/. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press. Used by permission.]
4. One of the liquid and glide consonants is the colloquial American /r/ (see Figure II-14-4C). To articulate it with clarity and physical efficiency, an /er/ vowel (as in earth) is formed and then released very quickly into what ever vowel may come after it (as in real, for instance). In sung British English, the use of a "flipped" /r/ (termed by some as the one-to-two-tap /r/) and occasionally the "rolled" /r/ (termed by some as the multi-tap /r/), are used. In "classical" music that is performed in the European lan guages, the "rolled" multi-tap /r/ is used when a word has a double /r/in its spelling. The Italian word barrire (to trum pet) has both types of tapped /r/ sounds in it. When the /l/ consonant appears at the end of a word, some inexperienced speakers and singers in the United States articulate it by momentarily arching the body of the tongue back toward the throat and creating a bottleneck through which the sound waves must pass. The epiglottis is the main barrier that blocks the sound waves, creating a bottled-up vocal quality. The result is unnecessary muscular effort, and a brief, unnecessary /uh/ vowel just before the /l/ sound begins. For example, the word "still" is sometimes pro nounced "sti(uh)ll" by inexperienced singers. Learning how to sing with an easy, flexible tongue can help such singers avoid the pharyngeal bottleneck that creates the brief/uh/ before the /l/ (see Figure II-14-4B). Some singers are helped when they are asked to experiment with an /ih/ vowel in front of the /l/, so that "st(ih)ll" is heard instead of "sti(uh)ll". To articulate the /y/ consonant with clarity and physi cal efficiency, an /ee/ vowel is formed and then released very quickly into whatever vowel follows it. For instance, inexperienced speakers and singers may just barely hint at an /ee/ vowel articulation on the word "yellow". With care ful articulation of the /ee/ vowel, a very clear /y/ conso nant can be heard. On the other hand, if the novice speaker/ singer habitually forms /ee/ vowels with a "pinched" /ee/ quality, then their /y/ consonants may tend to be articu lated the same way. Learning a "released open" /ee/ vowel formation, along with its use in forming /y/ consonants,
may solve both challenges. To articulate the /w/ consonant with clarity and physi cal efficiency, an /oo/ vowel is formed and released very quickly into whatever vowels may come after it (see Figure II-14-4A). Inexperienced speakers and singers, using ha bitual up-close speech patterns, either do not round their lips for the lip-rounded vowels, or they do so minimally. 488
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That usually means that their /w/ consonants will always lack optimum clarity. With a seemingly exaggerated for
Table II-14-1
mation of the /oo/ vowel, the /w/ consonant can develop clarity.
Word sounds: voiced & unvoiced pairs within single words, plus other exploratory words
As noted before, the /hw/ consonant, as in "what" or "whether appears to be fading from use in the United States.
stop consonants
Its combination of unvoiced air turbulence and voiced /w/ can be used very expressively on the words where it is indicated. Losing it would be unfortunate.
pub
favor
mining
toad
size
minimum
keg
thither
nimble
charge
shining
singing
packet
azure hello
semi-vowels
liquid
glide
well
leap
when
The Fundamental Skills of Consonant Articulation 1. Form consonants with the most minimal necessary muscular involvement for the expressive task at hand. Feel the ac tion of consonant articulation toward the front of your mouth, so that the back of your mouth and throat can re main open and easy. Consonants use the tip of the tip of the tongue, the lips and the teeth more than the other articulators; 2. Release all consonant sounds into the appropriate openness and ease of the vowels or silences that follow them. Some speakers and singers are helped by the idea that all consonant and vowel sounds "ride the breath" in a con tinuous flow. The fundamental released open-and-downness of the vocal tract allows a rich core of sound to flow through your vocal tract and out for the world to hear. In the flow of spoken or sung sounds, consonants are inter connected with vowels are interconnected with consonants are interconnected with.... With the exception of stop con sonants, consonants do not interrupt the flow of a spoken or sung phrase, unless an intuited interruption enhances expressive content. Between each breath, the continuous core of sound may be thought of as having gently but clearly etched decorations around it that are called vowels and consonants. While the vowels and consonants are crystal clear in "shape," they do not narrow the core column of sound that is sustained on the vowels. The sensations of this sound-to-sound fluency may be processed by beginning with a phrase or two of words and connecting each sound in each word in "very slow mo tion" at first. Just "getting the feel" of the consonant move ments and vowel shapes will be helpful for inexperienced speakers and singers. Gradually, the consonant-to-vowel connecting speeds up to normal rate while the greater con sonant clarity continues, too (see Table II-14-1).
fricatives
nasals
yellow
real
Searching for the Mystery Consonant Sound that Has No Letter to Represent It in the English Language Hint #1: It does not contribute to denotative or literal
word meanings in English. Hint #2: It contributes to the connotative or feeling meanings of words and is used by most English speakers.
Figure II-14-4:
X-ray photographs of
articulation for (A) the semi-vowel
consonant/w/ (B) the semi-vowel consonant /I/ and (C) the semi-vowel consonant /r/. [From Appelman, The Science of Vocal Pedagogy, ©1967, Indiana University Press.
Used by permission.]
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It can be found in the For Those Who Want To Know More... section that follows.
The Glottal Consonants (using the vocal folds within the
glottal space):
/h/, /?/
For Those Who Want to Know More...
Manner of Articulation The Stop Consonants: /p/, /b/, /t/, /d/, /k/, /g/, /?/
There are three dimensions of consonant articulation:
1. place of articulation tells where a consonant is formed anatomically. 2. manner of articulation tells how it is formed by the articulators. 3. voiced-unvoiced tells whether or not vocal fold vibration occurs during the production of the consonant.
Complete closure of vocal tract, creation of air pressure,
followed by release.
The
Fricative Consonants: /f/, /v/, /O/, /d/, /s/, /z/, /f/ /3/, /h/
The symbols for these consonant sounds are from the In ternational Phonetics Alphabet (IPA).
Place of Articulation Labial = Lips Dental = Teeth Palatal = Hard palate Velar = Soft palate or velum Alveolar = Gum ridge just above upper teeth Glottal = Arrangement of the space between vocal folds
Narrow vocal tract constriction through which air escapes with brief airflow noise. The Nasal Consonants:
/m/, /n/, /n/
Mouth closed, nasopharyngeal port open to vocal sound waves. The Liquid Consonants:
/r/, /l/
The Bilabial Consonants (two lips): /p/, /b/, /m/, /w/, /hw/
Vowel-like, voicing energy passes through a vocal tract that The Labiodental Consonants (lips and teeth):
is constricted more than for vowels.
/f/, /v/ The Glide Consonants:
The Interdental or Dental Consonants (tongue between teeth):
/j/, /w/, /hw/
/Ɵ/ as in thin; /d/ as in these
Vowel-like; the articulators glide from a more constricted
state to a less constricted state. The Alveolar Consonants (tongue to alveolar ridge): /t/, /d/, /s/, /z/, /l/, /n/
The Palatal Consonants (tongue to hard palate):
/3/ /f/ /d3/, /tf/, /j/, /r/ The Velar Consonants (tongue to soft palate/velum):
/k/, /g/, /h/, /w/, /hw/
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The Affricate Consonants:
/tf/, /d3/ Stop closure followed by brief fricative airflow noise.
Voiced and Unvoiced Consonants + Voice Bilabial Stop
/b/
Labial-velar glide
/w/
Labiodental fricative /v/
- Voice /p/
Examples bay-pay witch
/f/
vat-fat
Interdental fricative
/d/
/6/
then-thin
Alveolar stop
/d/
/t/
doe-toe
Alveolar fricative
/z/
/s/
zip-sip
Palatal fricative
/3/
/f/
azure-sure
Palatal affricate
/d3/
/tf/
gin-chin
A/
gap-cap
Velar stop
/g/
Glottal stop
/?/
ouch
/h/
Glottal fricative
help
Palato-lingual glide
/j/
yell
Palatal liquid
/r/
real
Velar liquid
/l/
lead
Labial-nasal
/m/
meal
Velar-nasal
/n/
neat
Palatal-nasal
/n/
sing
fricative/Velar glide /hw/
/hw/
what
References and Selected Bibliography Appleman, R. (1967). The Science of Vocal Pedagogy. Bloomington, IN: Indiana University Press. Miller, R. (1986). The Structure of Singing: System and Art in Vocal Technique. New
York: Schirmer Books. Netwell, R., Lotz, W.K., DuChane, A.S., & Barlow, S.M. (1991). Vocal tract
aerodynamics during syllable productions: Normative data and theoretical
implications. Journal of Voice, 5(1), 1-9.
Shriberg, L. & Kent, R. (1982). Clinical Phonetics. New York: Wiley.
Titze, I.R. (1994). Principles of Voice Production. Needham Heights, MA: Allyn & Bacon.
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chapter 15 vocal efficiency and vocal conditioning in expressive speaking and singing Leon Thurman, Carol Klitzke, Axel Theimer, Graham Welch, Elizabeth Grefsheim, Patricia Feit
earn how to speak with vocal freedom.
Free your
L
natural voice. Sing with a completely relaxed voice.
What is a free, natural, or relaxed voice? What do those terms suggest about skilled voice use? Nerves and muscles are engaged when we speak and sing, are they not? Of the many muscles that are used for speaking and singing, which ones do we free or relax? The use of the exaggerated expression "completely re laxed voice" is spoken by people with good hearts, but of course, the only completely relaxed people are dead, and that only lasts for about six hours before rigor mortis sets in, so does that mean that we only have a six-hour window of opportunity to sing totally relaxed?
How do we know that a voice is not free, natural, or relaxed? Experienced voice educators may see signs of in efficient body balance-alignment and breathing, or engage ment of unnecessary muscles in the jaw-neck area, or may
hear voice qualities that can be described as tense, strained, edgy, pressed, squeezed, pinched, harsh, and so on. So, in that context, speaking or singing with more freedom or in a more relaxed way makes sense, does it not?
that wimpy, boring, 'classical' voice." Other people seem to use the term to refer to voices that are produced with a certain neuromuscular efficiency in vocal and articulatory
coordinations and with a "flowing" expressiveness. Can we always know which meaning is intended? Singing and speaking require muscle tension; without it, voice cannot happen. Might the important questions be: What muscle tension is necessary? What muscle tension is unnecessary? What degree of muscle tension is needed for
a particular vocal task? Might underskilled speakers and singers engage more muscles than are necessary, and en gage their necessary muscles too intensely? How do we develop the vocal skills that all of these questions imply, given that human beings do not have detailed sensory aware ness of most of those muscles? The terms that we use in this book do not quite cap ture the metaphoric pleasure of freedom and natural. Our terms are more literal, partly because they are science-based. We want to help people learn what is "real" about voices while they learn how to speak and sing as expressively as possible. The more all of us develop a core ability to speak and sing with physical and acoustic efficiency, the more likely we are to become interesting, expressive speakers and
A natural voice? Some people seem to use the term as
singers. If our speaking and singing is extensive, vigorous,
though voice use and voice quality were genetically deter
and/or skilled, then conditioning of vocal muscles and
mined and unchangeable. "That's my natural voice." Might
vocal fold tissues will be necessary. In fact, both physical
the term, in fact, be a synonym for habitual vocal coordina tions? "Let children sing in their natural voices, not with 492
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and acoustic efficiency and vocal conditioning are neces sary if we desire to speak or sing with optimum expressive skill. One without the other, and optimum expressive vocal abilities will be inhibited.
Even though we do not have detailed sensory aware
ness of most of the muscles that create voice, the goal of vocal efficiency is to come as close as we humanly can to: 1. using only the muscles that are necessary for speech and song, while allowing the unnecessary muscles to re
lease from use; 2. using the necessary muscles with just the appropri ate amount of contraction energy for the vocal task at hand,
not too much and not too little; and 3. arranging the dimensions of the vocal tract in such a way that the vocal-fold-generated sound waves are able to flow out of the vocal tract without unnecessary obstruc tion and without creating acoustic overloading of the vocal
Physical and Acoustic Efficiency in Expressive Speaking and Singing The previous 14 chapters of Book II address physical
and acoustic efficiency in fundamental vocal abilities. An early step in developing physical efficiency is learning how to consciously recognize the difference between using ha bitual unnecessary muscles, and then not using unnecessary muscles when voicing. Your somatosensory nervous sys tem cooperates with your motor system to provide both implicit kinesthetic feedback (outside conscious awareness) and limited degrees of explicit kinesthetic feedback (in con scious awareness). Kinesthetic feedback does enable a de gree of focused conscious attention on the physical sensa tions that are experienced during speaking and singing. Targets with bull's-eyes can be arranged, therefore, to help ourselves and others learn increasingly efficient speaking and singing.
folds. tion of science-based fundamental vocal skills that enable
Your body's larger muscles are engaged to enact gross physical movement, such as walking, grasping, lifting, turn
people to convert their considerable vocal capabilities into
ing, expanding and contracting your chest, opening and clos
an unfettered array of vocal abilities. [These perspectives are consistent with Oren Brown's "release-allow-let" orien
ing your mouth to take in and chew food,
tation, as presented at the beginning of his book, Discover Your Voiced Fundamental skills are fundamental, partly, be cause they apply equally to both singing and speaking. Frequently, inexperienced and unskilled vocalists have not learned optimally efficient conversational speaking skills, and they are likely to use their habitual speaking skills when they first attempt to sing. That almost guarantees that many
scious awareness whether or not they are contracted and
Our intent is to point people toward a solid founda
people who are "untrained" in singing skills will become convinced that their "singing voices" are inadequate, and perhaps blame that on unfortunate heredity. When all of the fundamental vocal skills have been learned, truly expressive speaking and singing are possible, in any mode or style. With them, more and more human beings can know the expressive satisfactions and neuropsychobiological benefits of skilled vocal self-expres sion. As the renowned choral and orchestral conductor, Robert Shaw, once wrote, "Knowledge of fundamentals is prerequisite to free flight." We couldn't agree more.
and so forth.
They have sensory nerves that can report to your con
their degrees of more-and-less effort. Your whole body is enclosed in skin, which is loaded with sensory nerves that
report to conscious awareness, some areas more than oth ers. Hands, for instance, are extensively loaded. Most smaller muscles either have less of that type of innervation, or none. The epithelial and other border tis sues that are located inside your body also have less or none of that type of innervation (mouth and tongue are exceptions; compare the degree of muscle-use awareness that you can experience in your tongue versus your soft palate, for instance). All muscles and some border tissues, how ever, have sensory nerves that always are reporting the state that they are in, but some of them do not report to the areas of the brain that produce conscious awareness of those states. They report outside conscious awareness. As you may re call, neither your diaphragm muscle nor your internal lar ynx muscles have any sensory nerves that report their contraction-release and pressure sensation functions to your conscious awareness, but they have plenty that report out
side conscious awareness. vocal
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In addition, there are differences in the degree of sen sitivity in all of your sensory nerves. In other words, sen
vocal injury (Book III, Chapter 1, has some details). The
sory nerve networks that have been used with more fre
it is coordinated with optimum physical and acoustic effi ciency. The most fundamental skill of expressive speaking and singing is how you arrange your skeleton, that is, the align ment and balance of your body when standing, sitting, and moving (Chapter 4). The more that skill is present, the more
quency, are more "tuned up" to detect the sensations for which they are specialized. Also, with greater use, your
sensory networks can be tuned up to detect more and more details in what they are sensing, especially when used in conjunction with the parts of your brain that process con scious attention (significant areas within your brain's fron
tal and parietal lobes). Your sensory networks are capable of retaining their sensitization implicitly, so that conscious attention will not be necessary for skilled functioning (im plicit learning and memory are presented in Book I, Chap ter 7). So, kinesthetic sensation, in significant parts of you that produce voice, is not available at the 100% level, and some areas have more sensation capability than others. Generally speaking, when physical and acoustic efficiency and optimum conditioning are not present, common kines
thetic sensations and auditory perceptions can be observed as follows: 1. noticeable, sometimes considerable effort in the neckthroat-jaw-tongue areas; 2. fatigue and sometimes discomfort is in the neckthroat-jaw-tongue areas, and inside the throat following repeated abrasions of the epiglottis against the pharyngeal walls; 3. habitual breathy or pressed-edgy family of voice qualities; 4. habitual overdark or overbright family of voice qualities; 5. voice breaks, cracks, and/or instabilities. Learning how to speak and sing more by sensation than by sound is, for some people, a very different orientation to voice skills. Such a process will be particularly challenging for anyone who desires to speak or sing with a particular "sound" or "type of voice". Conscious attention will be fo
cused on sound-not sensation. For example, on-air broad cast media personnel commonly develop a typed pattern of vocal use that is not necessarily vocally efficient or opti mally expressive. Singers who want to be a particular voice
type or sing with a particular "sound" typically place them selves at greater risk for unnecessary vocal fatigue and even 494
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alternative is to find out what one's own voice can do when
it is possible for all of your phenomenal vocal capabilities to develop into abilities. No promises or guarantees, but it makes optimum skill and expressiveness possible; without it, optimum is not possible. The co-equal intermeshing of breathflow skills and soundflow skills—in both speaking and singing-is another fundamental vocal skill (Chapters 5 through 11, and Book
V, Chapters 2 and 5). These skills are not innate. They must be learned either outside conscious awareness by such in fluences as imitation during childhood, or with conscious awareness in a home, one-to-one tutoring, or group educa tional setting.
Do This: (1) Pretend that you are caring for a little baby who has just fallen asleep. But about 20 feet away some older children are making noise that risks awakening the baby. Caution them with a moderately insistent /shhhhhhhhhhhh/ sound. Do that now. Sustain an insistent and firm, but long-lasting version of that sound: /shhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh. Use that strength of breathflow energy throughout the follow ing experiences. (2) With your lips just touching, your teeth separated, and your jaw "floating", become aware of muscle sensations in your jaw-neckthroat area while you are making no vocal sound and your jaw-neckthroat area is at rest. Compare that sensation with what you feel when you sustain that firm, long-lasting /shhhhhhhhhhhhhhhhhhhhhhhhhhhhhh/ sound. Do that now. [Repeat the silent-at-rest and the /shhhhhhhhh/ sensations once or twice if you like.] How were those two muscle experiences different? (3) Observe just what your tongue does, and do the two experi ences again. Did your tongue move? If so, how would you describe what it did? Did it remain "easy" or did its muscles become tense? Did it take on a particular shape?
Are its degrees of muscle tension and its shape necessary when you produce the "shushing" sound that warns those young noise-mak ers? (4) Observe what your jaw muscles do as you perform the silent-at-rest and the shushing experiences again. Did your jaw move? If so, how would you describe what it did? Did it remain "easy" or did its muscles become tense-even a small amount? Is tension in your jaw muscles necessary when you produce the shushing sound? (5) Observe the muscles in your neck-throat-larynx area as you do the two experiences yet again. Did your larynx move? If so, how would you describe what it did? Did you notice any muscle effort in your neck-throat-larynx area? Did it remain "easy" or did its muscles become tense-even a small amount?
In order to create a shushing sound, your tongue has
to be in a particular location and form itself into a particu lar shape. That location and shape channels airflow onto and around your teeth in order to produce air-turbulence noise. Your jaw moves into a particular location in order to position your tongue where it needs to be. These are necessary muscle engagements. When your lung-air is pressurized to create the shush ing sound, its pressure is equal against the mucosal surfaces of your trachea, vocal folds, throat, and mouth. The pres surized air molecules, therefore, are pressing against those tissues and kind of "flattening" them. There are pressure sensitive sensory nerve receptors (mechanoreceptors) em bedded in those skin surfaces, and they are activated when anything presses against the skin in which they are embed ded. Those signals are then sent to various areas within your brain, including your sensorimotor cortex. Some of
the sensations make their way into your conscious aware ness, and some do not. The skin surfaces of your hands are loaded with those pressure-sensitive receptors, and so are the skin surfaces inside your mouth. There are comparatively few of those receptors, however, in your throat and trachea, so the in tensity of those perceived sensations will be comparatively low. If those signals are selected for conscious attention,
however, the processing sensory neurons can become sensi
tized so you can notice the sensations in conscious awareness.
Why is all of this important? In some people, the sensation of air pressure against the skin surfaces of their
trachea and throat can be confused with muscle effort when it is not. Lung-air sensations are necessary when you pro duce the shushing sound; muscle work sensations are not necessary.
Do This: (1) How close can you come to minimizing jaw neck-throat muscle effort down to only what is necessary when you make the /shhhhhhhhhhhhhhhh/ sound? Do it again. (2) Next, begin with a sustained, "insistent" shushing sound for two full seconds, and then, while your jaw and tongue easily re main where they are, allow your voice to just melt into the already flowing breath-air so that the /shhhhhhhh/ sound is imperceptibly transformed into a longer lasting /zzhhhhhhhhhhhhhhhhhh/ sound. The whole string of sound might be represented this way: /shhhhhhhhhh+zzhhhhhhhhhhhhhhhhhhhhhhhhh/ Notice any new sensations in your neck-throat-face areas when your voice melted into your breath-air? When your voice started to melt, did it "hitch" a little before vocal sound began? Do that several times, if you like, so that the melting happens every time. Can you slide your voice pitch up and then down in a curve after your voice melts in? Can you slide into your upper register? (3) This time, two seconds on the shush sound followed by two seconds of sliding upward on the /zzhhhhhh/ sound, and then just allow your jaw-mouth to fall open as you slide downward in a sigh-glide. Did your breath-energy remain consistently "insistent" even when your jaw-mouth opened? Did your neck-throat muscles remain at ease, so that your voice felt like it was being gathered up and flown out of you with your breath-air? Do it some more if you want to. (4) Finally, select a comfortable pitch for singing, and get ready to sing a 5-4-3-2-1 scale starting on that pitch. Start with two sec onds on the shush soundfollowed by two seconds on the /zhhh/ sound; slide to that starting pitch and allow your jaw-mouth to fall open as you start singing the scale. Did your breath-energy remain consistent even when your jaw mouth opened? Did your neck-throat muscles remain at ease, so that your voice felt like it was being gathered up and flown out of you with your breath-air? Do it some more? Sing the pattern at different pitch and register levels. Sing it at different volume levels. vocal
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In all vocal sound-making, speaking, and singing, the "rubber meets the road" in the larynx and its vocal folds (review is in Chapter 7; Chapters 8 through 11 have details). Efficient "breath connection" in voicing is not just a breath ing skill. What breathflow connects to is just as important, if not more so. The vocal folds, coordinated by neuromus cular activity in the brain and larynx, is where vocal sound
is initiated by numerous high-speed collisions and shearings of the vocal folds.
Pitch and volume variations, timing
durations, and voice quality are initiated by these neuro muscular coordinations, and they all can be adversely af fected by how the vocal tract is "shaped" (acoustic over loading, see Chapter 11; a Do This is in Book V, Chapter 5). So, the most fundamental breathflow-to-soundflow skill in healthy, expressive speaking and singing is the development
evoke other-than-conscious sensorimotor coordinations that can produce a variety of pitch and volume levels, du rations, and voice qualities that inexperienced vocalists may never have experienced before. For example, learner imita tion of teacher-produced vocal samples is an indirect method that takes advantage of vast earlier imitative vocal explora tions that all human beings engaged in as infants, toddlers, and young children. Two verbal metaphor and image examples are: "Feel as though your throat is releasing open and down from the inside when you sing those so-called high notes," or "Begin speaking as though your voice was flowing in a light blue
color, and as the words continue, your voice gradually trans forms into a deep, rich blue". One gestural metaphor and
image: 'Allow your hands and arms to just flow open and
of habitual, basic efficiency in respiratory, laryngeal, and vocal fold functions. Historically, speaking and singing teachers have been reluctant to directly address laryngeal and vocal fold skills in conscious awareness. There are at least three reasons: (1) internal larynx structures cannot be seen or touched, nor can they be sensed kinesthetically, (2) a belief that the larynx muscles are "involuntary" and, therefore, conscious control of their coordination is not possible, and (3) con cern that conscious awareness of laryngeal and vocal fold function is likely to result in inefficient, overly controlled,
down as you breathe and speak." (or sing). The crucial element for voice educators is to know rather precisely what vocal anatomy, physiology, and acoustics are enacted in response to the indirect suggestions. Indirect and imagina tive methods also are essential when integrating voice skills with expressive speech and song. They tend to engage the "feeling meanings" of speech and song, and that is why the
effortful voicing. Muscles are under involuntary control only when "pre
the larynx and vocal folds. The "charts" in Chapters 10 and 11 (Figures II-10-1 and II-11-3), and the Do This experi ences in those chapters, can be adapted and used with people of different ages and skill levels. Conscious exploration and discovery of a wide variety of voice quality skills, and how they are connected to expressive speaking and singing, can create an implicit repertoire of finely tuned voice skills. That implicit repertoire can then be available to working memory
wired", reflexive action occurs, such as tidal breathing or a vocal response to being startled (presented in Chapter 7). Such actions are initiated by brainstem nuclei. Muscles are under voluntary control when their activation is dependent on current or past involvement of the cerebral cortex and its subcortical sensorimotor areas. In other words, volun tary action involves current or past learning. The influence
vocal arts exist in the first place (see closing sections in Book I, Chapter 8).
There is, however, a role for conscious awareness in the learning of breathflow-to-soundflow coordinations of
when spontaneous expressive situations arise, or when in
of conscious awareness of larynx and vocal fold function
terpretative speaking or singing are rehearsed and performed.
on vocal efficiency depends almost entirely on how the
The interpretative, expressive essences of speech and song,
initial learning experiences occurred (Book I, Chapters 7
then, are the sources that evoke appropriate voice quali-
through 9 have information and suggestions).
ties-not the other way around. Imposing predetermined voice qualities on expressive events-except in an explor
Speaking and singing teachers have relied substan tially on imagery, metaphor, analogy, and other indirect
imaginative methods in order to evoke changes in laryn geal skills. Such methods are absolutely essential. Indirect, imaginative approaches to larynx and vocal fold skills can 496
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atory educational experience-tends to stifle feelingful con nection with interpretative speech and song (Book I, Chap ters 7 through 9 have more).
In vocal music, legato singing is one of the fundamental skills of efficient breathflow-to-soundflow connection (Ital
teners never hear it as a slide, but as a very smooth transi tion between discrete pitches. Remember: The larynx muscles
ian: connected together seamlessly). The same skill applies
are the second fastest in the body. They can move with lightning speed, if we ask them to, and if we condition them
to legato speaking. As was first explained in Chapter 5, rela tive steadiness in the lung-air pressure creates a relatively steady breathflow between the vocal folds, and that sets them into relatively steady ripple-waving, and they create a relatively steady flow of sound waves through your vocal tract, that people perceive as a flow of vocal sound. So far, so good. That smooth, even flow of vocal sound can be inter rupted if your larynx muscles adjust too much or too little when changing pitches in an ongoing melody. Inexperi enced singers commonly interrupt the flow of their vocal sound. For instance, if a single word ("to", for instance) has two or more pitches to the one vowel, an inexperienced singer may: (1) rapidly open then close their vocal folds to make an /h/ sound in front of each pitch after the opening
/t/ sound (too-hoo), or (2) somewhat abruptly "jerk" the lar ynx muscles into each pitch setting in order to clearly define the initiation of each new pitch. Legato singing actually involves pitch sliding (see Fig
well.
Another core group of fundamental skills in speaking and singing includes the many obvious and subtle adjust ments of your vocal tract dimensions so that speaking and singing display acoustic efficiency. These skills interact with most other vocal skills and are necessary so that: 1. acoustic overloading of your vocal folds does not occur; 2. you can avoid pitch inaccuracies; 3. you can avoid abrupt register transitions; 4. your voice can release an optimum amount of sound for you and others to hear;
5. you can reduce your rate of vocal fatigue; 6. you can eliminate possible contributions to voice disorders (Book III, Chapter 1 has some details); 7. your language sounds can remain intelligible while your voice quality remains consistent throughout your pitch
and volume ranges.
ure II-15-1). The breathflow creates a continuous flow of
vocal fold ripple-waves and the folds are just moved to the new length settings as each pitch comes along. That means that-between pitches-there will be a pitch slide. The pitch slide happens so fast, however, that the ears-brains of lis-
The most crucial skill of acoustic efficiency has to do with avoiding an acoustic overloading of the vocal folds. Acoustic loading and overloading were described in some detail in Chapter 11. To review: When you make sound
waves that radiate out of your vocal tract, you simulta neously make sound waves that radiate into, and "bounce around" within, your windpipe (reverberation). Those sound pressure waves are "trapped" inside your trachea, so they
are continually impacting on the underside of your vocal folds. When the fundamental frequency of your vocal folds approaches or matches the resonance frequency of your trachea, however, the pressures in the reverberating sound waves within your trachea are increased (amplified). The increased pressures can produce an interference with your vocal folds' vibrations that are initiated on the underside (tra chea side) of your vocal folds. The interference is referred to as acoustic loading of the vocal folds. When acoustic overloading of the vocal folds occurs, your vocal tract (throat and mouth) is sufficiently narrowed Figure II-15-1: Oscillograph tracing of a singer changing pitch in legato singing. Note the angled line of the pitch transition area (indicated by the arrow). [Adapted from
Cooksey, 1993.]
at one or more points so that the radiating sound pressure waves within your vocal tract are deflected back and begin vocal
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to reverberate inside your vocal tract These sound pres sure waves can interfere with the complex vocal fold ripple waves that are passing over the topside (throat side) of your vocal folds. Those sound pressure wave impacts, combined with the always-occurring tracheal sound pressure impacts, produce an acoustic overloading effect. Tracheal resonance loading of the vocal folds may or may not be present dur ing acoustic overloading. Your sensory nerves in that area, then, alert your brain's "executive" to the presence of that interference. In order to preserve ongoing ripple-waving, your brain then has three choices: (1) do nothing and allow the overloading to force an abrupt, reactive adjustment of your closer-opener and
shortener-lengthener muscles, creating a register "break" or "crack" in your voice instead of performing a continuous flow of sound, (2) make your larynx and respiratory muscles
work harder to overcome the interfering pressure waves, or (3) adjust the dimensions of your vocal tract so that the sound waves within it are allowed to pass through and out. If your brain does not have neural networks that would produce the latter choice, then it is most likely to choose the work-harder option. The increased larynx effort can result in: (1) pitch inaccuracies (flatting or sharping, depending on
other circumstances), (2) production of the pressed-edgy family of voice qualities, (3) increased collision and shear ing forces on your vocal folds, and (4) higher larynx muscle and vocal fold tissue fatigue rates (see Chapters 11, 12, and Book III, Chapter 1). In addition, a relatively narrowed vocal tract increases a muffler effect on voices, so that the amount of sound that radiates from your mouth is stifled (see Chapter 9). And, acoustic loading plays a key role in thepassaggio family of vocal register transitions (see Chapter 11).
Fundamental acoustic efficiency skills also include the integration of two different but overlapping resonance
functions. 1. Vocal tract shapes can be adjusted so that a rela tively consistent balance of lower and higher partials are present in the radiated spectra of your voice. Those skills are brought about by obvious and subtle adjustments of the throat and mouth parts of your vocal tract. Their goal is to create a balanced resonance family of voice quali ties throughout your pitch and volume ranges. Chapter 12
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presents some Do This experiences to help you begin to learn these skills. 2. Vocal tract shapes also are changed in order to cre ate language intelligibility (vowel and consonant clarity) throughout your pitch and volume ranges. Those skills are brought about by obvious and subtle articulations of the throat and mouth parts of your vocal tract. The general shape of your throat and mouth form the vocal tract's formant frequency producing areas, and when voice source spectra travel through their air molecules, they pro duce formant frequency regions within the radiated spec tra. Listeners then perceive the voice qualities that we refer to as vowels. Other articulations of the vocal tract create the sound qualities that are referred to as consonants. [Chapters 13 and 14 present some Do This experiences to help you begin to learn these skills.] For example, in language enunciation the accurate shaping for some of the vowels requires a considerable
narrowing of the vocal tract (the mouth space becomes small on an /ee/ vowel, for instance). If higher pitches and/or
volumes are needed at the same time, the vocal tract needs
to be adjusted toward increased space in order to continue consistency of voice quality, while preserving enough of the vowel shape so that language is intelligible (vowel modi fication, see Chapter 13). So, your brain needs to learn how to adjust your vocal tract in fine-tuned ways to accommo date both of these "conflicting" necessities at the same time. Chapter 13 presents some Do This experiences to help you begin to learn these skills. Inexperienced, unskilled singers and speakers tend to use the only vocal tract adjustments that they know, that is, the habitual adjustments that they use for conversational speech. So when they attempt to speak with more volume and higher pitches, say from an auditorium stage, or to sing
songs with higher pitches and volumes, their brains are not likely to have neural networks that can coordinate their vocal tract shaping muscles so that optimum voice quality
and language clarity can coexist. In an attempt to generate
more vocal volume, larynx muscles are likely to close the vocal folds with excess compression, thus suppressing the amplitude of their ripple-waving, and thereby prevent the generation of the complete potential for vocal volume. The
excess vocal fold closure also creates subharmonics, espe
in fifteen-minute segments and continued to do so until she and sev
cially within the upper harmonics, and listeners may hear a pressed-edgy voice quality. These effects occur partly because the larynx is raised to shorten and narrow the throat part of the vocal tract and the mouth is insufficiently opened, so that acoustic over
eral voice scientists concluded that further reading might be harmful to her best vocal interest. Before she began to read, she was examined by an ear-nose-throat physician with a laryngeal videostroboscope to es tablish that her larynx functioned normally and that the anatomic tissues of her vocal folds were normal. Also, an audiotape recording was made of her voice while she sustained a few pitches on selected vowels. These same procedures were completed between each 15 minute reading segment. All of the audio recordings were acoustically ana lyzed during the weeks following her readings. Then for comparison, an extensively trained and vocally wellconditioned professional female actor performed the same protocol. Re sults? The untrained actor performed three 15-minute segments (45 minutes) before she and the researchers decided that she should not continue. She described an irritated throat and a "tired voice". The au dio recordings revealed increases of laryngeal instability (jitter and shim mer) over the course of the readings, and increased noise in harmonicsto-noise ratio measures. The videostroboscopy did not reveal observable findings. The trained actor performed ten 15-minute segments (two and one-half hours) before she and the researchers arbitrarily decided to stop. She reported that she sensed a small degree of vocal distress in the first segment (deemed to be a warmup effect) but no vocal distress at all after any of the other 9 segments, including the final one. She did report some fatigue in the midsection muscles that she used for creating breathflow. The videostroboscopy did not reveal observable findings and the audio recordings showed no vocal instabilities. [This research was reported in Scherer, et al., 1987.]
loading of the vocal folds occurs. That shape of the vocal tract also damps the lower overtones of the voice source
spectra and amplifies the high-frequency overtones and
subharmonics. So, the radiated spectra produce a percep tion of voice quality that can be described as strained, pressed, edgy, tight, overbright, and/or pinched to some degree. Also, please remember that some chronic stressful life circum stances, as well as some anatomical malformations, can pro duce inefficient larynx and vocal tract coordinations (see Chapter 4 and Book III, Chapters 7 and 8). When your neck-throat and orofacial muscles are "held" in less-than-optimal postures or contraction intensi ties, then your necessary larynx and vocal tract muscles will be forced to work harder than necessary for the vocal tasks at hand.
So, learning how to appropriately adjust
your larynx muscle coordinations in small increments of
change, and how to adjust your vocal tract dimensions to avoid acoustic overloading and preserve voice quality and language intelligibility, are two interrelated skills that affect your vocal pitch accuracy, the amount of perceived volume that your voice produces, and consistency of voice quality and language intelligibility throughout your pitch and vol ume ranges. All of these factors affect musical expressive
ness for good or ill. Methods in the field of orofacial myofunctional therapy can provide a solid physiological basis for (1) "releasing from use the unnecessary muscles" of the neck and head and (2) "using only the necessary muscles" to the degree that they are needed (Kellum, 1994; Landis, 1994; see Book V, Chapter 5, for some examples).
Preparing Voices for Vigorous and Extensive Use An amateur female actor, with no voice education at all and low voice conditioning, read a literary script to the best of her ability, but she read it at a continuously elevated vocal volume and pitch. That way of reading was intended to induce vocal fatigue. She read the script
Vocal Conditioning and Vocal Fatigue When muscles maintain contraction over a period of
time, only some of their component muscle fibers are con
tracting at any one time. Selected fiber groups (motor units) will contract, then fatigue and release contraction, restore their chemical constitution, and contract again, all over mil
liseconds of time. These fiber contractions occur in a kind of "rotating" way so that contraction intensity of the whole muscle remains relatively "steady". There are three modes of whole muscle contraction. Isometric muscle contrac tion occurs when a muscle is activated but its length is constant, that is, it is not lengthened or shortened by a force outside of itself (crescendo on a sustained pitch, for example). Eccentric muscle contraction occurs when a muscle is ac tivated while it is lengthened due to an external force which exceeds that generated by the degree of the muscle's own vocal
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contraction (occurs in the vocal fold shortener muscles when
Sufficient force can produce bruising (hemorrhaging), vocal
higher pitches are sounded in upper register). Concentric muscle contraction occurs when a muscle is activated and shortens by its own contraction, power is generated, skel etal parts are moved, and work is done (most speaking and singing).
fold polyps, or other tissue injuries. The more severe these tissue changes become, the longer the recovery time will be. In voices, there will be a reduction of tissue conditioning
Repeated high variability of voice use over increas
What happens when optimal laryngeal condition ing increases? 1. During all voicing, numerous complex ripple-waves
ingly longer time spans, results in nuanced skill building and in optimal conditioning of all of the laryngeal motor units and muscle fibers (described in Chapter 7). Optimal contractile strength (force), contractile speed, precision, and "smoothness" (responsivity, quickness, accuracy, agility), and neuromuscular endurance (resistance to fatigue) all can be developed when bodyminds enact an appropriately wide range of pitches, volumes, qualities, and durations with in creasingly optimum physical and acoustic efficiency. Monitoring the number and intensity of vocal fold impact and shearing forces over time, and attending to prevention of voice dis orders (see Book III), also are necessary for optimal skill
building and conditioning to occur. So, all vocal capabili
ties will be optimized when vocalists "exercise" their:
1. complete low to high pitch range compass; 2. pianissimo to fortissimo volume range compass; 3. range of larynx-produced voice qualities; and 4. slow-speed to high-speed pitch and volume changes.
When non-muscle soft tissues are repeatedly impacted upon or sheared or abraded, at levels that do not produce chronic inflammation or tissue disruption, then an adap tive reaction occurs to the degree of demand that is placed on them. Micro-level increases occur in constituent tissue materials, such as actin, elastin, and keratin. Those adapta tions contribute to increased tissue resilience or a kind of "toughening". The result is increased tolerance for extensive or forceful impacts and shearings. When non-muscle soft tissues are impacted upon or sheared or abraded to degrees that exceed their current level of resilience, however, then acute inflammation is likely to occur, with swelling-stiffening, and then discomfort or pain become possible (see Book III, chapter 1). There are no
pain receptors in the membranous portion of the vocal folds, so any sensed pain does not emanate from there-a blessing
and a curse. Eventually, more extensive tissue changes can occur, such as callouses on hands or nodules on vocal folds. 500
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during reduced-voice-use recovery processes.
(vibrations) occur in the vocal fold cover tissues, especially
the mucosal tissues (epithelium and superficial layer of the lamina propria; see Chapter 6). As a result, these tissues undergo impact (collision) and shearing forces. Increased demand is placed on mucosal tissues when: (1) speaking and/or singing are relatively extensive over a day, week, month, or year, and (2) higher pitches, louder volumes, lowest
pitches, and faster muscle adjustments occur during speak ing-singing. Increased demand on mucosal tissues pro duces the adaptive micro-level changes that increase tissue resilience and "toughening". When the degree of increased demand is appropriate to the current conditioning state of the tissues, then increased tissue tolerance for extensive and vigorous use occurs and optimal elasticity and compliance are achieved. When the degree of increased demand ex ceeds the current conditioning state of the tissues, then the tissues begin to "fatigue" and inflammation may occur in the mucosal tissues, with swelling-stiffening of the folds and reduction of elasticity and compliance. Vocal capabilities are then diminished (see Book III, Chapter 1). 2. Laryngeal muscles increase in: strength, the capability to contract muscles with greater and greater intensity; endurance, the capability to sustain more intense contractions over longer and longer periods of time before fatigue begins; speed, precision, and "smoothness" of neuromuscular co ordinations; bulk, that is, protein is added to the fibers of the thyrovocalis muscles so that they increase in size (hyper trophy), thus moving the cover tissues of the vocal folds slightly closer to the front-to-back laryngeal midline.
3. Recovery from vocal fold tissue and larynx muscle fatigue is faster when the muscles and tissues are well con ditioned.
What happens when reduction or loss of laryn
geal conditioning occurs?
1. Decreased demand on mucosal tissues, compared to a previous higher level of demand, produces adaptive micro-level changes in the vocal fold cover tissues that de crease tissue resilience and "toughening", along with a de crease of tissue elasticity. Lower tolerance for extensive and vigorous voice use results. When vocal demand is highly reduced over a longer time period, then mucosal tissues take on a degree of "softness" that reacts more chaotically when higher vocal volumes are attempted. 2. Laryngeal muscles decrease in: strength [higher vocal volume will be less avail able and voice quality is likely to be less clear or sound "fuzzy" at softer volumes]; endurance [laryngeal muscles will fatigue more
quickly]; neuromuscular speed, precision, and smoothness in vocal
3. use of physically and acoustically efficient vocal coordinations to optimize conditioning effects and help prevent vocal fold tissue and larynx muscle disorders; 4. adequate hydration; 5. a nutritional base that provides support for energy expenditure and tissue regeneration; 6. whole body movement that stimulates stronger blood vessels and greater production and wider distribu tion of beneficial transmitter molecules. A sample of pitch pattern sequences for conditioning
are presented in Book V, Chapter 5 and in Oren Brown's book, Discover Your Voice). Such skills as efficient body align ment-balance and breathing are extremely important skills. So, when your voice use is going to be vigorous and/or extensive, the following three processes will help you per form all of your vocal and musical skills at optimum and will provide added voice protection.
coordinations [pitch accuracy will be more "off-tune", timing
will be more sluggish, stability of sustained tones and crescendi and diminuendi will decline, and vibrato pitch excursions may widen; bulk [loss of bulk in the thyrovocalis muscles (shorteners) results in vocal fold cover tissues receding away from the front-to-back laryngeal midline, and can result in
bowed vocal folds if vocal underuse is considerable (see Book III, Chapter 1)]. 3. Recovery from vocal fold tissue and larynx muscle fatigue is slower when the muscles and tissues are underconditioned. Conditioning an out-of-shape larynx for exten sive and vigorous use? With appropriate conditioning of laryngeal muscles
Vocal Warmup Before you use your voice vigorously and/or exten
sively, your vocal nerves, muscles, and tissues will be able to give you optimum skill and disorder prevention if you
(1) increase blood flow to your vocal muscles and vocal
fold tissues, (2) raise their temperature, (3) stimulate lubri cating mucus flow, and (4) "tune up" your bodymind neu romuscular networks for vigorous, high-speed, but precise and "smooth" movement (Vegso, 1995a). Before vigorous use, optimum warmup of any muscle takes about 15 to 20 minutes of relatively steady use. The vocal warmup process begins with minimally strenuous vocal muscle use and tissue collision forces, plus slower, simpler muscle engagement (recruitment of Type S motor units, Type I muscle fibers). Then, there is a gradual pro
and vocal fold tissues, athletic speakers and singers can avoid laryngeal fatigue or voice fatigue syndrome. Voice condi tioning would follow the basic principles of all neuromus cular conditioning, that is:
gression of increased vigorous use (progressive recruitment
1. a progression from less voice use time toward gradual increases in same; 2. a progression from less strenuous voice use toward gradual increases in same (higher-intensity vocal volumes, higher and lower pitches, faster speeds of movement);
5. Vigorous voicing, in order of importance, includes the following actions.
of Type FR, FInt, and FF motor units and Type II muscle
fibers). Samples of pitch patterns that can accomplish ap propriate vocal warmup can be found in Book V, Chapter
1. Speak and/or sing softly and easily atfirst, followed by gradu ally louder and louder vocal volumes throughout the capable pitch range. There will be increased effort in the shortener-length
ener and closer-opener muscles (and others), plus increased vocal
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refinement of neuromuscular networks for coordinated pitch
tractions). Vocal stretching can be done, however, in ways
accuracy and vocal volume.
that inhibit vocal capabilities. The following general prin ciples of skeletal muscle and ligament stretching also apply to laryngeal skeletal muscles, ligaments, and other soft tis sue. 1. Never stretch muscles and ligaments that have not been warmed up. Lower-intensity muscle engagement that lasts several
2. Speak and/or sing gradually higher and higher pitches. There will be increased effort in the shortener-lengthener and
closer-opener muscles (and others) plus gradual stretching of the vocal fold cover tissues (increased resilience, strength, and range of motion from eccentric contractions; see next section), and increased refinement of neuromuscular net works for pitch accuracy, and so forth.
3. Sing graduallyfaster and faster pitch changes and wider and wider pitch intervals. There will be increased speeds of larynx muscle movement in a context of increasing precision. Pitch interval agility is wider and wider pitch skips with increas ing pitch accuracy. Pitch speed agility is smaller pitch in
tervals at high speeds with increasing pitch accuracy. Speed and accuracy in the vocal tract articulator muscles also will be important for avoiding acoustic overloading, and for continuity of voice quality, musical timing, clarity of lan guage communication, and so forth.
4. Sing the lowest four or five pitches within the capable pitch range. There will be increased effort in the shortener muscles
(and others). This action will be particularly applicable to basses and altos in choirs who must repeat lower pitches in particular musical selections. When speaking or singing these lowest pitches, constricting the larynx and the aryepiglottic sphincter is common. If singers feel as though they are allowing their vocal tracts to gradually release more and more open, like a bottomless triangle, then the breathflow and the vocal folds can interact without con strictive interference. More amount of sound can then be
radiated from their voices, and voice quality can have a more balanced resonance. Vocal Fold “Stretching” Appropriate stretching of your laryngeal muscles and non-muscle soft tissues can aid muscle-ligament flexibility
minutes and gradually rises in intensity will warm up muscles and ligaments. Vocal warmups can begin, there fore, at softer volume levels and mid-to-low pitch ranges and gradually increase toward greater volumes and higher pitches. Highest pitches and loudest volumes would need to be performed toward the latter third of a 15 to 20 minute warmup. 2. Never strenuously bounce muscles that have not been warmed up. Shouting, louder marcato or staccato singing, subito forte musical passages, faster-wider pitch intervals, and higherspeed melissmatic passages, therefore, need to be performed toward the latter third of a 15 to 20 minute warmup. 3. Never stretch muscles and ligaments to the point of being strained. That means never stretching muscles and other tis sues beyond their current level of stretch conditioning. Sing ing as high and loud as possible when voices have not done so very often, or for a very long time, would be like stretching leg muscles as strongly as possible when they have not been stretched for a long time. Muscle strain is a common result. "Pushing" one's voice to its highest pitch range limits and "beyond", without appropriate prior con
ditioning and warmup, may result in hyp er-extended vocal ligaments. This may especially apply to the front and rear ligaments of your vocal folds where they are attached to your thyroid and arytenoid cartilages, respectively (ante rior and posterior maculae flavae; see Chapter 6). The above principles are reflected in the vocal pitch
patterns that are presented in Book V, Chapter 5.
and range of motion in the joints that hold your thyroid,
cricoid, and arytenoid cartilages together.
It also can be
very beneficial to laryngeal muscle and vocal fold tissue endurance, resilience, and general movement agility. Voic ing loudly in your higher to highest pitch range is how your vocal fold muscles, ligaments, and other tissues can be
stretched toward their maximums (eccentric muscle con
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Vocal Cooldown In their book, Vocal Exercise Physiology Saxon and Schneider recommend that a vocal cooldown be under
taken after extensive and/or vigorous voice use. Cooldowns begin at the end-level of vigorous voice use and a reverse warmup is performed. Cooldown helps prevent post-voice
use muscle tightening. Gradually slower, less strenuous versions of earlier more vigorous vocal coordinations will gradually reverse the warmup effects, such as a lowering of larynx muscle temperature. Eventually, gentle stretching is recommended, perhaps using softer, downward sigh-glides in puppy-cry versions of flute-falsetto registers, with the start-pitches gradually lowering. External hand massages of larynx and other neck anatomy, and sound or pitch pat
choir, but have greatly reduced their general physical move ment and the amount and vigor of their singing, often will
terns that are performed near the beginning of a warmup,
and James Daugherty's research into choral acoustics and choir spacing documents the benefits of spread spacing over close spacing as illustrated by:
also are appropriate (Book V, Chapter 5 has recommenda tions).
Conclusion With his tongue in his cheek, Robert Shaw once said,
"Singing is easy. All you have to do is sing the right pitch at
develop a slow, wide vibrato. Typically, the culprit is not aging, but underconditioning (see Book IV, Chapter 6). Three other likely producers of inefficient vocal coor dinations in group singing are (1) high sound-absorbent
rooms, (2) high sound-reflective rooms, and (3) close prox imity of singers to each other (more later). Sten Ternstrom
Close spacing xxxxxxxxxxx xxxxxxxxxxx xxxxxxxxxxx
Lateral spacing xxxxxxxxxx
xxxxxxxxxx xxxxxxxxxx
the right time, with the right diction, the right dynamic (vo cal volume], the right phrasing, the right tone color, and the right style. See? Singing is easy." (Shaw, 1964; Personal rehearsal notes, R. Shaw, Cleveland Orchestra Chorus, 1966). In singing, what creates musical pitches? A dancer's skeletal muscles are coordinated to produce the timed move ments of a dance. What produces a singers musical timing in a song? What brings the consonants and vowels of lan guage, the obvious vocal volume changes in musical dy namics, the subtle volume changes in expressive musical phrasing, and expressive variations in vocal tone color. And what produces the variations of all the above that consti tute musical style variations? Human voices. Your larynx is extremely talented! The muscles of your larynx are the second fastest in your whole body (eye muscles are fastest; see Chapter 7). The number of motor units and neuromuscular junctions in your larynx makes possible a wide variety of combinations and speeds in vocal
coordinations.
Your cricothyroid (lengthener), thy
roarytenoid (shortener), interarytenoid (one closer), lateral
cricoarytenoid (the other closer), and posterior cricoarytenoid (opener) muscles have a relatively even mixture of slow and fatigue-resistant, fast and fatigue-resistant, and fast and fatigable motor units and muscle fibers. Underconditioning of vocal muscles will diminish
vocal capabilities. For example, older adults who sing in a
Circumambient spacing xxxxxxxxxxxx xxxxxxxxxxxx xxxxxxxxxxxx When a threatening environment places demands on
your protective bodymind neuropsychobiological processes (distress/fight-flight-freeze response), then your neural pro cesses for memory, learning, and health may be diminished, and your vocal muscles are likely to increase their "residual" tonus (tighten). Optimum voice skills are likely to be de limited (see Chapter 4; Book I, Chapters 3-5 and 7-9; Book III, Chapter 8). If the temperature is too cold or too hot in the area where singing or speaking performance is done, that will place a threatening demand on your thermoregulatory sys tem and your bodymind response to that threat will inter fere with normal cognitive-emotional-sensorimotor func tioning. When diet has been inadequate or energy con sumption has been high, then low blood sugar and other
physio-chemical processes are likely to interfere with opti mum bodymind functions, including singing and speaking. If a singer currently has any of the following larynx or vocal fold conditions, or a history of them (especially a vocal
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childhood and/or adolescent history), then they will have a
greater propensity for inefficient singing (see Book III, Chap
ters 1, 7, and 12): • stiffening from dehydration;
• stiffening from swelling; • organic growth of abnormal tissues on or in the larynx; • disruption of vocal fold tissues.
muscles in the human body contain all three muscle fiber types and all four motor unit types, and that appears to be true of internal laryngeal muscles. Proportionately, there usually are more of the Type IIa fast-speed fatigue-resistant muscle fibers in larynx muscles than the slow-speed fa tigue-resistant (Type I) or the fast-speed low-fatigue-resistant (Type IIb) fiber types (Cooper, et al., 1993; Miles and Nordstrom, 1995).
All human beings with normal anatomy and physi
All motor units and skeletal muscle fibers adapt to the
ology are capable of producing a wide variety of pitches
degrees of demand that are placed on them. Adaptations to increased muscle use, more vigorous use, and variations of speed and precision, result in the electro-physio-chemical changes that are listed below. With reduced muscle use, these patterns reverse. 1. Activation of CNS to peripheral motor neurons becomes more frequent, including activation of axon ter
with a wide variety of speeds, volume levels, and sound
qualities. Of course, unless you "ask" your larynx and vo
cal tract to realize their capabilities into abilities, all of their innate talents may never be realized. Direct experience of vocal coordinations in your own body, and of the process of learning efficient coordinations, are absolutely necessary if you wish to be an effective se nior learner of expressive voice skills. With that working knowledge can come congruity between the "feel" of effi cient vocal coordination, the expressive power of speech or
sung music, and the details of voice skill learning and ex pressive performance.
For Those Who Want to Know More... Detailed research into vocal muscle and tissue condi tioning (fitness), and into vocal muscle and tissue fatigue, have not been undertaken. Principles of conditioning and
fatigue for voices must rely, therefore, on studies in such fields as kinesiology and sports medicine (for example, Anderson, et al., 2000; Vegso, 1995a,b; Vrbova, et al., 1994; Wilmore & Costill, 1988). Saxon and Schneider (1995) are the first to have published a book that seeks to connect general principles of conditioning with vocal conditioning. During voicing, the larynx muscles and the non
muscle vocal fold cover tissues are "where the action is". Laryngeal muscles are small skeletal muscles with a pro portionately large number of small motor units. Most leg and arm muscles are large skeletal muscles with a propor tionately small number of large motor units. Otherwise, they are fundamentally the same, and respond to use in similar ways. As described in Chapter 7, nearly all skeletal
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minals at neuromuscular junctions, thus their metabolic activity increases (uptake of glycogen, oxygen, and so on). 2. Neuronal dimensions are increased and neuromus cular junctions become more robust. 3. Nerve cell genes that increase transmitter molecule production at nerve-muscle synapses (acetylcholine) are more frequently activated. 4. During whole-muscle resting states, neuronal acti vations of motor units per unit of time are increased, re sulting in "harder-to-the-touch" muscles. 5. During neuromuscular coordinations, nerve impulse activations per unit of time are increased, resulting in (a)
increased contraction force (strength), and (b) increased speed
in muscle activations (quickness) for high-speed coordina tion changes (agility). 6. Muscle cell genes that produce more protein in each muscle fiber are activated more frequently, making the fi bers thicker, and collectively, making the whole muscle larger (hypertrophy or bulking). 7. Blood flow into the muscles and blood flow capac ity in the feeding vessels and capillaries are increased.
Presumably, the laryngeal Type S motor units and Type
I muscle fibers (see Chapter 7) would be activated during voice use that involves (1) softer volume, (2) slow-to-moderate tempi, (3) relatively narrow pitch range (just over an
octave?), and (4) pitches within an "easy" pitch range (from
about five whole steps above the lowest producable pitch
S to FR to FInt to FF, and the motor units gradually increase
to about C4 for changed-voice males and C5 for changedvoice females and all children). These motor units and fiber types are slow-acting and fatigue resistant, so they can con
the number of nerve impulses that are initiated per second. When progressing from high-intensity volume to low-in-
tinue to activate for relatively long periods of time before fatigue begins. Quiet conversational speech and softer, slowto-moderate-tempo singing activate these processes. As this kind of voice use repeatedly occurs over time, those motor units and muscle fibers will adapt to that use by increasing (1) the recruitment of S motor units and Type I fibers, and (2) increasing the number of electrical impulses (action po tentials) that travel through those axons to those muscle fibers each second. Resilience, agility, and endurance in the vocal fold closer-opener and shortener-lengthener muscles would be
tensity volume, these processes occur in reverse. Slow paced crescendi and diminuendi would be an example of this process. Fast-paced crescendi and diminuendi would present a different demand on the motor units. In real music-mak ing, of course, there are multiple variations of motor unit recruitment processes that require a variety of adaptations by the motor unit and muscle fiber types. The array of phrasing dynamics that are used in the expressive singing of many musical styles and aesthetic nuances, are brought into existence by a wide and exquisite variety of motor unit recruitment and nerve impulse firings. Truly expressive, interesting, and engaging speech also is enabled by these
developed during longer-lasting episodes of voice use that
same processes.
include (1) a wide range of pitches, (2) a wide range of vocal
underconditioned singers and speakers cannot perform these
volumes, (3) higher-speed, wider-interval pitch changes, and (4) high-speed, smaller-interval pitch changes. Presumably, the Type FR and FInt motor units and Type IIa larynx muscle fibers would be activated (see Chapter 7). As this kind of voice use repeatedly occurs over time, those motor units and muscle fibers will adapt to that use by increasing (1)
expressive nuances, partly, because their brains have not
the number of FR and FInt motor units that are recruited, and (2) increasing the number of electrical impulses that travel through those axons each second. Shorter bursts of strong, vigorous vocal sound-mak ing over shorter time periods (such as shouts or sung nar row-range pitch patterns that are higher and louder), would
develop higher-force strength in the vocal fold closer-opener
and shortener-lengthener muscles. Presumably, the fast speed, fatigable Type FF motor units and Type IIb laryngeal muscle fibers would be activated. As this kind of voice use repeatedly occurs over time, those motor units and muscle fibers will adapt to that use by increasing (1) the number of FF motor units that are recruited, (2) increasing the number of electrical impulses per second that travel through those axons to those muscle fibers, and (3) triggering genetic pro duction of more protein to Type IIb fibers of the internal
laryngeal muscles, thus increasing the size of those fibers and the whole of the muscles (hypertrophy). Presumably, when voices progress from low-inten sity volume to high-intensity volume, the laryngeal muscle motor units are slowly (for them) recruited in a sequence of
Inexperienced, unskilled, and
yet developed the sophisticated neural networks that make these varied recruitment and impulse firing adaptations
possible (voice skill learning has not occurred).
"Fatigue can be defined as a reduction of force-pro ducing capacity of the neuromuscular system with pro longed activity" (Miles & Nordstrom, 1995; also Asmussen, 1979). Central fatigue is a reduction in muscle force due to a reduction in central nervous system excitation of a given
muscle or group of muscles. Decline in a "will to continue" an activity is one example of central fatigue, perhaps due to perceived threats to well being or lack of intrinsic reward (see Book I, Chapter 9). Peripheral fatigue is a reduction in muscle force due to depletion of metabolic resources within a given muscle's fibers. For example, when muscles are in longer-lasting states of contraction, especially at higher in tensity levels, the muscles' capillaries are compressed and bloodflow volume into the muscles is restricted. Blood brings oxygen and other metabolic resources to muscles, and as resupply of those resources diminishes, so will their capacity to continue contracting with the same level of force. Thus, fatigue occurs (Bigland-Ritchie, et al., 1995). Eventu ally muscles may go into a continually contracted or spasm state and the neurobio chemical production of pain is likely (nociception; see Book I, Chapter 3 and Mense, 1977). When muscle use demands exceed the current level of conditioning, then fatigue of the neuromuscular metabolic vocal
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If demand passes the current level of conditioning to a relatively small degree, an adaptive or conditioning effect occurs during a comparatively short rest or recovery time. In other words, there will be an increase
resources occurs.
in the production of metabolic-contractile resources. If de mand passes the current level of conditioning to a relatively large degree, noticeable muscular distress or pain may be noticed and recovery will take longer (Mense, 1977; Miles & Nordstrom, 1995). During that longer, reduced-use re covery time, reduction of conditioning is likely to occur to some degree (atrophy). With prior optimum conditioning, however, recovery time becomes shorter and the degree of
atrophy, therefore, becomes less.
Appropriate vocal warmup results in: (1) capillary di lation in all muscle and non-muscle vocal fold tissues and increased bloodflow volume, (2) tissue temperature eleva tion, (3) increased force and speed of muscle contractions, (4) increased compliance-elasticity-flexibility of ligament, tendon, and other connective tissues, (5) increased sen sorimotor nerve reactivity and conduction velocities, so that
(6) joint flexibility and range of motion increase (Saxon & Schneider, 1995; Vegso, 1995a). Those changes strongly con tribute to short-term flexibility, elasticity, agility, and endur ance of your vocal muscles and tissues, IF warmups are
done in a way that induces those benefits. Based on research in kinesiology and sports medi cine, appropriate stretching results in (Vegso, 1995b): (1) increased "tensile strength and elasticity of ligaments and fascia", (2) "connective tissue responds to stress by organiz ing itself along the axis of that stress". Saxon and Schneider (1995, pp. 94, 95) discuss how "ballistic stretching" (sudden, forceful stretches) can be prepared for by doing static stretch ing in warmup (slow, flowing, longer-lasting stretches). According to Vegso (1995b), "...after injury, (appropri ate) stretching can have a significant effect on the healing of connective tissue. As new collagen is formed and placed under stress, it organizes itself in the direction of tension,
thereby creating stronger and more elastic tissue and re
ducing the chance of reinjury'' This principle can be used to justify relatively early and appropriate laryngeal exercise following some types of vocal fold and laryngeal injury or surgery (Book III, Chapters 1 and 11 have some details).
Efficient Vocal Function and Voice Qualities Two "hidden" producers of inefficient vocal function
in group singing are (1) more absorbent and more rever berant room acoustics and (2) a close-proximity, Self-toOther Ratio (SOR) between the singers. Ternstrom (1993)
observed that singers tended to raise their larynges more when singing in more absorbent rooms and lower them more when singing in more reverberant rooms. He also observed (1994, 1999) that when close-proximity "othersound" overpowers auditory reception of "self-sound", then
(1) the Lombard effect occurs and singers increase their vo
cal volume (see Tonkinson, 1994), (2) pitch accuracy be comes unstable, and (3) voices tend to produce a more pressed phonation. Daugherty's study (1999,2000) indicated that when choir singers stood close together (close spacing) and compared that experience with spread-apart spacing (either lateral or circumambient spacing) about 95% of the
singers indicated that spread spacing made a large positive difference in their singing and in the congregate sound of the choir. About 82% characterized the difference as "much" or "very much". They felt that auditory feedback was im proved and vocal efficiency was increased. Chorally trained
and untrained listeners also preferred anonymous choral performances in which the singers were standing in one of the spread spacing conditions. During voicing, if either or both of the two sets of adductory muscles do not contract with enough intensity
to create a sufficiently complete vocal fold closure, then the breathflow between the folds will be converted into turbu lent eddies and create air-turbulence noise mixed with tone so that voice quality may be described as breathy. If both adductory muscles sufficiently seal the folds, then the qual ity can be described as firm and clear.
The extent of vocal fold closed phase time varies with
(1) the amount of adductory force exerted by the interarytenoid and lateral cricoarytenoid muscles (the pri mary closer/compressor muscles), and (2) any increased
vocal fold thickness created by the degree of contraction intensity in the thyroarytenoid muscles (the primary short ener muscles). Internal laryngeal muscle functions are re viewed in Table II-15-1. During firm and clear voicing, the longest closed phase times are created by greater adductory force combined with
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stronger contraction intensity in the thyroarytenoid muscles,
figuration. A minimum adductory seal produces a voice
and increased subglottic air pressure. In general, that com bination of actions also produces: 1. greater vocal fold impact and shearing forces, greater
quality that can be described as firm and clear, softer, but on the thinner-lighter side of the thinner-lighter category of
sound pressure levels (SPLs), and greater perceived vocal volume (see Chapter 9); 2. shorter and thicker vocal folds with an increased
Table II-15-1 Internal laryngeal muscles that interact to produce voice source spectra variations that can be perceived as basic voice quality variations
amount and depth of vocal fold tissue oscillation, and a perceived thicker and more full-bodied voice quality; and
3) an increased number of upper harmonics (over tones) in the voice source spectra that adds a degree of perceived brightness to the voice quality mix. If the degree of adductory force becomes excessive, then the vocal folds collide too soon and are thrown into a quasi-chaotic vibratory motion that produces subharmonics (harmonics between the usual harmonics), and the increased dissonance produces a voice quality that can be described as pressed-edgy. In the shortener-prominent laryngeal coordination (lower register), the vocal folds are in their shorter-thicker configuration. A minimum adductory seal produces a voice quality that can be described as firm and clear, softer, but
Muscles
Functions and Influences on Voice Source Spectra
Interarytenoids
A primary adductor of the cartilaginous
(IA)
portion of the vocal folds Agonist-antagonist interaction with LCA
and PCA to stabilize vocal folds in many specific adductory positions Lateral cricoarytenoids
A primary adductor of the membranous
(LCA)
portion of the vocal folds; Agonist-antagonist interaction with IA and PCA to
stabilize vocal folds in many spe
cific adductory positions
Posterior cricoarytenoids
Primary abductor of vocal folds;
(PCA) Agonist-antagonist interaction with IA and LCA to
stabilize vocal folds in many spe
cific adductory positions
on the thinner-lighter side of the thicker, more full-bodied category of voice quality (firm and flutier; see Chapter 10).
Agonist-antagonist interaction with TA to stabilize the length, thickness, and tautness-
Closed phase time also is reduced within the longer closed phase category. As stronger adductory compression oc
laxness of the vocal folds during pulse
and lower register functions
curs, there is an increase in subglottal pressure and com
Primary lengthener and shortener of the
pensatory increases in thyroarytenoid-cricothyroid tension.
vocal folds when not opposed by action of the TA
That combination of actions produces:
1. an increase in the relative thickness of the folds (within their shorter-thicker configuration); 2. an increase in the number of upper harmonics (richer in harmonic complexity, adding a brightness component to voice quality); 3. a richer but mellow-warm version of the thicker/ full-bodied category of voice quality at middle levels of
vocal volume; and 4. a richest and brassier version of the thicker/full-
Thyroarytenoids
Primary shortener and thickener of the
(TA)
vocal folds
Secondary adductor of the vocal folds Agonist-antagonist interaction with CT to
stabilize the length of the vocal folds in many non-specific and specific settings to
produce a wide range of F0s
Cricothyroids
Primary lengthener and thinner of the
(CT)
vocal folds
Agonist-antagonist interaction with TA to
stabilize the length of the vocal folds in
bodied category of voice quality at high levels of vocal volume.
many non-specific and specific settings to
produce a wide range of F0s Primary lengthener and shortener of the vocal folds when not opposed by action
In the lengthener-prominent laryngeal coordination
of the TA
(upper register), the vocal folds are in a longer-thinner con
vocal
efficiency
and
conditioning
507
voice quality (firm and flutier; see Chapter 10). Closed phase
time also is minimalized within the longer open phase cat egory. As stronger adductory compression occurs, there is an increase in subglottal pressure and compensatory in
Laryngeal Functions that Interact to Produce Variations in Voice Source Spectra and Perceived Voice Qualities
creases in thyroarytenoid-cricothyroid tension. That com bination of actions produces:
1. an increase in the relative thickness of the folds (within their longer-thinner configuration); 2. an increase in the number of upper harmonics (richer in harmonic complexity, adding a brightness component to voice quality); 3. a richer but mellow-warm version of the thinner/ lighter category of voice quality at middle levels of vocal volume; and 4. a richest and brassier version of the thinner/lighter
category of voice quality at high levels of vocal volume.
During firm and clear voicing, the longest open phase times are created by (1) the least necessary adductory force combined with strong contraction intensity in the cricothy roid muscles, (2) zero contraction by the thyroarytenoid muscles, and (3) the least necessary subglottic air pressure. In general, that combination of actions also produces:
1. minimal vocal fold impact and shearing forces, mini mal SPLs, and minimal perceived vocal volume (see Chap ter 9);
2. generally longest and thinnest vocal folds with a minimal amount and depth of vocal fold tissue oscillation, and a perceived thin and light voice quality (flute-falsetto register); and 3. a minimal number of harmonics (overtones) in the voice source spectra that creates a perceived lack of tonal complexity to the voice quality mix.
During a continuous flow of vocal sound, crescendi in volve gradual increases in (1) adductory force, subglottic pressure, and compensatory increases of vocal tract space. Dimimiendi involve gradual decreases in those same actions.
Lower Register In lower register, the TA muscles are more prominently
contracted than the CT muscles, thus:
1. the vocal folds are generally shorter so that a lower range of F0s is produced (when compared to upper regis ter); 2. the folds are thicker and both the superior and the inferior areas of the membranous portions are adducted, contributing to longer closing phases in each oscillation cycle
and greater depth of oscillation into the membranous vocal fold tissues; 3. greater "bulging" of the TA muscle produces a sec ondary adductory gesture, contributing to longer closing phases in each oscillation cycle. IN LOWER REGISTER WITH INCOMPLETE VOCAL
FOLD ADDUCTION, mucosal oscillation occurs to produce voice source spectra, but air-turbulence noise is produced simultaneously when pressurized subglottic airflow passes between the narrowed glottis. The vocal folds can create varying degrees of incomplete adduction and varying de grees of air-turbulence noise. Because prominent TA contraction has thickened the vocal folds and added a slight adductory gesture, the depth and inferior-to-superior amounts of cover tissue involved in mucosal waving is greater, when compared to upper reg ister with incomplete adduction. Also, the closing phases last longer than the opening phases.
Intensity in the voice source spectra is increased by increasing the amplitude of mucosal waving. That is ac
complished by increasing the amount of subglottic pres sure and aerodynamic flow. When subglottic pressure is increased, however, the TA and CT muscles must subtly increase their co-contraction in order to prevent a rise in intended F0 (singing sharp). Intensity in the voice source
spectra is decreased by decreasing the amplitude of mu cosal waving, and that is accomplished by decreasing the amount of subglottic pressure and aerodynamic flow. With a decrease in subglottic pressure, the TA and CT muscles
508
bodymind
&
voice
must subtly decrease their co-contraction in order to pre
cover tissue involved in mucosal oscillation is greater, when
vent a lowering of intended F0 (singing flat).
compared to the same conditions in upper register, and the closing phase is longest of all. As a result, the pressed and edgy perceived qualities can be described as having a more full-bodied or thicker component when compared to the pressed and edgy qualities in upper register.
The above conditions produce (1) fewer upper voice
source spectrum partials, and (2) comparatively prominent intensities in the F0s and lowest harmonics. The result is relatively steep spectral slopes in which partial amplitude reduces by at least 18-dB per doubling of the F0 In turn, these conditions produce typical contributions to perceived
IN LOWER REGISTER, OPTIMAL VOCAL FOLD AD
voice quality which may be described as airy and breathy
DUCTION always produces vocal fold contact (collision) dur ing vocal fold oscillation, but allows enough glottal space for the mucosa to achieve optimal amplitude. Subglottal air pressure and aerodynamic force are increased when vocal intensity is increased, and those conditions increase the amplitude of mucosal waving. As a result, the membra nous portion of the vocal folds are "spread" medially into the glottal space. In order to avoid pressed phonation, the agonist-antagonist action of the lateral cricoarytenoid (LCA)
but thicker and more fall-bodied when compared to upper reg ister with incomplete adduction. IN LOWER REGISTER WITH INTENSE (PRESSED) VO
CAL FOLD ADDUCTION, the degree of closure force creates an impediment to transglottal airflow in such a way that
the potential amplitude of the vocal fold oscillations is in hibited. The degree of intensity in the adductory force nar rows the glottal space "too much" and prevents the vocal fold tissues from oscillating with optimum amplitude. As a result, perceived vocal volume is then less than what is possible and perceived voice quality may be described as
being pressed, tense, or constricted. In addition, the excessive adductory force causes the
oscillating vocal folds to collide "too soon" and initiate a kind of hyper-oscillatory mode of vibration in the vocal
folds that produces subharmonics. In other words, "ir regular" harmonics are created in the voice source spectra that are in between the regular harmonics. The additional harmonics create harmonic dissonances that contribute a perception of voice quality that can be described as edgy, buzzy, strident, or harsh. The excessive intensity of adductory force tends to suppress acoustic energy in the F0 and lower harmonics, but tends to produce a greater number of higher partials in the voice source spectra, along with subharmonic partials between them. The comparative suppression of F0 and lower harmonic intensities results in more level spectral slopes in which partial amplitude reduces by about 6-dB or less per doubling of the F0. These conditions add a brightness com ponent to perceived voice quality that may be amplified by a narrowed ary-epiglottic sphincter. Because prominent TA contraction has thickened the vocal folds and added a slight adductory gesture to them, however, the depth and inferior-to-superior amounts of
and the posterior cricoarytenoid (PCA) muscles adjust the vocal processes of the arytenoid cartilages toward a slightly more open position to provide a slightly increased glottal space in order to accommodate increased amplitude in vo cal fold oscillations. The degree of the adjustment depends on the degree of desired vocal intensity. Because prominent TA contraction has thickened the vocal folds and added a slight adductory gesture, the depth and inferior-to-superior
amounts of cover tissue involved in mucosal waving is greater, when compared to upper register, and the closing phase lasts longer than the opening phase.
These conditions produce an optimum number of higher voice source spectrum partials, optimum intensity in the F0 and lower harmonics, resulting in a spectral slope in which partial amplitude reduces by about 12-dB per doubling of the F0. These acoustic characteristics produce typical contributions to perceived voice quality which may be described as lighter-flutier, richer-warm/mellow, richest-brassier, but thicker, more fall-bodied, and heavier when compared to upper register. Upper Register In upper register, the CT muscles are more promi nently contracted than the TA muscles, thus:
1. the vocal folds are generally longer so that a higher range of F0s is produced (when compared to lower regis ter); vocal
efficiency
and
conditioning
509
2. the folds are "stretched" thinner and only the supe rior areas of the membranous portions are adducted, con tributing to longer opening phases in each oscillation cycle and a shallower depth of oscillation in the vocal fold cover tissues (see Figure II-11-8);
3. comparatively less "bulging" of the contracted TA muscles produces comparatively less extensive secondary adductory gestures, thus contributing to shorter closing phases in each oscillation cycle when compared to lower register.
IN UPPER REGISTER WITH INTENSE (PRESSED) VO
CAL FOLD ADDUCTION, the degree of closure force creates an impediment to transglottal airflow in such a way that
the potential amplitude of the vocal fold oscillations is in hibited. The degree of intensity in the adductory force nar rows the glottal space "too much" and prevents the vocal fold tissues from oscillating with optimum amplitude. As a result, perceived vocal volume is then less than what is possible and perceived voice quality may be described as
being pressed, tense, or constricted. In addition, the excessive adductory force causes the
IN UPPER REGISTER WITH INCOMPLETE VOCAL FOLD ADDUCTION, mucosal waving occurs to produce voice source spectra, but air-turbulence noise is produced simul taneously when subglottic airflow passes between the nar rowed vocal fold opening. The vocal folds can create vary ing degrees of incomplete adduction, creating varying de grees of air-turbulence noise. Because prominent CT con
traction has thinned the vocal folds, the depth and inferiorto-superior amounts of cover tissue involved in mucosal waving is less, when compared to lower register with in complete adduction. Intensity in the voice source spectra is increased by increasing the amplitude of mucosal waving, and that is accomplished by increasing the amount of subglottic pres sure and aerodynamic flow. When subglottic pressure is increased, however, the CT and TA muscles must subtly increase their co-contraction in order to prevent a rise in intended F0 (singing sharp). Intensity in the voice source
spectra is decreased by decreasing the amplitude of mu cosal waving, and that is accomplished by decreasing the amount of subglottic pressure and aerodynamic flow. With a decrease in subglottic pressure, the CT and TA muscles must subtly decrease their co-contraction in order to pre vent a lowering of intended F0 (singing flat).
oscillating vocal folds to collide "too soon" and initiate a kind of hyper-oscillatory mode of vibration in the vocal
folds that produces subharmonics. In other words, "ir regular" harmonics are created in the voice source spectra that are in between the regular harmonics. The additional harmonics create harmonic dissonances that contribute a perception of voice quality that can be described as edgy, buzzy, strident, or harsh. The excessive intensity of adductory force tends to suppress acoustic energy in the F0 and lower harmonics, but tends to produce a greater number of higher partials in the voice source spectra, along with subharmonic partials between them. The comparative suppression of F0 and lower harmonic intensities results in more level spectral slopes in which partial amplitude reduces by about 6-dB or less per doubling of the F0. These conditions add a brightness com ponent to perceived voice quality that may be amplified by a narrowed ary-epiglottic sphincter and shortened phar ynx (elevation of larynx). Because prominent CT contraction has thinned the vo
cal folds, there is less of the TA adductory gesture. The depth and inferior-to-superior amounts of cover tissue in volved in mucosal oscillation is less, when compared to lower register, and the opening phase is nearly always longer
These conditions produce fewer upper voice source spectrum partials, comparatively prominent intensities in the F0s and lower harmonics, resulting in relatively steep spectral slopes in which partial amplitude reduces by about 18-dB or more per doubling of the F0. In turn, these condi
than the closing phase. As a result, the pressed and edgy per ceived qualities can be described as having a thinner and lighter component when compared to the pressed and edgy qualities in lower register.
tions produce typical contributions to perceived voice quality
IN UPPER REGISTER, OPTIMAL VOCAL FOLD ADDUC
which may be described as airy and breathy but lighter and thinner when compared to lower register.
TION always produces vocal fold contact (collision) during
510
bodymind
&
voice
mucosal waving, but allows enough glottal space for the mucosa to achieve optimal amplitude. Intensity in the voice
source spectra is increased by increasing the amplitude of mucosal oscillation. To do that, the vocal folds are ad ducted more firmly and that necessitates increased subglot tic pressure and aerodynamic flow in order to maintain oscillation. When subglottic pressure is increased, how ever, the CT and TA muscles must subtly increase their al ready intense co-contraction in order to prevent a rise in intended F0 (singing sharp). Intensity in the voice source
spectra is decreased by decreasing the amplitude of mucosal waving. To do that, the vocal folds are adducted less firmly and that necessitates decreased subglottic pressure and aero dynamic flow. With a decrease in subglottic pressure, the CT and TA muscles must subtly decrease their co-contraction in order to prevent a lowering of intended F0 (singing flat). In order to avoid pressed-edgy voice qualities during vocal volume increases, the mucosal tissues must always "spread" medially into the glottal space. The agonist-an tagonist action of the lateral cricoarytenoid (LCA), the interarytenoid (IA), and the posterior cricoarytenoid (PCA) muscles adjust the vocal processes of the arytenoid cartilages toward a slightly more open position to provide the slightly
increased glottal space. The degree of the adjustment de
pends on the degree of desired vocal intensity.
Because prominent CT contraction has thinned the vocal folds, the depth and inferior-to-superior amounts of cover tissue in
volved in mucosal waving is less, when compared to opti mal adduction in lower register.
These conditions produce an optimum number of higher voice source spectrum partials, optimum intensity in the F0 and lower harmonics, resulting in a spectral slope in which the amplitude of partials reduces by about 12-dB per doubling of the F0. These acoustic characteristics pro duce typical contributions to perceived voice quality which may be described as lighter-flutier, richer-warm/mellow, richestbrassier, but thinner and lighter when compared to lower register. Falsetto/Flute Register In falsetto/flute register, the TA muscles are not con
tracted at all. The CT muscles perform both the primary
lengthening and shortening of the vocal folds, thus: 1. the vocal folds have their greatest range of elongation capability because there is no antagonist resistance from the TA muscles;
2. the highest capable range of F0s is produced by all voices that have normal anatomy and physiology (whistle register coordination can produce even higher F0s, see Chap ter 11); 3. vocal fold shortening is realized by reducing the contraction intensity of the CT muscles so that the folds gradually become slackened;
4. the folds have their greatest range of thinning capabil ity and an absence of bulging by the TA muscles removes their thickening gesture, so that only the superior areas of
the membranous portions are adducted, contributing to a range of longer opening phases in each oscillation cycle and a shallowest depth of oscillating vocal fold cover tis sue;
5. absence of TA muscle "bulging" also removes their secondary adductory gesture, so that complete vocal fold closure is most easily accomplished when the folds are stretched longer and are more taut; typically, when singing or speaking in the lower pitch range of this register, the absence of TA bulging and of lengthened tautness produces
a slackening of the folds, and their medial surfaces become separated so that they take on a "bowed" appearance and that results in a breathy quality and a range of shorter clos ing phases in each oscillation cycle when compared to up per register. IN FALSETTO/FLUTE REGISTER WITH INCOMPLETE
VOCAL FOLD ADDUCTION, mucosal waving occurs to pro duce voice source spectra, but air-turbulence noise is pro duced simultaneously when subglottic airflow passes be tween the open glottal area between the vocal folds. The vocal folds can create varying degrees of incomplete ad duction with varying degrees of air-turbulence noise. Be cause CT-only contraction has thinned the vocal folds even more than in upper register, the depth and inferior-to-superior amounts of cover tissue involved in vocal fold oscil lation is shallowest, when compared to upper register with incomplete adduction.
Intensity in the voice source spectra is increased by increasing the amplitude of mucosal waving, and with in complete adduction, that is accomplished by increasing the amount of subglottic pressure and aerodynamic flow. When singing in the lower F0 range of this register, with slackened
folds and breathy quality, the subglottic air pressure must vocal
efficiency
and
conditioning
Sil
and tautened so that their vibratory edges are brought into closer proximity and the adductor-abductor muscles can
are produced by this register coordination, but tends to produce a greater number of higher partials in the voice source spectra, along with subharmonic partials between them. The spectral slopes are more level than those that are produced by optimal adduction. On average, partial am plitude reduces by at least 6-dB per doubling of the F0 per
engage to maintain the incomplete adduction . Under these
haps more. These conditions add a brightness component to
conditions, the vocal folds can provide greater "resistance" to subglottic air pressure and vocal the vocal intensity range capability is greater.
perceived voice quality that may be amplified by a consid
The above conditions produce fewer partials in the voice source spectrum when compared to the upper regis ter, and there is a proportionately more prominent inten sity in the F0. The spectral slopes are comparatively steep and the amplitude of partials reduces by at least 18-dB per doubling of the F0. In turn, these conditions produce typi cal contributions to perceived voice quality which may be
superior amounts of cover tissue involved in mucosal wav ing is minimal, when compared to upper register, and the opening phase can vary, but is always longer than in an
be comparatively minimal in order to avoid singing sharp. The lower F0 range in this register, therefore, has a quite limited intensity range. When singing in the upper F0 range of this register, the vocal folds are progressively lengthened
described as airy and breathy but thinnest and lightest when compared to upper and lower registers.
IN FALSETTO/FLUTE
REGISTER WITH INTENSE
(PRESSED) VOCAL FOLD ADDUCTION, the degree of closure force creates an impediment to transglottal airflow in such
a way that the potential amplitude of the vocal fold oscilla tions is inhibited. The degree of intensity in the adductory force narrows the glottal space "too much" and prevents the vocal fold tissues from oscillating with optimum ampli tude. As a result, perceived vocal volume is then less than
what is possible and perceived voice quality may be de scribed as being pressed, tense, or constricted. In addition, the excessive adductory force causes the oscillating vocal folds to collide "too soon" and initiate a kind of hyper-oscillatory mode of vibration in the vocal
folds that produces subharmonics. In other words, "ir regular" harmonics are created in the voice source spectra that are in between the regular harmonics. The additional harmonics create harmonic dissonances that contribute a perception of voice quality that can be described as edgy, buzzy, strident, or harsh. Pressed adduction and pressed-edgy quality are not possible in the lower F0 range of this register coordination because of the shorter, slackened state of the
folds (absence of TA contraction). The excessive intensity of adductory force tends to suppress acoustic energy in the relatively few partials that 512
bodymind
&
voice
erably narrowed ary-epiglottic sphincter and shortened pharynx (elevation of larynx). The depth and inferior-to-
optimally produced upper register. IN FALSETTO/FLUTE REGISTER WITH OPTIMAL VO
CAL FOLD ADDUCTION, the slackened state of the vocal folds in the lower F0 range prevents contact during mucosal os cillation, and breathy phonation is inevitable. In the upper F0 range, the longer, more taut folds enables complete ad duction and clear voice quality (no breathiness). Vocal in tensity is increased when subglottal air pressure and aero dynamic flow are increased. Those conditions increase the amplitude of mucosal waving. As a result, the mucosal tissues "spread" medially into the glottal space. The CT muscles, then, must very subtly increase their contraction in order to prevent a rise in intended F0 (singing sharp).
Intensity in the voice source spectra is decreased by decreasing the amplitude of mucosal oscillation, and that is accomplished by decreasing the amount of adductory force along with subglottic pressure and aerodynamic flow. With a decrease in subglottic pressure, the CT muscles must sub tly decrease their contraction intensity in order to prevent a lowering of intended F0 (singing flat). The adductoryabductory muscles may also decrease their contraction in tensity viz a viz the subglottic pressure. These conditions produce fewer higher partials in the voice source spectra, compared to optimal adduction in the upper register coordination. A rather steep spectral slope results. The F0 is by far the most prominent partial. Partial amplitude reduces by at least 12-dB per doubling of the F0,
often more. These acoustic characteristics produce typical contributions to perceived voice quality which may be de scribed as flutiest, lightest, and thinnest when compared to upper register.
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chapter 16
singing various musical genres with stylistic authenticity: vocal efficiency, vocal conditioning, and voice qualities Leon Thurman, Graham Welch, Axel Theimer, Patricia Feit, Elizabeth Grefsheim
our experiential history of hearing voices speak and
Y
sing, and of your own voice use, have resulted in
Vocal Capabilities, Voice Qualities, and Authenticity of Musical Styles
your own unique perceptual, value-emotive, and conceptual categorizations about your voice (Book I, Chap Tone quality is one characteristic of music that is an ter 7 describes these categorizations). For example, some indispensable aspect of musical style. In sung music, the of your past categorizing experiences have steered the con sound source, of course, is human voices, and human voices version of your vocal capabilities into abilities, including ha have an enormous capacity for creating a huge array of bitual motor coordination patterns. Some value-emotive voice qualities. That fact is abundantly clear, now that categorizations are commonly referred to as preferences or biases. Perhaps you prefer some styles of music more than others, or perhaps you are biased in favor of expressive music as opposed to inexpressive music. All human beings develop categorical preferences or biases. Accumulated past categorization experiences among groups of human beings have steered the formation of the different languages that are spoken around the world, and the sounds of the vocal musics that are sung around the world. Every culture evolves its own musical style. As cultures evolve into subcultures, musical substyles also evolve as preferences and modes of self-expression change over time.
worldwide travel, cultural interchange, and sound record ing and playback technology are fairly common. In Western cultures, two questions may be asked about
singing the music of cultures other than the one(s) for which we have experiential preferences. 1. Does the physical heredity of some people give them an exclusive capability to create certain voice quali ties? and 2. Does singing some cultural-subcultural musics in evitably result in a loss of vocal health?
Hereditary Influences? Is there something unique in the genetically inherited laryngeal structures of singers of Middle Eastern musics, for instance, that enable them to sing the vocal music of those cultures with certain distinctive voice qualities? Is
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there something unique about the vocal tract structures of singers of Tibetan chants that enable them to create certain distinctive voice qualities? Is there something unique about the laryngeal/vocal fold structures in singers who loudly and frequently belt out the songs they sing—rock music sing ers or musical theatre singers, or African-American gospel music singers? Just as people have different sizes and shapes of knuck les, people have differently sized and shaped laryngeal and vocal tract structures. Nearly all of these variations fall in a normal range. Suppose 100 soundless videostroboscopic images of the vocal folds of experienced, practicing singers and non-singers from 13 different cultures and subcultures, were ran domly presented to experienced observers of human laryn ges. Suppose the observers were asked to identify which larynges were in people from the 13 different cultures. What do you suppose the results would be? To our knowledge, this has never been done explicitly, however, the consensus
assumption is that a statistical analysis of the results would show guessed predictions—the statistics of chance. Although some laryngeal and vocal tract structures en able some people to sing some styles of music more effec tively than others, that range of structures would not pre vent anyone with normal vocal anatomy and physiology from singing any style of music in any culture, and singing it very skillfully. To do so requires development of the per ceptual, value-emotive, and conceptual categorizations, and the behavioral expressions, that make it possible to sing those styles authentically—the way the native-born practitioners do. In other words, all human beings with normal vocal anatomy and physiology are capable of learning how to vary their vocal coordinations in order to match their produced vocal qualities to the voice quality preferences that people in other cultures have evolved for their music(s). Voice Health? Will using the vocal coordinations that singers from other cultures and subcultures use, pose any risk to the health of laryngeal muscles and vocal fold tissues—espe
cially when the other culture's voice use is very different from the vocal coordinations of one's own culture? It depends, does it not, on several factors? 1. the extent to which a singer produces the stylisti 516
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cally required voice quality with optimal physical and acoustic
efficiency in the respiratory, laryngeal, and vocal tract muscles (and others); 2. the extent to which the particular voice quality ex erts impact and shearing forces on the vocal fold tissues (Book III, Chapter 1 has some details); 3. the degree of strenuousness with which the respira tory, laryngeal, and vocal tract muscles are activated (Book
III, Chapter 6 has some details); 4. the degree of conditioning that is present in a singer's respiratory, laryngeal, and vocal tract muscles, and vocal fold cover tissues (Chapter 15 has some details, as do Book III, Chapter 6, and Book V, Chapters 4 and 5); 5. the amount of voice use time versus voice recovery time (Book III, Chapters 1 and 14 have some details); 6. the extent to which a singer follows practices of voice protection, such as adequate hydration (Book II, Chapter 7; Book III, Chapter 12, and Book V Chapter 4 have some details). So, is the following statement valid? There is only one correct set of vocal coordinations
for singers to use—the vocal coordinations that are neces sary for singing Western civilization opera. Those coordi nations are better for singers to use because they are more
vocally efficient than the coordinations used to sing any
other musical style.
Labeling Voice Qualities The visual sense creates several discrete color catego
ries when observing the ultra high frequency events that we have named colors. There are common names such as
red, blue, and so on. The auditory sense creates discrete
sound quality categories when observing the frequency intensity events that we call sound spectra. The English lan guage, however, has very few nouns and adjectives that name and describe qualities of sound. The words that have evolved in the English language tend to be onomatopoeic, that is, the spoken sounds of the words were intended to resemble the sounds they describe. Words like shrill, squeaky, whiney, raspy, buzzy, piercing, strident, harsh, scream, and ringing are most likely onomatopoetic in their origins. As a result, when we talk about timbre or tone quality, we borrow words that were originally devised to talk about
other phenomena. Use of these metaphors can and does produce much semantic confusion and sometimes emo tional controversy when we talk about voice quality. We borrow metaphors from:
Color, or Light and Its Absence bright or brighter, brilliant, shaded, colorless, luminous, lustrous, dark or darker
The confusion that results from so many terms has
been a concern for many years, and may never be resolved.
The advance of voice science, however, may be opening a
window into the possibility of matching voice quality labels to science-based terminologies for the voice functions that produce the
qualities. The breathflow-to-larynx functions and vocal tract
acoustic influences are the two areas that are crucial to the
creation of voice qualities. In Chapters 10 through 12, an Density or Pressure Variation firm, solid, clear, thin, thick, transparent, diffuse, airy, flowing, pressed, tense, hard
attempt has been made to link voice-quality-producing functions with word groups that describe families of voice
qualities. Figures from each of those chapters provide a Spatial Dimensions shallow, narrow, squeezed, pinched, open, deep, expansive, full
capsule summary of those terminology links. They are reprinted here as Figures II-16-1 through 4.
No implication of negative judgment for other voice
Object Shape and Texture, and Object Intrusion sharp, dull, edgy, pointed, smooth, round, rough, coarse, grating, piercing, penetrating Temperature warm, cool, tepid, mellow
qualities is intended. The terms are intended to be descrip tive, not judgmental. There are differences in the degrees of laryngeal muscle strenuousness and vocal fold collision and shearing forces. For instance, singing Western opera involves much more strenuous muscle use and much more
forceful vocal fold collision and shearing forces than sing ing popular ballads of the 1930s and 1940s. Singing rock, gospel, or some musical theatre music is more strenuous and forceful than singing opera (Estill, 1988). These reali ties have vocal efficiency, voice conditioning, and voice health implications, but do not preclude the use of the more vigorous voice functions. Vocal efficiency and condition ing are the relevant factors.
Growth and Maturation young, mature, ripe Taste sweet, luscious, full-bodied, rich-richer
Weight light-lighter, heavy-heavier
Comparison of Voice Qualities with Musical Instrument Qualities reedy-reedier, flutey-flutier, brassy-brassier
INCOMPLETE VOCAL FOLD CLOSURE 100% Breathflow End 0% Muscle End WhisperNoise Family
OPTIMAL VOCAL FOLD CLOSURE
Breathy Voice Quality Family
Clear and Richer Voice Quality Family < Softer to Louder >
breathy airy
firm flutier
richer warm/mellow
richest brassier
INTENSE-HARD VOCAL FOLD CLOSURE 1OO% Muscle End 0% Breathflow End
Pressed-Edgy Voice Quality Family
pressed edgy constricted tense
strident harsh
< Fewer Overtones to More Overtones > < Lower Partials More Prominent to Higher Partials More Prominent >
Figure II-16-1: A continuum of voice quality families that are produced primarily by dynamic interaction of the larynx's closerand opener muscles.
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Lower register family Pulse Register Family shorteners only Fry/pulsated quality Lowest capable sung pitch range
Predominance of shorteners more than lengtheners Thicker, more fullbodied quality Lower range of sung pitches
Upper Register Family Predominance of lengteners more than shorteners Thinner, lighter quality
Flute/ Falsetto Register Family lengtheners only Thinnest, lightest quality
Highest range of sung pitches
Higher range of sung pitches
Register transition pitch ranges Figure II-16-2: Four voice quality families that are produced primarily by learned adjustments of the shortener and lengthener muscles.
Lower Passaggio*
Upper Passaggio*
Changed-Voice Males:
Changed-Voice Females:
* The range of pitches allows for differences in the genetically endowed tracheal dimensions, with the lower passaggio pitch areas occurring in people with larger tracheal dimensions and the higher passaggio pitch areas occurring in people with smaller
tracheal dimensions. Figure II-16-3: The passaggio voice quality family that is produced by adjustments of the shortener and lengthener muscles that are reactions to sound pressure waves within the trachea.
Profiles of Some Musical Style-Specific Voice Qualities The content of Books II and V is intended to provide fundamental skills that consistently produce physically and acoustically efficient foundational voice skills. A wide range of pitches, vocal volumes, voice qualities, and durational characteristics are possible when efficiency and condition ing are present in speaking and singing. The voice quality terms presented above reflect many of these foundational skills. No trained human speaker speaks every word or sen tence "perfectly". No trained human singer sings every note or phrase "perfectly". The work of speakers and singers who display mastery of these fundamental voice skills would perform with: (1) a variety of vocal volumes, including subtle phrasing dynamics, (2) a variety of basic voice qual
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ity families (breathy, firm, and flutier, richer and warm/ mellow, richest and brassier), (3) a variety of vocal register families (the thicker, more full-bodied and lighter-thinner register families, with blended register transitions and (4) a variety of voice qualities from the balanced resonance family. In singing, Thomas Hampson, on track 11 of the CD American Dreamer: Songs of Stephen Foster, displays a range of foundational voice skills and voice qualities that are con sistently efficient in a trained adult male voice. The coun tertenor Andreas Scholl, displays a foundationally efficient, skilled, and strong falsetto register in the title song of his CD, Ombra maifu, by Handel. A similar range of foundationally efficient voice skills is displayed in the trained adult female voices of Sylvia McNair (track 6, "Tell Me, Some Pitying Angel", by Purcell, from the CD The Echoing Air), and Julianne Baird (track 15,
The Overdark Family Generally Increased Dimensions
Overdark Throaty Sob-like Woofy Bottled-Up
The Balanced Resonance Family
The Over bright Family
Optimum Dimensions Range
Decreased Dimensions
Balanced. Resonance
Darker Fuller
Overbright Narrow Squeezed Pinched
Brighter More brilliant
Figure ll-16-4: A continuum of voice quality families that are produced primarily by varying the adjustments of vocal tract dimensions.
"O Sleep, Why dost thou Leave me?" from her CD, Handel Arias). The singing of Florence Kopleff (Agnus Dei" from Bach's B-minorMass, Shaw recording) and Glenda Maurice would be examples of "larger" female voices singing with foundational efficiency. Various styles of music, however, require voice quali ties that make demands on respiratory, laryngeal, and vo cal tract coordinations that are different from and more strenuous than the foundational skills described earlier in this book. Voice scientist and consultant Jo Estill has stud ied voice qualities scientifically since the early 1970s, often collaborating with other voice scientists. She has recorded some of the physiological and acoustic characteristics of several common voice qualities and has labeled five of them as speech, sob, twang, belt, and opera. Vocally untrained and inexperienced singers tend to apply habitual speech coordinations to singing. In pitch areas and volume levels that are nearest to habitual con versational speech, the larynx usually is not raised or low ered very much, and the vocal tract is not expanded very much. But as pitch and volume increase, inexperienced singers tend to raise their larynges, narrow their vocal tracts, and increase laryngeal effort to degrees that do not repre sent optimum physical and acoustic efficiency. Typically, these circumstances produce the pressed-edgy and/or overbright and "strained" families of voice qualities. The voice qualities that are used in musical styles that are described
as folk music (styles that were originated by "ordinary", vo
cally untrained people) tend to have speech quality char acteristics. The overdark family of voice qualities is preferred by some singers, choral conductors, and singing teachers. The larynx is lowered to somewhat of an extreme, to create a
considerably lengthened vocal tract. The back of the tongue is tensed and moved downward and the soft palate and
faucial pillars are noticeably arched to create an enlarged vocal tract. All formant frequencies are lowered by this arrangement of the vocal tract and upper partials are sup
pressed.
The singing of Jim Nabors, a popular comedy
actor who also sings, is a model for this voice quality.
The term twang has been applied to the voice quality
that is used by singers of country-western and bluegrass
styles of music. There are nasalized and non-nasalized ver
sions of twang quality. It is a rather brilliant voice quality. The larynx is raised to shorten the vocal tract, the aryepig
lottic sphincter (epilarynx area) is narrowed, the pharyn geal constrictor muscles assist in creating a smaller-nar rower pharyngeal circumference, and the jaw/mouth usu
ally is relatively narrowed. Typically, the sound spectra of twang quality have two prominent formants at 1.5-kHz to
2.0-kHz and at 3.0-kHz to 3.5-kHz (the singer's formant) (Estill, 1981). Sometimes the nasopharyngeal port is opened enough to create nasal quality and sometimes it is not
Model singers for this quality are Willie Nelson (nasal twang) and Loretta Lynn, Clint Black and Randy Travis (non-nasal twang). In Western opera quality, the brilliance of the singer's formant is absolutely necessary for unamplified singer au dibility over a 60- to 100-piece orchestra (Chapter 12 has some details). Few instruments, if any, have resonance fre quencies that match the amplitude of the singer's formant (see Figure II-12-6; Sundberg, 1977, 1987). The singer's formant provides a bright "carrying" quality that many opera singers and singing teachers refer to as "ring". An other landmark perceptual identifier of opera quality is the
presence of vibrato (see Chapter 8).
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Sundberg (1977, 1987) has reported research evidence
Vibratory sensations are most prominent in the facial
that the source of the singer's formant is the epilarynx. The
area when singers produce the tongue-front vowels (sec
larynx is slightly lowered, so that the pharyngeal cavity is
ond formant frequencies are highest in these vowels). These
slightly longer, and it is opened around and above the aryepiglottic sphincter. When the epilarynx size is shaped to become about one-sixth the size of the pharynx, the singer's formant is generated and "ring in the voice" can be perceived. For women who have smaller vocal tracts (true sopra nos), the ring quality may result from arranging the
sensations also can be modified by changing the overall length of the vocal tract. Raising the larynx and/or retract ing lips away from the teeth will shorten the vocal tract
articulators in such a way that the third and fourth formant frequencies are almost the same, thus generating a very strong energy peak in the general frequency range of the singer's formant. Some singing teachers and singers may interpret some combination of pressed-edgy and overbright voice quality families as the singer's formant. When brighter voice qualities happen, speakers and singers will be able to notice relatively prominent vibra tion sensations in the front of their faces, particularly the teeth and the bone and flesh tissues of the jaw, nose, hard
palate, cheekbones and lower forehead. Historically, these sensations have given rise to descriptive terms that refer to a physical location of voice quality, such as forward place ment, forward resonance, and forward focused tone. High fre quency vocal carrying power, or ring in the voice are labels for a detectable brilliance in perceived voice quality (singer's formant). Traditional vocal pedagogy (Western opera bias) encourages singers to "focus or place their tone" in the mask
of the face, or to identify specific locations about the head
for different tonal frequency ranges or vowel qualities. The specific location of the sensations and their intensity will vary with the individual due to differences of construction and tissue density, differences of vowel formation, and due to differences in the tonal spectra initiated by the larynx and radiated through the vocal tract. The more dense bone tissues and the air in smaller cavities located in the head will vibrate sympathetically in response to higher partialsformants than to lower ones. In inexperienced singers, a common response to this imagery is to raise the larynx and narrow the pharynx, thus robbing voices of appropri ate fullness of voice quality and increasing laryngeal effort unnecessarily.
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and raise all of the formant frequency regions. The per
ceived intensity of facial vibratory sensations, then, will be increased. Differences in the conscious observation of these
sensations also may be attributable to differences in the frequency with which sensory nerves in the facial areas have been engaged to report the sensations to conscious awareness. The prominently sensed vibrations in the facial bone areas, including the sinus cavities of the head, and in the nasal cavity area, have led some singers and singing teach ers to assume that those areas were vocal resonators that contributed to the quality of vocal sound as perceived by listeners. Sometimes, the term nasal resonance is used in this context. In one examination of this belief, William Vennard re
corded himself and a colleague singing with and without water-soaked cotton gauze that completely filled their na sal cavities, and a dense fluid that filled their larger frontal sinuses. Singer sensation of the produced sounds changed, but the acoustic analysis of the recorded samples did not change. Vibratory sensations in the head, neck and chest give a speaker and singer important information about the
acoustic characteristics of vocal sound. They do not nec essarily identify resonators that affect vocal quality as per ceived by others. Belting or belt quality is a term that was popularized in the American musical theatre, particularly by the sing
ing of Ethel Merman in the 1940s and 1950s. That style of singing is a staple of musical theatre in Western civiliza tion. But for thousands of years, children, adolescents and adults of nearly all the world's cultures have sung their folk and popular musics in a strong belted way. Current popular and religious musical styles that have roots in the African-American experience preponderantly use belted
singing (spiritual, blues, jazz, gospel, rock, and so forth). With the trend toward multicultural music education and multicultural choral singing comes the necessity for
Observations about the quality called 'belting!
stylistic authenticity. The vocal qualities that sounded when
Estill, J. (1980).
the folk created a culture's sung music are integral to its
(pp. 82-88). New York: The Voice Foundation.
expressive style. Change the vocal qualities and you change
Estill, J. (1981). An analysis of the spectra of four voice qualities: Speech,
the very core of its human expressiveness. It is no longer that culture's music. Female model singers for belting voice quality can be Mahalia Jackson, Whitney Houston, and
In V.L.
Lawrence (Ed.). Transcripts of the Ninth Symposium: Care of the Professional Voice
sob, twang and opera. In V.L. Lawrence (Ed.), Transcripts of the Tenth Sympo
sium: Care oftheProfessional Voice (pp. 31-40). New York: The Voice Founda
tion. Estill, J. (1982). The control of voice quality. In V.L. Lawrence (Ed.). Tran
Celine Dion, among others, and the Bulgarian Women's
Chorus, and the folk music singing of the Tapiola Children's Choir of Finland. Strong, belted singing does involve strenuous laryn geal muscle use and high collision and shearing forces on the vocal folds. So does opera singing, and indeed, so does any form of high intensity (loud) singing (Estill, 1988). Lifetime vocal health is possible when:
scripts of the Eleventh Symposium: Care oftheProfessional Voice (pp. 152-168). New
York: The Voice Foundation. Estill, J. (1988). Belting and classic voice quality: Some physiological dif
ferences, Medical Problems of Performing Artists, 3, 37-43. Estill, J., Baer, T., Honda, K. & Harris, K.S. (1983). The control of pitch and
voice quality: An EMG study of supralaryngeal muscles, In V.L. Lawrence (Ed.). Transcripts of the Twelfth Symposium: Care oftheProfessional Voice (pp. 86-
91). New York: The Voice Foundation. Estill, J., Baer, T., Honda, K. & Harris, K.S. (1984). The control of pitch and
1. voices are coordinated with physical and acoustic efficiency; 2. the laryngeal muscles and vocal fold tissues are well conditioned; 3. singers know how to protect their voices.
There are inefficient, overly strenuous and fatiguing ways to produce belt quality, and there are efficient, opti
mally vigorous ways. Book V, Chapter 4, presents more details about this voice quality, its vocal characteristics, and the preservation of vocal health when it is used.
voice quality:
An EMG study of infrahyoid muscles,
In V.L. Lawrence
(Ed.). Transcripts of the Thirteenth Symposium: Care oftheProfessional Voice (pp. 65-
69). New York: the Voice Foundation.
Estill, J., Baer, T., Harris, K.S. & Honda, K. (1985). Supralaryngeal activity in a study of six voice qualities. In A. Askenfelt, S. Felicetti, E. Jansson, & J.
Sundberg (Eds.), Proceedings of the Stockholm Music Acoustics Conference (pp. 157174). Stockholm: Royal Swedish Academy of Music.
Evans, M., & Howard, D.M. (1993). Larynx closed quotient in female belt and opera qualities: A case study VOICE: Journal of the British Voice Associa
tion, 2(1), 7-14. Fujimura, O., & Hirano, M. (1995). Vocal Fold Physiology: Voice Quality Control. San Diego: Singular Publishing.
Gilbert, H.R., Potter, C.R., & Hoodin, R. (1984).
The laryngograph as a
measure of vocal fold contact area. Journal of Speech and Hearing Research, 27,
178-182.
References and Selected Bibliography
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tone, vibrato, trill, and trillo. Journal of Voice, 4(4), 148-156.
Perceptual differences and
Lebon, R.L. (1986). The Effects of a Pedagogical Approach Incorporating
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Bevan, R.V. (1989).
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Press.
Rogers, E. (1969). Edwin, R. (1988).
The Bach to Rock Connection: To belt or not to
To belt or not to belt...that is the question.
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Association of Teachers of Singing Bulletin, 26, 19-21.
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singing
various
musical
genres
521
Rossing, T.D., Sundberg, J., & Ternstrom, S. (1987). Acoustic comparison of
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Sundberg, J. (1987). Articulation. In J. Sundberg, The Science of the Singing
Voice (pp. 93-133). DeKalb, IL: Northern Illinois University Press. Ternstrom, S. (1986).
Acoustics of choir singing.
In S. Ternstrom (Ed.),
Acoustics for Choir and Orchestra (pp. 12-22). Stockholm: Royal Swedish Acad emy of Music.
Ternstrom, S. (1991). Physical and acoustic factors that interact with the singer to produce the choral sound. Journal of Voice, 5(2), 128-143. Ternstrom, S. (1993). Long-time average spectrum characteristics of differ
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Cleft Palate and Craniofacial Journal, 4, 148-156.
Yanagisawa, E., Estill, J., Kmucha, S.T. & Leder, S.B. (1989). The contribution
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522
bodymind
&
voice
THURMAN WELCH
bodymind & voice
bodymind & voice: foundations of voice education
foundations of voice education
“ ...only full-voiced, free-singing bluebirds”
(Book IV, Chapter 1)
A REVISED EDITION Co-editors Leon Thurman EdD Graham Welch PhD
3 P U B L I S H E R S The VoiceCare Network n National Center for Voice & Speech Fairview Voice Center n Centre for Advanced Studies in Music Education
280633_CVR_3BodyMd.indd
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b o o k three health and voice protection
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table of contents Volum e 3___________________________________________________________________ B o o k III: H ea lth an d V o ic e P ro te ctio n The Big Picture..............................................................................................................................................................................................523 Chapter 1 Limitations to Vocal Ability from Use-Related Injury or Atrophy..........................................................................527
,
Robert Bastian, Leon Thurman Carol Klitzke
Chapter 2 How Vocal Abilities Can Be Limited by Immune System Reactions to "Invaders"............................................538
,
,
Leon Thurman Mary Tobin Carol Klitzke
Chapter 3 How Vocal Abilities Can Be Limited by Non-Infectious Diseases and Disorders of the Respiratory and Digestive Systems.............................................................................. 546 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 4 How Vocal Abilities Can Be Limited by Endocrine System Diseases and Disorders.........................................556 Leon Thurman Mary Ann Emanuele, Carol Klitzke
,
Chapter 5 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Auditory System...............................564
,
,
Norman Hogikyan Darrel Feakes, Leon Thurman Elizabeth Grambsch
Chapter 6 How Vocal Abilities Can Be Limited by Diseases and Disorders of the Central Nervous and Musculoskeletal Systems........................................................................................ 573 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 7 How Vocal Abilities Can Be Limited by Anatomical Abnormalities and Bodily Injuries................................582 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 8 Neuropsychobiological Interferences with Vocal Abilities....................................................................................... 586 Leon Thurman, Carol Klitzke Chapter 9 Diagnosis and Medical Treatment of Diseases and Disorders that Affect Voice..................................................598 Norman Hogikyan, Leon Thurman, Carol Klitzke Chapter 10 Medications and the Voice.................................................................................................................................................613 Norman Hogikyan, Carol Klitzke, Leon Thurman Chapter 11 Vocal Fold and Laryngeal Surgery................................................................................................................................... 620 Robert Bastian, Carol Klitzke, Leon Thurman Chapter 12 Sermon on Hydration (or "The Evils of Dry").............................................................................................................. 632 Van Lawrence Chapter 13 How Vocal Abilities Can Be Enhanced by Nutrition and Body Movement...................................................... 637 Leon Thurman, Carol Klitzke
Chapter 14 Cornerstones of Voice Protection....................... 64
.646
Leon Thurman, Carol Klitzke, Norman Hogikyan
B o o k IV : L ife sp a n V o ic e D e v e lo p m e n t The Big Picture..............................................................................................................................................................................................657 Chapter 1 Foundations for Human Self-Expression During Prenate, Infant, and Early Childhood Development.......................................................................................................................660 Leon Thurman, Elizabeth Gramsch
Chapter 2 Highlights of Physical Growth and Function of Voices from Pre-Birth to Age 21...............................................696 Leon Thurman, Carol Klitzke
Chapter 3 The Developing Voice...........................................................................................................................................................704 Graham Welch
Chapter 4 Voice Transformation in Male Adolescents..................................................................................................................... 718 John Cooksey
Chapter 5 Understanding Voice Transformation in Female Adolescents................................................................................. 739 Lynne Gackle
Chapter 6 Vitality Health, and Vocal Self-Expression in Older Adults...................................................................................... 745 Graham Welch, Leon Thurman
B ook V : A B r ie f M en u o f P ractica l V o ice E d u ca tio n M eth o d s The Big Picture.............................................................................................................................................................................................759 Chapter 1 The Alexander Technique: Brief History and a Personal Perspective....................................................................760 Alice Pryor
Chapter 2 Learning Speaking Skills That Are Expressive and Vocally Efficient.....................................................................765 Leon Thurman, Carol Klitzke
Chapter 3 Classifying Voices for Singing: Assigning Choral Parts and Solo Literature Without Limiting Vocal Ability.................................................................................................. 772 Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
Chapter 4
Vocally Safe "Belted" Singing Skills for Children, Adolescents, and Adults.........................................................783 Leon Thurman, Patricia Feit
Chapter 5 Design and Use of Voice Skill 'Pathfinders' for 'Target Practice,' Vocal Conditioning, and Vocal Warmup and Cooldown.......................................................................................................................786 Leon Thurman, Axel Theimer, Carol Klitzke, Elizabeth Grejsheim, Patricia Feit
Chapter 6 Helping Children's Voices Develop in General Music Education...........................................................................803 Anna Peter Langness
Chapter 7
Female Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection..............................................................................814 Lynne Gackle
Chapter 8
Male Adolescent Transforming Voices: Voice Classification, Voice Skill Development, and Music Literature Selection..............................................................................821 John Cooksey
Chapter
9
Redesigning Traditional Conducting Patterns to Enhance Vocal Efficiency and Expressive Choral Singing................................................................................................................................842 John Leman
After-words: Science-Based, Futurist Megatrends - Voice Education in the Year 2100.........................................................848 Leon Thurman
Appendix 1: Brief Biographies of Contributing Authors.................................................................................................................. 850 Appendix 2: Brief Descriptions of Publishing Organizations.......................................................................................................... 856 Index..............................................................................................................................................................................................................861
v
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the big picture
M
edicine is a generic term that refers to the heal
Allopathic physicians treat disease and injury by ac
ing arts (Latin: medicina = art of healing). His
tively creating opposition to abnormal physical conditions
torically and cross-culturally, the healing arts
through application of (1) medicines and (2) surgery (Greek:
have been practiced in many ways, including various ritu
allos =
als and the application of various natural substances onto
largest percentage of physicians in the Westernized coun
and into the body for the purpose of aiding recovery from
tries are allopathic. When they complete their initial train
disease or injury. In the 19th and 20th centuries, validation
ing, they receive the well known M.D. degree.
of medical practice by use of the scientific method gradu
opposing; pathos = suffering or disease). By far the
Chiropractic therapy (Greek: cheir = hand; practikos =
ally became the norm in Western societies as did licensing
efficient) holds that the primary influence on the state of
and certification of medical practitioners.
human health is determined by the state of the nervous system. The hallmark treatment of chiropractic is manual
G e n e ra l M e d ic a l P ra ctice s
or mechanical manipulation of the spinal column and vari ous body joints to relieve pressures on nerves that inhibit
Four categories of the healing arts have become wide
normal function (Leach, 1986). X-ray photography is used
spread in Western societies: allopathic, chiropractic, homeopathic,
for diagnosis and forms of physiotherapy and dietary rec
and osteopathic. Currently, medical practices that are referred
ommendations may be used in treating their patients. When
to as conventional medicine are those which embraced
they complete their initial training, they receive the D.C. de
rigorous scientific validation the earliest, that is, allopathic
gree.
and osteopathic practices. The science-based therapeutic dis
Homeopathic medical practice (Greek: homoios =
ciplines, such as speech-language pathology and physical
sameness, similarity) was advanced in the late 18th century
and occupational therapy, also are included in conventional
by the German physician Samuel Hahnemann. The hall
medicine.
mark of this practice is the principle of "like cures like," that
Complementary medicine includes those healing and
is, very small doses of a pathogen will reduce or prevent
therapeutic practices that complement conventional medi
pathology. The principle was scientifically verified for some
cine, such as chiropractic, acupuncture, Body-Mind Center
disease circumstances when inoculation with small amounts
ing, therapeutic m assage, A lexander Technique, and
of the smallpox pathogen resulted in growth of immune
Feldenkrais Movement. Medical practices which people may
system antibodies that could kill the pathogens before they
choose as an alternative to conventional medicine are cur
were able to infect people. Well into the 19th century, h o
rently referred to as alternative medicine. Alternative prac
meopathic medicine was as commonly practiced as allo
tices include homeopathy, and various forms of medical
pathic and osteopathic medicine in Western countries.
practice that evolved in non-Western societies. In the United
Osteopathic physicians (Greek: osteon = bone) are
States, the federal government's National Institutes of Health
trained in the same way that allopathic physicians are, but
has established a scientific research program to study va
they include an emphasis on the structural relationships
lidity issues in the alternative medicines. the
big
picture
523
between the musculoskeletal system and normal-abnormal
medicine is evolving toward recognition as a subspecialty of
function of the internal organs and systems.
Abnormal
conventional medicine. For instance, in the United States
musculoskeletal structure is manipulated into a balanced
the Performing Arts Medicine Association (PAMA) holds
or normal state to facilitate balanced-normal function of
annual summer conferences in Aspen, Colorado. The Na
internal organs and systems.
tional Arts Medicine Center has been established in Wash
When they complete their
initial training, they receive the D.O. degree.
ington, D.C., and arts medicine centers are being founded
In the allopathic and osteopathic medical professions, primary care physicians are sometimes called general prac tice or family practice physicians.
around the country. A textbook for training in this subspe cialty has been published (Sataloff, et al., 1991).
They treat the widest
possible spectrum of diseases and treat patients of all ages.
V o ic e M e d ic in e
When their patients need more detailed diagnosis and treat Specialists usually
Voice medicine was placed on the conventional medi
limit their practice to one area or system of the body. The
cine map when the Voice Foundation was established in
complete label for specialists who treat diseases and disor
1969 by Wilbur James Gould, M.D., a prominent New York
ment, they are referred to specialists.
ders that affect voice is otorhinolaryngologist (Greek: ous,
ear-nose-throat physician. Star vocal entertainers, Radio-
ot- = ear; rhis = nose; larynx = voice area of the throat; logos =
TV media personalities, and others who were interested in
detailed study). In everyday language, they sometimes are
vocal self-expression, were invited to annual banquets, held
referred to as ear-nose-throat or ENT physicians.
in New York, to raise money for, and interest in voice re
ENT
physicians also are referred to as otolaryngologists (em
search. The Foundation's annual Symposium on the Care of the
phasizing ears and throats) or laryngologists (emphasizing
Professional Voice was started in 1971 and brought together
throats).
ear-nose-throat physicians, scientists who were studying
When patients see doctors, a provider-consumer re
voice, speech pathologists, singing teachers, acting teachers,
lationship is occurring, regardless of the orientation of the
and speech trainers. The Foundation spawned voice sci
doctor's practice.
Ultimately, a patient's work creates the
ence and medicine organizations, and hundreds of confer
means by which physician services are paid. Part of that
ences, all over the world. In the United States, the National
relationship is patients asking doctors about the specific
Center for Voice and Speech is a consortium of voice re
effects of treatments, medications, or surgeries, and about
search and education institutions that are located around
possible general and vocal side-effects. High quality medi
the country. A graduate studies program in vocology has
cal care means that doctors give forthright and complete
been established at the NCVS headquarters university, the
answers to patient questions.
University of Iowa.
A r ts M e d ic in e
nal efforts of the Voice Foundation has been the establish
One concrete outcome of the decades-long, commu ment of voice treatment centers in many of the world's coun The bodyminds of sports athletes face demands of neuromuscular strength, endurance, fine-tuned motor co ordinations, and injury that are well beyond the demands of so-called ordinary life.
tries.
Typically, these centers are staffed by cooperative
voice treatment teams that are made up of: • an ear-nose-throat (ENT) physician who has spe
Over the past few decades, a
cialist training and experience in voice. This member of the
variety of medical practitioners gradually recognized the
team diagnoses voice disorders and treats them medically
need for specialist knowledge and skill in helping sports
and/or surgically. In the United States, their professional
athletes, so now, sports medicine is a recognized subspecialty
organization is called the American Academy of Otolaryn
of conventional medicine.
gology - Head and Neck Surgery (AAO-HNS).
Since the 1970s, a similar slow evolution has been
• a speech-language pathologist who has special
taking place among a variety of medical practitioners who
ist training and experience in voice. This member of the
have been treating practitioners of the expressive arts. Arts
team evaluates general voice function, participates in dis
524
bodymind
&
voice
cussions of diagnosis, and provides voice rehabilitation ser
care center and participate in the therapeutic rehabilitation
vices for people with evident or diagnosed voice disorders.
of people who have disordered voices.
In the United States, SLPs who see patients in a hospital or
These professional category terms are proposed here
in private practice have been awarded a Certificate of Clini
for the first time.
cal Competence (CCC) by the American Speech-Language
medical and therapeutic knowledge base that is necessary if
Hearing Association (ASHA).
comprehensive and specialist voice educators are to be
•
One intent of Book III is to provide a
a specialist voice educator who has special train come qualified to fill the roles as described.
ing and experience in voice and voice care. This member of the team evaluates spoken or sung skilled voice performance,
SE = C - (L+I)
participates in discussions of diagnosis, participates in the voice rehabilitation and reconditioning of athletic voice us
Effective SELF-EXPRESSION equals the CAPABILITY for
ers, and provides education in physically and acoustically
self-expression, minus any LIMITATIONS on and INTERFER
efficient expressive voice skills and prevention of voice dis
ENCES with that capability. The emphasis of Book III is
orders. At the present time, there is no educational certifi
mostly on the L + I part of the self-expression equation.
cation process for this team member, and a singing teacher
Human speaking and singing capabilities will be limited if:
usually fills this role.
In the United States, most singing
teachers are members of the National Association of Teach ers of Singing (NATS). Speech trainers are members of the Voice and Speech Trainers Association (VASTA).
1. vocal organs and tissues are altered from their nor mal state; 2. the neuromuscular processes that operate voices are functioning abnormally.
Until recent years, singing teachers, music educators, choral directors, speech trainers, and acting teachers received
What if you were about to sing for a group of people
little or no educational background in health and voice pro
and you happened to see a parent, a former teacher, or
tection.
Some university professors include voice health
colleague nearby, and your whole body tensed up and your
instruction in training courses but the trend is still in its
voice did not perform its usual skills very well? In other
infancy.
Teachers of expressive voice skills are in a key
words, what happens when vocal anatomy and function
position to play an important role in the recovery of opti
are fine, and speaking or singing skills have been learned
mum voice function in people who:
well, yet your usual flow of skilled self-expression is inter
1. have been diagnosed with a voice disorder; 2. are undergoing or have undergone therapy for the disorder; and 3.
fered with by a perceived threat to your well being? The first seven chapters of Book III are about those limitations to vocal capabilities and abilities.
Chapter 8 is
are returning to their "real life" settings at home, about neuropsychobiological interferences. The final six chap
work, or school.
ters describe assessments and treatments for "hurt" voices, and methods of preventive voice care.
They also are in a position be voice health and pro tection advisors for their students, their students' parents, their colleagues, and their communities. As described in the Fore-Words to this whole book,
Chapter I-Limitations to Vocal Ability from Use-Related Injury or Atrophy
comprehensive voice educators teach speaking and sing
Chapter 2-H ow Vocal Abilities Can Be Limited by Immune
ing voice skills and can knowledgeably and conscientiously
System Reactions to "Invaders"
perform as an auxiliary member of a cooperative voice
Chapter 3 -H ow Vocal Abilities Can Be Limited by Non-
treatment team.
Infectious Diseases and Disorders of
In addition, specialist voice educators
have training and experience that qualifies them to be a
the Respiratory
and Digestive Systems
member of a cooperative voice treatment team at a voice
the
big
picture
525
Chapter 4 - How Vocal Abilities Can Be Limited by Endo crine System Diseases and Disorders Chapter 5-H ow Vocal Abilities Can Be Limited by Diseases and Disorders of the Auditory System Chapter 6-H ow Vocal Abilities Can Be Limited by Diseases and Disorders of the Central Nervous and Musculosk eletal Systems Chapter 7-H o w Vocal Abilities Can Be Limited by Ana tomical Abnormalities and Bodily Injuries Chapter 8-Neuropsychobiological Interferences with Vo cal Abilities Chapter 9-M edical Diagnosis and Treatment of Diseases and Disorders that Affect Voice Chapter 10-Medications and the Voice Chapter 11-Vocal Fold and Laryngeal Surgery Chapter 12-Serm on on Hydration (or "The Evils of Dry") Chapter 1 3 -How Vocal Abilities Can Be Enhanced by Nutri tion and Body Movement Chapter 14-Cornerstones of Voice Protection
R eferen ces Leach, R. (1986). Chiropractic Theories: A Synopsis of Scientific Research (2nd Ed.). Baltimore: Williams & Wilkins. Sataloff, R.T., Brandfonbrenner, A.G., & Lederman, R.J. (1991). Textbook of Per forming Arts Medicine. San Diego: Singular.
526
bodymind
&
voice
chapter 1 limitations to vocal ability from use-related injury or atrophy Robert Bastian, Leon Thurman, Carol Klitzke
W
hen your vocal folds vibrate to make sound,
When females sing in their higher pitch range (so
it is primarily the surface tissue, or mucosa
prano, for instance), their vocal folds may experience from
which is subject to "wear and tear". When you
80,000-90,000 shearings-collisions in songs with average
are making relatively clear vocal sounds, the mucosa of
ranges. In their lower pitch range (alto, for instance) their
your two vocal folds collide into each other with each vi
folds may experience from 55,000 to 65,000 shearings-col-
bration. The relative intensity of those collisions is referred
lisions. During three minutes of continual quiet conversa
to as impact force (Jiang & Titze, 1992). There is also a
tion, female vocal folds could experience from 30,000 to
shearing force, somewhat like what happens when you
40,000 shearings-collisions.
place one hand palm down on a table, plant the fingers of
When higher-voiced adult males (tenors, for instance)
the other hand on the skin of the tabled hand, and then
sing a song, their vocal folds may experience from 40,000 to
move the skin back and forth with your fingers without
50,000 shearings-collisions. The same song in a lower (bass)
allowing the tabled hand to move.
range might produce 30,000 to 40,000 shearings-collisions.
When you sing the pitch called "middle C" (C4) for one
During three minutes of continual quiet conversation, male
second, your vocal fold mucosa vibrate 260 times! Each of
vocal folds could experience from 15,000 to 22,500 shearings-
these 260 vibrations subjects the mucosa to both a colli
collisions.
sion and a shearing force. The "C" below middle C (C3)
What might the cumulative numbers be at the end of
results in about 130 shearings and collisions, while the one
a day which included a lot of talking at work or school and
above (C5) results in about 520 shearing-collisions per sec
one or two hours of rehearsal or three hours of perfor
ond.
mance? It can easily be three million shearings-collisions or more. W hat if this amount of voice use occurs virtually every day of the week? Do this: Begin lightly tapping the back of one hand with the
fingers of your other hand, and continue doing so while you read to the next Do this.
Do this: About how many times have you tapped your hand so far? Imagine what your hand might feel like after 50,000 taps.
How many vocal fold shearings-collisions would take
500,000 taps? A million?
place in three minutes of singing or speaking? limitations
to
vocal
ability
527
Now, hit the hack of your hand very hard fifteen times.
and necessary muscles are working harder than necessary.
How would fifty of those feel?
If neck and throat muscles are used inefficiently, the effect of impact and shearing forces on vocal fold tissues is intensi fied and larynx muscle fatigue rate is compounded.
An
Lightly tapping your hand is like the vocal fold colli
apparently muscle-based problem of (1) fatiguability, (2)
sion and shearing forces during quiet conversation or soft,
diminished vocal capability, and (3) voice quality change
easy singing. Hitting your hand very hard is like very loud
can occur after a long period of strenuous and inefficient
shouting or singing in which:
voice use. An underconditioned larynx that is used strenu
1. the collision and
shearing forces on your vocal
folds are near a maximum; and
ously can manifest these vocal limitations in a fairly short period of time.
2. your larynx muscles are working near the maxi
W hat we commonly call voice abuse and overuse
mum of their current capacities so your muscle fatigue rate
result from extensive, vigorous, and inefficient voice use
is high.
with high impact and shearing forces. When these condi
After 15 very hard hand hits, people with lighter skin
tions occur, they induce a defensive, inflammatory reaction
pigmentation will be able to see an area of erythema (red
in vocal fold tissues. The vocal folds redden, swell up, and
ness) of the skin. This is an early local response to injury.
may eventually develop other, more serious tissue reactions
Darker skin pigmentation prevents seeing the red colora
(described later).
tion, but the tissue response is the same. Of course, with
Some people have a high degree of innate talkative
proper equipment redness will typically be visible in every
ness. They are quite extroverted and have a "drive from
traumatized larynx because there are no essential light-dark
within" to talk. Typically, they derive pleasure and self-iden
pigmentation differences inside the larynx among human
tity from a vocally demanding occupation and life-style. A
beings. The response of hands to hand hitting is analogous
vocally demanding occupation and life-style can similarly
to the effect of collision and shearing forces on the vocal
be termed a "pull from without" to talk a lot (see Scherer, et
fold mucosa.
al., 1980).
The simplest way to address the "drive from
Besides erythema, fluid begins to accumulate in the
within" is to ask a patient the following question: "Where
mucosa and to create swelling, and this is referred to as
would you place yourself on a 1-7 point scale of innate
edema.
If the vibratory trauma ceases early enough and
talkativeness (not externally imposed)? One represents an
there is appropriate recovery time, both erythema and edema
untalkative, introverted even reclusive person, four repre
may disappear within hours to days. On the other hand, if
sents a moderately talkative person, and seven represents an
vibratory trauma from voice misuse, overuse, or abuse is
extremely talkative, highly sociable individual."
the mucosa's daily experience, then edema fluid begins to
ment of the "pull from without" is done by asking about
be replaced by more stable and chronic material which does
vocal commitments arising from occupation, rehearsal and
not mobilize away as quickly, even if the trauma stops.
performance demands, child care responsibilities, use of voice
Should this understanding of vocal fold
vibration
cause a person to be silent as much as possible? Of course
Assess
for religion, sports, and so forth. People who answer one or two are considered candi
not! The vocal folds are actually well-suited to vibratory
dates for the vocal underdoer syndrom e.
stresses-much more so than is the skin of the back of the
underdoers are in any circumstance that requires them to
If v ocal
hand. Yet, the mucosa does have a limit to the number and
behave as though they are fives, sixes, or sevens, they are
vigor of shearings-collisions it can experience before injury
underconditioned for that level of demand on their larynx
begins.
Vibratory trauma might be defined, therefore, as
muscles and vocal fold mucosa, and are at risk for devel
the number and vigor of shearings-collisions which exceed
oping vocal fatigue or other distressful vocal symptoms.
the tolerance of the mucosa.
People who answer six or seven are considered candidates
Voice misuse and inefficient voice use are the same thing-unnecessary muscles are engaged rather than released,
528
bodymind
&
voice
for the vocal overdoer syndrome. In persons with a high "drive from within" combined with a high "pull from with
out," the vocal overdoer syndrome is verified.
The vocal
the brief-sometimes faint-sound of air escaping just before
overdoer syndrome is virtually always a primary source of
tone starts. In other words, sound initiation will be delayed
chronic mucosal injuries.
a split second later than it was intended.
W hat vocal distress symptoms might you notice after
3. Air wasting: When singing or speaking with soft
a combination of voice misuse, abuse, and overuse over a
to moderate vocal volume, you may notice an unintended,
sufficiently long period of time (including underdoers who
slightly fuzzy to noticeably breathy voice quality. That is a
are in vocally demanding situations)? In other words, how
likely sign that-at a minimum-your vocal fold surface tis
might your vocal capabilities and abilities be affected when
sues are swollen and/or stiff and that pulmonary air is es
your vocal fold mucosa or your larynx muscles have been
caping between your vocal folds (see symptom 7, below). If
changed by extensive, vigorous, and perhaps inefficient use?
you have a mucosal lesion that is somewhat large, you also
1. Altered pitch-making capability: When your vo
may notice that you cannot sustain a pitch for as long a
cal fold tissues have changed in order to defend themselves
time as you once were able to. This symptom also may be
against extensive, vigorous, and/or inefficient use, then pitch-
present if your larynx muscles and vocal fold tissues are
making capability is likely to be diminished, or in some
somewhat underconditioned. Air wasting also occurs in
cases, temporarily lost. The nature of the tissue changes,
people with normal, healthy vocal folds, but who habitu
and the degree of severity, are the sources of the diminished
ally speak or sing with insufficiently closed vocal folds (see
capacity.
Book II, Chapter 10).
a. Loss of, or difficulty with, high-pitched soft singing
4. d ay-to-day voice skill variability:
The speed,
in your upper two vocal registers is a common symptom.
precision, and "easy flow" of learned singing skills normally
Your upper registers may continue to work, however, as
vary from day to day and with the time of day. When,
long as singing is fairly loud.
If you have never experi
however, your vocal fold tissues have changed in order to
enced your true high-range capability, you may not experi
defend themselves against extensive, vigorous, and/or inef
ence this symptom.
ficient use, the extent of variation in those skills increases
b. You may notice a likely gain of some pitches in your lowest pitch range.
and brings an unaccustomed unpredictability to your abil ity to perform.
c. Your brain will send habitual signals to your lar ynx to arrange the length, thickness, and tautness of your vocal folds in order to produce a particular frequency of
The same symptoms may occur if your
larynx muscles and vocal fold tissues are considerably fa tigued or underconditioned. 5. reduced vocal endurance:
When your voice is
vocal fold mucosal waving (perceived pitch). Its cognitive
reasonably skilled and in reasonable condition, your voice
memory will expect that pitch to be produced.
If your
quality will be firm and clear and you will be able to speak
vocal folds have an abnormal amount of tissue mass or
and sing well for relatively long periods of time without
stiffness, the waving frequency will be reduced slightly be
symptoms.
low the target frequency, and the pitch will be slightly un
either acute or chronic, this picture may change. After much
When there is a degree of mucosal swelling,
der the target. Your brain will notice the difference and very
shorter periods of voice use-as little as 30 minutes or less-
rapidly adjust the vocal folds. In other words, pitch into
the singer may notice an increase of huskiness, loss of high
nation for singing, and pitch inflection for speaking, will be
soft singing, and increase in the sense of effort required to
affected adversely by altered vocal fold tissues.
produce voice. This seems to be because swollen mucosa
d. Biphonia or multiphonia are labels for simulta neous production of two or more audible frequencies in
is easily made to swell even more. 6. Increased effort:
W hen vocal fold tissues have
sustained speech or singing. It can result from uneven (asym
changed in order to defend themselves against extensive,
metrical) vocal fold dimensions such as one being larger
vigorous, and/or inefficient use, one of the first signs that
than the other.
experienced, skilled singers observe is an increase in effort,
2. Voice onset delays: When you start to sing a pitch,
that is, a sense of needing to work harder in the breathing
particularly in your upper two registers, you may notice
and neck-throat muscles in order to make their voices re limitations
to
vocal
ability
529
spond. If this happens to you, you still may be able to sing
e.
Vocal fry is a voice quality that was so named
at a level that is satisfying to your family, friends, audience,
because it seems to resemble the sound of frying food. It is
and even your singing teacher. But you will feel the extra
usually produced in the lowest pitch area of a voice.
work that is required, and your former vocal freedom and joy of singing may be diminished. 7.
The good news is that, in most cases, all of the above
conditions and symptoms can be reversed with appropri Loss of vocal sound or altered voice quality:
Absence of vocal fold mucosal waves when phonation is
ate medical and/or therapeutic assistance by voice-experi
attempted is called aphonia (no vocal sound). So, when a
enced health professionals. Remember, however, that con
person attempts to speak and only a raspy whisper is heard,
tributions to the tissue changes and the vocal symptoms
the person is said to be aphonic. When vocal fold vibra
and limitations described in this chapter can be made by
tions occur but voice qualities are heard that indicate an
factors other than misuse, abuse, and overuse of voice. In
alteration of vocal anatomy or neuromuscular functioning,
order to minimize the severity of chronic or frequently-
a person's voice is generally referred to as dysphonic, or
occurring vocal distress-and the amount of time it is en-
as presenting a dysphonia. A dysphonic voice may present
dured-an evaluation by a voice health professional, within
one or more of the following five sound qualities. These
a reasonable amount of time after symptom onset, is highly
terms refer to vocal characteristics that can be heard and
recommended.
labeled by experienced listeners. a. Lack of complete vocal fold closure due to ana tomical alteration—such as vocal fold bowing, paresis, or
B en ig n D iso rd e rs o f th e V o c a l F o ld M u co sa
paralysis—allows some amount of air to pass between them during mucosal vibrations. The result is an air turbulence
In people with normal vocal anatomy, optimal pho nation and efficient voice use refer to the same concepts.
noise called breathiness. b. Roughness is a voice quality that is difficult to
In speech, the larynx produces culturally expressive pitch
describe in words. A kind of mild "bleating" or "beating"
ranges, sound volumes, vocal qualities, and speed-rates that
quality is heard in sustained vocal sound, usually because
are physically and acoustically efficient. An ideal of physi
the two vocal folds have become somewhat asymmetri
cal and acoustic efficiency can be detected from its per
cally configured, and abnormal, quasi-periodic mucosal
ceived characteristics. It includes an habitual voice quality
waves occur. It is more common in vocal fold polyps.
that sounds firm and clear but mellow and warm (see Book
c. Hoarseness is sometimes defined as a combination of breathiness and roughness. Hoarseness has a more promi nent stridency in its quality than breathiness.
It reflects
II, Chapter 15, and Book V Chapter 2). Voices can deviate considerably from an ideal of physi cal and acoustic efficiency and still be accepted by most
vocal fold tissue alteration that is more pronounced than
people.
the degree of alteration that is evidenced by breathiness, but
with breathy and even hoarse voice qualities. The familiar
is less than the degree of alteration that is evidenced by
spoken "vocal signatures" of many everyday people includes
roughness. Swelling and nodules usually produce hoarse
an edgy, pressed, constricted, or piercing voice quality. Their
ness.
voice pitch and volume range, speed-rate, and quality are d. Tenseness is synonymous with an edgy, pressed,
constricted, strident, or piercing voice quality.
It can be
heard when vocal folds are drawn together with excessive
Some actors and popular music singers perform
part of their self-identification and that "signature" usually becomes familiar to others and is accepted as normal. If optimum function of your larynx and its vocal folds
A relatively narrow vocal tract is com
is ever impaired so that your vocal ability is limited, your
m only involved, especially the aryepiglottic sphincter
voice will be disordered. A voice disorder can occur for two
(epilarynx or laryngopharynx).
general reasons:
muscular force.
530
bodymind
&
voice
1. when vocal fold tissues have been altered from their
Vocal fold swelling, for any reason, changes the way
developmentally prescribed anatomical structure and di
your brain coordinates its fine-tuned, skilled muscle move
mension (see below);
ment for speaking and singing.
If the swelling is present
2. when neuromuscular functioning of the larynx or
long enough, this coordination change can become habitual
respiratory system has been altered so that optimum voice
in both speaking and singing, even after the swelling goes
cannot occur (see Chapters 3 and 6).
away. The rate of coordination change is usually so slow that you are rarely, if ever, aware of it.
V o c a l F old E d e m a an d E ry th e m a Swelling is the most common way that your vocal folds react to trauma. When vocal fold tissue is infected,
V o c a l F old P olyp an d P o ly p o sis A vocal fold polyp most commonly results from ex
penetrated, or sustains vibratory trauma (collision and
tensive and strenuous voice use with high impact and shear
shearing forces), an inflammatory response is initiated in
ing forces over time (see Color Photo Figure I II -I I -2A). Tis
the tissue. Two aspects of a local inflammatory response
sue at the surface of the folds loosens from normal "moor
are:
ings" and fills with blood or tissue fluid, thus polyps have 1. increased accumulation of fluid in the affected tis
sues (swelling); and 2. capillary dilation (enlargement) with increased blood flow.
a blister-like appearance.
If a blood vessel breaks in the
formation of a polyp, it becomes blood-filled.
Often, a
polyp represents the end-stage of a vocal fold hemorrhage (described later). A hemorrhage occurs and a hemorrhagic polyp forms and eventually resolves into a non-hem or-
Edema is the formal term for swelling. Vocal fold swell
rhagic polyp. Occasionally, even a normally non-abusive
ing is the most common way that vocal fold mass is in
voice user has a single-episode, vocal "accident"-during a
creased. Excess fluid accumulates in the superficial layer of
very loud, spontaneous scream, for instance-and a polyp
the vocal fold tissues, just below the epithelium (skin layer).
is formed.
The folds are thereby ballooned out and become more stiff.
Polyps can be a variety of sizes and shapes. Typi
Erythema refers to an unusually reddened coloration of tissue
cally, they are located on the membranous portion of the
and may accompany edema in the early stages of an in
vocal folds, at the point of maximum collision and shear
flammatory response to impact and shearing forces. Dur
ing stress, that is, the midpoint area. In rare cases they can
ing extensive voice use over time, and with high impact and
be located underneath the common colliding areas where
shearing forces, many capillaries usually dilate in the la
they are more difficult to see during videostroboscopic ex
ryngeal area to produce the reddened coloration. Laryn
amination.
Polyps are less likely to self-repair, but they
geal erythema also occurs when the immune system re
may, especially if a polyp is small, relatively new, and if the
sponds to viral or bacterial infection or allergic response,
conditions that initiated it are greatly reduced or removed.
that is, inflammation.
Surgery is more likely for
polyps than for nodules, but
When swelling occurs in your vocal folds, the areas
behavioral therapy with a speech-voice therapist is com
where your vocal folds meet and collide are larger and stiffer.
monly indicated both before and after surgery in order to
Your vocal fold mucosal vibrations are now more "slug
avoid recurrence.
gish" and will require even more closing force to create a
polyps (see Chapters 9, and 11).
Long-term therapy can resolve some
clear, non-breathy sound with desired loudness level. Col
Bilateral polyposis refers to a polypoid degeneration
lision forces will become greater and the swelling problem
of mucosal tissues along the full length of the vocal folds
will be maintained or worsened. When speaking or singing
(see Color Photo Figure III-11-6A). It sometimes is called
softly, air will "leak" through your swollen-stiffened and
smoker's polyposis or Reinke's edema.
poorly sealed vocal folds, and a breathy-hoarse-raspy-
of smoking and vocal "overdoing", along with an individual
husky voice quality will be heard.
susceptibility, seems to be universal for formation of this
limitations
to
vocal
The combination
ability
531
kind of mucosal disturbance. Although these polyps oc
ules remain, the greater the likelihood that they may be
cur on both vocal folds, size of lesions may differ between
come too solid and "stubborn" for resorption. The amount
the two sides. Marked downward shift of the vocal pitch
of time that elapses before nodules become stubborn or
range is a common consequence, as is masculinization of
chronic is variable in different people. In one clinic, as few
voice quality in women. Smoking cessation and other be
as 10% of patients with nodules eventually decided to un
havioral changes (voice therapy) reliably stop the progres
dergo laryngeal microsurgery in order to remove them
sion of smoker's polyposis, but the tissue change is permanent
(Chapter 11 has details). Although many continued to have
Surgery can be helpful to voice function, but is not ex
some evidence of their nodules, improvement with voice
pected to restore a completely normal voice quality and
therapy alone was sufficient to permit adequate vocal func
pitch range (Chapters 3 and 11 have some details).
tioning. Presence of nodules is "always" detectable with the use of high-frequency, low amplitude vocal tasks that reli
V o c a l F o ld N o d u les
ably detect swelling (see Chapter 11 and Bastian, et al., 1990).
Vocal fold nodules (commonly called nodes, see Color
Even among singers who have nodules, some voices may
Photo Figures I II -I - II and I II -I I - IA) usually are bilateral
function to the singer's satisfaction, even in highly competi
(one on each fold), though one nodule may be larger than
tive professional opera singing. If that is the case, the nod
the other. Their standard location on the folds is the middle
ules are left alone and the patient is monitored.
of the membranous portion, directly across from each other. Physicians typically refer to any tissue change at this loca
V o c a l P rocess G ra n u lo m a an d U lce r
tion as nodules.
A vocal process granuloma typically forms on the
Sometimes, the earlier tissue change results in forma
cartilaginous portion of the vocal folds which are attached
tion of a soft, tapered, swollen bump at the nodule location.
to the vocal processes of the arytenoid cartilages (the rear
Some voice health professionals may refer to them as soft
two-fifths of the vocal folds), and sometimes includes im
nodules. They actually are swellings at the nodule location,
mediately surrounding tissue (see Color Photo Figures III-
and some may resolve with only a few days of consider
I I -8AB and 9A). They occur because the tissue between
able voice recovery time (voice rest), while other may take
the mucosa and the cartilage has become injured and in
more time to resolve. As a result of numerous, high-force
flamed, and granulation tissue is heaped up over the injury.
collisions over time, fibrous, callous-like material may form
A vocal process ulcer occurs by the same mechanism and
just under the epithelium.
seems to be different primarily in being more flat and less
Sometimes they are fusiform
(tapered into surrounding tissue) , and sometimes they are
heaped up.
sharply formed with pointed tips (punctate). These are true
Vocal process granulomas or ulcers may result from
nodules, and some voice health professionals may refer to
extensive and vigorous voice use over time, especially when
them as hard or fibrous nodules. The overall dimensions
the use involves some combination of considerable cough
of the vocal fold mucosa are very small and measured in
ing and a predominantly low, pressed, or "barking" voice
millimeters (mm). Even 1 mm is an important, somewhat
use.
large area. Nodules may cover an area of 1 to 3 mm or
gopharyngeal reflux disease (LPRD) are common cofactors
more.
(Chapter 3 has some details). LPRD may initiate and sus How do nodules form?
With each
Gastroesophageal reflux disease (GERD) and laryn
vibration, the
tain a granuloma. Distressing life circumstances can play a
vocal folds collide into and shear against each other. In the
role in producing the conditions that result in LPRD and
rapid collisions of the folds, the point of greatest colliding
granuloma formation. Intubation for general anesthesia or
and shearing force is where nodules typically appear—the
ventilation purposes, particularly when prolonged for sev
middle of the membranous portion of the folds.
eral days or weeks, also can produce granulomas, often on
There is a good chance that bodies will be able to
both vocal folds. These are termed intubation granulomas.
resorb part or all of nodules if the conditions that initiated
With continued voice use, granulation or ulceration
the nodules are reduced or removed. The longer the nod
of surface tissues becomes chronic and the tissue may be
532
bodymind
&
voice
come increasingly sensitive, even painful. There are pain-
creased if antiinflammatory medications are used-such as
specialized sensory nerves in the cartilaginous vocal fold
aspirin and ibuprofen-because of their blood thinning ef
portion (none in the membranous portion). Though many
fect.
months may be required, many granulomas that result from direct injury spontaneously mature and detach.
Voice
Hemorrhage is a very serious condition that requires immediate medical attention, voice use reduction, and voice
therapy can speed resolution of granulomas and ulcers when
therapy.
excessively effortful voice use has been a contributing fac
rhagic vocal folds may think that their voice is just very
tor. Another option is to inject into the granuloma a tiny
hoarse and not even be aware of the condition. They may
amount of an antiinflammatory medication. After surgery,
notice that "something happened suddenly to my voice, and
reformation of a granuloma is extremely common, almost
it has been quite hoarse since." If the type of voicing that
expected (Chapter 11 has some details).
brought on the condition continues, then a hemorrhagic
Unfortunately, some people who have hemor
polyp may form. Under those conditions, people may no
C ap illary E cta sia
tice that their voices sound quite hoarse or rough, tire eas
Capillary ectasia (from Greek: ek = expanding out) or
ily, and feel somewhat uncomfortable.
capillary dilatation (from Latin: dilatare = to widen) refers to abnormal enlargement of the normally tiny capillaries
V o c a l F old C yst
that course through the vocal fold mucosa. Generally, in
A vocal fold cyst may appear on one or both vocal
some V ocal overdoers", these capillaries dilate in response
folds (see Color Photo Figure III-11-4A). One type, called
to chronic injury (see Color Photo Figure III-11-3A).
In
an epidermoid inclusion cyst, is best thought of as an
some people, one noticeably dilated capillary is visible on
acquired lesion of vocal overdoers, though some believe
the mucosal surface. If the capillary is on the upper surface
that there may be a congenital influence. An epithelium-
of the vocal folds, a relatively large, concentrated area of
lined sac forms beneath the mucosa.
blood may be visible, called a capillary varix (as in a V ari
which are thereby buried beneath the surface cells, shed
cose vein") (see Color Photo Figure III-1-13).
Sometimes
debris (as our skin does on a continual basis). As the cyst
capillary ectasia is seen as an incidental finding in a person
accumulates this debris, it slowly enlarges, and vocal fold
who has no vocal symptoms. Asymptomatic ectasia is left
function gradually becomes more impaired. When a cer
untouched. When repeated bruising, a hemorrhagic polyp,
tain size is reached, a faint whitish sphere can be seen through
or reduced mucosal resistance to swelling occur in the con
the mucosa on the upper surface of the vocal fold.
text of capillary ectasia, microsurgery (spot coagulation with
vocal fold edge also may protrude, and inexperienced
the laser) can easily resolve the problem (Color Photo Fig
laryngologists may mistakenly diagnose nodules.
ure III-11-3DE.
videostroboscopy with high magnification and "slow mo
Surface-type cells,
The
Use of
tion" viewing of the mucosal vibration often will lead to an
V o c a l F old H e m o rrh a g e
accurate diagnosis.
Vocal fold hemorrhage (bruising) may occur follow
A mucus retention cyst seems to be less related to
ing highly forceful, or very loud voicing (see Color Photo
vocal misuse or abuse. A mucus gland becomes plugged,
Figure III-1-12 and III-l1-3B). One or more capillaries burst
sometimes after an upper respiratory infection, and mucus
in response to the mucosal shearing forces and blood leaks
is retained in increasing amounts within the gland.
into the surrounding tissue. Common contributors to hem
type of cyst occurs more commonly just below the leading
This
orrhages are sudden very loud screaming or the frequent
edge of a fold, sometimes protruding quite a distance, and
use of strong "glottal attacks" (explosive voice pops) to ini
the white "sphere" that is seen with the epidermoid cyst is
tiate words that begin with vowels. A major risk factor is
not noted. When cysts become large enough, they can im
the preexistence of capillary ectasia (described above). Some
pact on the other fold and can cause a nodular tissue reac
women are more vulnerable to hemorrhage during their
tion there. In any case of cyst formation, the only definitive
premenstrual period.
solution is microsurgery, though skilled voice therapy both
The extent of bruising may be in
limitations
to
vocal
ability
533
Vocal fold bowing occurs when muscle and/or liga
before and after surgery will optimize the results (see Chap ter 11).
ment and mucosa become atrophied and of smaller mass. Disuse, reduced use, or aging processes can set atrophic
V o c a l F old S u lcu s an d F u rrow
processes underw ay and a com m on result is v ocal
Vocal fold sulcus, also called sulcus vocalis, occurs when a cyst spontaneously ruptures, emptying part or all
underconditioning. Several symptoms that accompany bow ing include:
of its contents, but leaving the lining of the remaining pocket
1. some loss of customary sharp clarity and richness
behind (see Color Photo Figure III-11-5A). With the pres
of voice quality, that is, a fuzzy, soft-edged, thin, or breathy qual
ence of a sulcus, optimization of voice production fails to
ity that is primarily a manifestation of increased air wast
return an acceptable level of voice function. Skillfully per
age:
formed vocal fold microsurgery typically improves voice function-som etim es dram atically-but a 100% return to
2. loss of a few semitones at the lower end of the pitch range;
normal function may not occur (see Chapter 11).
3. progressive weakening of vocal volume and sub
A vocal fold furrow means that there is a less-thannormal amount of tissue in the superficial layer of one or both of the membranous vocal folds (usually both).
A
groove or furrow has formed along the front-to-back length
stance, especially in lower pitch range; 4. some upward shift in the average vocal pitch range in speaking and/or singing.
of the folds, in which there is a deficiency of capillaries and an abundance of collagenous fibers (Sataloff, 1991, p. 277). Tissue mass in the furrowed area is decreased, producing a bowing of the vocal folds, and the tissue is stiffened (Gould, et al., 1993, pp. 149-150). When a furrow is very deep, a vocal fold appears to be divided into two parts (Pontes & Behlau, 1993). Because the upper and lower edges of a fur row are compliant, a kind of "multiple flapping" of vocal fold tissue occurs during voicing. Hoarseness, therefore, is prominent. Causes for vocal fold furrow are still specula tive. Congenital malformation and vocal fold tissue infec tion are two possible causes. In some people, a history of very intense voice use (possibly during an infection) may result in changes of vocal fold tissue that evolve into sulcus. Microsurgical procedures may improve vocal fold func tion (Chapter 11 has more).
B ow ed V o c a l F o ld s Upon videostroboscopic examination by members of a cooperative voice treatment team, a person with bowed vocal folds—while
sustaining vocal sound—will display
an oval gap between their folds, rather than a straight-line
This condition can be seen in a variety of people for a variety of reasons, such as: 1. older adults who display sarcopenia of the laryn geal shortener muscles (the thyroarytenoids) and the vocal fold cover tissues due to a combination of reduced voice use and aging processes (Greek: sarco = flesh, body; peinia = reduction in amount; Evans & Rosenberg, 1991; see Book IV Chapter 6); 2. people who have been very ill, with resultant weight loss and general debilitation; 3 . people of any age who are longer-term vocal underdoers; 4. people who seem to have innate, comparatively thin vocal fold tissues and mild bowing, analogous to people who have a slender (ectomorphic) body type; 5. people who have sung with very high subglottal pressures and vocal fold collision and shearing forces for a number of years, and their larynges begin to "fail", analo gous
to what happens to the heart after many years of
untreated high blood pressure
(hypertensive cardiomy
opathy).
closure, especially at lower pitches. In other words, from the tip of the vocal processes to the anterior commissure, the margins of the folds are concave (bowed). Under strobe light, this configuration often correlates with a prolonged open phase of mucosal waving, and sometimes irregular, out-of-phase mucosal waving.
534
bodymind
&
voice
Typically, after a period of relatively athletic voice use, an apparent partial recovery occurs in only a few hours, but symptoms are likely to return after another period of voice use. By contrast, with mucosal swelling, recovery time usually is longer.
Vocal folds are very strong, resilient structures. While
muscles and vocal fold tissues, are keys to reducing the
they can take a lot of "punishment", they are living tissue
likelihood of vocal fold injury or atrophy (see Book II, Chap
and there are limits to the number of impact and shearing
ter 15; Book V, Chapters 2 and 5; also Comins, 1992b;
forces they can take before they begin to defend themselves
Kaufman & Johnson, 1991).
or "break down". Recovery from these conditions can oc cur with help from one or more members of a team of voice professionals including a laryngologist, a speech/voice therapist, and a specialist voice educator.
V o c a l F o ld In ju ry or A tr o p h y in “A th le tic ” V o ic e U se rs People use their voices athletically when they use them extensively, vigorously, and/or with higher speeds of neu romuscular movement. Ideally, vocal athletes have learned how to use their voices with optimum physical and acous tic efficiency, and their larynx muscles and vocal fold tis sues have optimally adapted (conditioned) to the demands
R efe re n ce s an d S ele cte d B ib lio g ra p h y Aronson, A. E. (1990). Clinical Voice Disorders (3rd Ed.). New York: Thieme. Bastian, R.W. (1988). Factors leading to successful evaluation and manage ment of patients with voice disorders. Ear; Nose and Throat Journal, 67, 411420. Bastian, R.W. (1997). Benign mucosal disorders, saccular disorders, neo plasms. In C. Cummings, & J.M. Fredrickson (Eds.), Otolaryngology-Head and Neck Surgery (2nd Ed., Vol. 3). St Louis: C.V. Mosby. Bastian, R.W., Keidar, A. & Verdolini-Marston, K. (1990). Simple vocal tasks for detecting vocal swelling. Journal of Voice, 4(2), 172-183. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215).New York: Thieme Medical Publishers.
that have regularly been placed on them (vocal condition ing is presented in Book II, Chapter 15). Vulnerability to laryngeal injury is increased, however, (1) when lower de grees of efficiency have been learned but higher levels of conditioning are present, or (2) when higher degrees of effi ciency have been learned but lower levels of conditioning are present. Various occupations require extensive and/or vigor ous voice use, and the people in those occupations are at greater risk of laryngeal injury (Fritzell, 1996; Titze, et al., 1997). These occupations include: educators, clergy, politi cians, professional actors and singers, entertainers, public speakers, telephone marketers, trial lawyers, traders, many business executives, physicians, auctioneers, aerobics instruc tors, and so on. Educators are particularly vulnerable (Bistritsky & Frank, 1981; Calas, et al., 1989; Comins, 1992a; Gotaas & Starr, 1993; Kahn, 1987; Mattiske, et al., 1998; Russell, et al., 1987; Sapir, et al., 1993; Tuettemann & Punch, 1992). Singing students and even singing teachers are susceptible to voice disorders (Miller & Verdolini, 1995; Sapir, 1993). Various non-career pursuits also require athletic voice use, such as singing, acting, and sports team cheerleading (Andrews & Shank, 1983; Reich, et al., 1986; Thurman & Klitzke, 1996). Attending to the physical and acoustic effi ciency of all voice use, and to conditioning of the larynx
Benninger, M.S., & Novelly, N. (1993). Voice disorders in children. In J.T. Johnson, C.S. Derkay, M.K. Mandell-Brown, & R.K. Newman (Eds.), Instruc tional Courses: American Academy of Otolaryngology - Head and Neck Surgery (pp. 109-120). St Louis: Mosby - Year Book.. Benninger, M.S., Jacobson, B.H., & Johnson, A.F. (Eds.) (1994). Vocal Arts Medi cine: The Care and Prevention of Professional Voice Disorders. New York: Thieme Medical Publishers. Bernstorf, E. (1993). Specific personal and environmental factors as predic tors of vocal integrity in elementary vocal music teachers. Unpublished Ph.D. dissertation, Wichita State University. Brown, W.S., & Holbrook, A. (1986). Vocal stress in relation to total phonation time and loud phonation time during vocal performance. In V.L. Lawrence (Ed.), Transcript of the Fourteenth Symposium: Care of the Professional Voice. Philadelphia: The Voice Foundation. Campbell, S.L., Reich, A.R., Klockars, A.J., & McHenry, M.A. (1988). Factors associated with dysphonia in high school cheerleaders. Journal of Speech and Hearing Disorders, 53, 178-185. Colton, R.H., & Casper, J.K. (1990). Understanding Voice Problems: A Physiological Perspectivefor Diagnosis and Treatment. Baltimore: Williams & Wilkins. Evans, WJ., & Rosenberg, I.H. (with Thompson, J.) (1991). Biomarkers. New York: Fireside. Filter, M.D., & Poynor, R.E. (1982). A descriptive study of children with chronic hoarseness. Journal of Communication Disorders, 15, 561-467. Gandevia, S.C., Enoka, R.M., McComas, A.J., Stuart, D.G., & Thomas, C.K. (Eds.) (1995). Fatigue: Neural and Muscular Mechanisms. New York: Plenum. Greene, M. C.L. & Mathieson, L. (1989). The Voice and Its Disorders (5th Ed.). London: Whurr Publishers. Hammarberg, B., & Gauffin, J. (1996). Perceptual and acoustic characteristics of quality differences in pathological voices related to physiological aspects. In O. Fujimura & M. Hirano (Eds.), Vocal Fold Physiology: Voice Quality Control (pp. 127-145). San Diego: Singular. limitations
to
vocal
ability
535
Horii, Y. (1979). Fundamental frequency perturbation observed in sustained phonation. Journal of Speech and Hearing Research, 22, 5-19. Horii, Y. (1980). Vocal shimmer in sustained phonation. Journal of Speech and Hearing Research, 23, 202-209. Jiang, J., & Titze, I. (1992). Measurement of vocal fold intraglottal pressure and impact stress. Journal of Voice, 8(2), 132-144. Johnson, A.F. (1994). Disorders of speaking in the professional voice user. In M.S. Benninger, B.H. Jacobson, & A.F. Johnson. Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 153-162). New York: Thieme Medi cal Publishers. Klingholtz, F. (1987). The measurement of the signal-to-noise ratio (SNR) in continuous speech. Speech Communication, 6, 15-26. Laver, J., Hiller, S., & MacKenzie Beck, J. (1992). Acoustic waveform pertur bations and voice disorders. Journal of Voice, 6(2), 115-126. Levine, H.L. (1994). Disorders of singing. In M.S. Benninger, B.H. Jacobson, & A.F. Johnson. Vocal Arts Medicine: The Care and Prevention of Professional Voice Disor ders (pp. 163-168). New York: Thieme Medical Publishers. Linville, S.E. (1995). Changes in glottal configuration in women after loud talking. Journal of Voice, 9(1), 57-65. Mathieson, L. (1993). Vocal tract discomfort in hyperfunctional dysphonia. VOICE, The Journal of the British Voice Association, 2(1), 40-48. Milutinovic, Z., & Vasiljevic, J. (1992). Contribution to the understanding of vocal fold cysts: A functional and histologic study. Laryngoscope, 102, 568571. Orlikoff, R.F., & Baken, R.J. (1990). Consideration of the relationship be tween the fundamental frequency of phonation and vocal jitter. Folia Phoniatrica, 42, 3 1-40. Orlikoff, R.F., & Kahane, J.C. (1991). Influence of mean sound pressure level on jitter and shimmer measures. Journal of Voice, 5(2), 113-119. Paparella, M., & Shumrick, D. (Eds.). (1980). Otolaryngology (Vol. Ill: Head and Neck, Section Four, Chapters 50 through 58). Philadelphia: W. B. Saunders. Pontes, P., & Behlau, M. (1993). Treatment of sulcus vocalis: Auditory, per ceptual and acoustical analysis of the slicing mucosa surgical technique. Journal of Voice, 7(4), 365-376. Sataloff, R. T. (1991). Professional Voice: The Science and Art of Clinical Care. New York: Raven Press. Scherer, U., Helfrich, H., & Scherer, K.R. (1980). Paralinguistic behavior: In ternal push or external pull? In H. Giles, W .P. Robinson & P.M. Smith (Eds.), Language: Social Psychological Perspectives (pp. 279-282). Oxford, United King dom: Pergamon. Stone, R.E., & Sharf, D.J. (1975). Vocal change associated with the use of atypical pitch and intensity levels. Folia Phoniatrica, 25, 91-103. Stringer, S.P., & Schaefer, S.D. (1991). Disorders of laryngeal function. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 2257-2272). Philadelphia: W.B. Saunders. Ternström, S. (1993). Longtime average spectrum characteristics of different choirs in different rooms. VOICE, The Journal of the British Voice Association, 2(2), 55-77. Titze, I.R. (1994). Mechanical stress in phonation. Journal of Voice, 8(2), 99-105.
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limitations
to
vocal
ability
537
chapter 2 how vocal abilities can be limited by immune system reactions to "invaders" Leon Thurman, Mary C. Tobin, Carol Klitzke
our immune system is constantly engaged in your
Y
1. considerably increasing cell metabolism in the af
defense. Multi-billions of immune cells, molecules,
fected area;
and organic systems work 24 hours per day to pro
2.
expanding blood vessels and accumulating other
tect you from substances that are on or in your body but
fluids in the invaded area to facilitate increased immune
were not made by your body. These substances, however,
cell transport and removal of dead cells including invader
can invade your body's tissues and/or cause your body's
cells; and
immune system to activate a defensive reaction (Book, I,
3.
Chapter 5 has details). Your immune system's function is
increasing the temperature in the affected and sur
rounding tissues.
to deactivate such "foreign" or "nonself" substances and pathogens (sub
This reaction of your immune system is called inflam
stances that can generate disease). Antigens are microor
remove them.
All invaders are called
mation. When the suffix -itis appears after the name of a
ganisms that can generate an antibody response by your
part of your body, it means that inflammation has oc
immune system. Your immune system engages with tar
curred in that body part and your immune system is en
geted intensity when:
gaged in protecting you.
1. pathogenic substances penetrate and injure some of your body's cells;
sinusitis refer respectively to inflammation that has oc
2. foreign microorganisms trigger antigen- antibody interactions in your body; 3 . toxins or irritants are deposited or released into your body; 4.
For instance, bronchitis, laryn-
gotracheitis, laryngitis, pharyngitis, tonsillitis, rhinitis, and curred in the bronchial areas of your lungs, your larynx and trachea, your larynx only, pharynx (throat), tonsils, nose, and your paranasal sinuses. All of those structures are part of, or affected by, your respiratory tract.
Acute
your body's tissues have been hit, abraded, punc inflammation may be mild or intense, but it is more tran
tured, or severed, making them particularly vulnerable to
sient, commonly lasting from 2 to 21 days.
Chronic in
pathogen invasion.
flammation also may be mild to intense, but is constant over a longer time, commonly one-to-several months, even
When your body's tissues are invaded or are vulner able to invasion, your immune system prepares the area of engagement by:
538
bodymind
&
voice
years, depending on the nature of the illness.
Inflammation that relates to your voice can occur in response to (1) infective pathogens and their products, (2)
B a c te ria l, V ir a l, an d F u n g a l Infections o f Your Respiratory Tract
allergenic substances and their products, (3) toxic or irri tant substances (gasses, acids, particles) that are deposited
When a pathogen has invaded, penetrated, or imbed
or released onto the mucosal tissues of your respiratory
ded itself in your mucosal tissues, and begins to proliferate
tract, (4) relatively intense impact and shearing forces dur
therein, an infection has taken place. Inflammation occurs
ing extensive or vigorous voicing, (5) imbalances in im
and the encounter is on. Infection of various sites in the
mune-endocrine chemistry due to stress or sleep depriva
respiratory tract can result from bacterial, viral, or fungal
tion (Black & Berman, 1999; Demetrikopoulos, et. al., 1994;
sources.
Faith, et al., 1999; Kiecolt-Glaser & Glaser, 1991; Kubitz, et
laryngitis, pharyngitis, tonsillitis, rhinitis, or sinusitis does
al., 1986; O'Leary, 1990; Plotnikoff, et al., 1999; Weigent &
not identify whether the pathogen is a bacterium, a virus,
Blalock, 1999.
or a fungus. In fact, a number of noninfectious agents can
Symptoms of inflammation in respiratory
To say that a person has infectious bronchitis,
induce inflammation of your larynx (Chapter 3 has de
tract areas include: 1. swelling of mucosal tissues (edema) because of fluid
tails).
accumulation;
B acte ria l In fectio n s
2. sensitivity, tenderness, or pain in those tissues be cause terminals of pain-specialized sensory nerves are
Bacteria are unicellular microorganisms.
Highly in
fectious bacteria are commonly located in the front of your
stimulated; 3 . a rise in overall body temperature;
nose, your nasopharynx, and other areas of your respira
4. deeper-red coloration of affected tissues (erythema)
tory tract. When extremely acute infections occur, they are usually bacterial, and they occasionally can be life-threat
because of capillary expansion; 5. reduction of function in affected tissues or organs;
ening without treatment. Typically, more severe bacterial infections induce some mixture of the following symptoms:
and
6 . increased mucus flow and drainage in the inflamed
1. very sore, inflamed throat that may produce pus; 2. difficulty or pain when swallowing;
area.
3 . swollen glands in the neck; 4. fever of 100° Fahrenheit or more for two days or
Because of gravity, mucus drainage may carry some
more;
pathogens from higher areas to lower areas of the respira tory tract. An immune system that already is under siege
5. shaking chills;
may not be able to stop a spreading of pathogens to other
6 . severe headache for 24 hours or more;
areas in the respiratory tract.
Engaging in extensive and
strenuous voicing when the vocal folds are already inflamed would intensify the inflammation and can worsen some form of short- and long-term vocal fold tissue change that
7. tenderness around your nasal sinuses;
8 . persistent coughing associated with chest pain, wheezing, and effortful breathing; 9. production of phlegm that is yellow, green, brown, or rust-colored.
interferes with vocal function. When the vocal folds are inflamed and hoarseness is present, they are more vulnerable to the impact and shearing stresses that are described in Chapter 1. The resulting additional tissue injury can seriously undercut speaking and singing abilities. Extensive, vigor ous, and inefficient voice use can more easily create serious voice disorders when preexisting tissue inflammation is present.
V ir a l In fe c tio n s Viruses are also unicellular microorganisms. They seek entry into a human host through the bodily surfaces of the skin, mouth, respiratory tract, digestive tract, and urogeni tal organs. The viruses that most commonly affect voice are rhinovirus (common cold), influenza A, B, and C vi ruses (flu), adenoviruses (adenoiditis, tonsillitis, and other
immune
system
reactions
to
invaders
539
infections of the respiratory and digestive tracts), and
stances (Book I, Chapter 5).
Those substances then are
Epstein-Barr (mononucleosis). Typical symptoms of com
called allergens (Greek: allos = other; ergein = to work). Most
mon viral infections (colds) are (1) scratchy or tickly throat;
allergens are environmental; a few can be produced by a
(2) runny nose with clear mucus, and watery eyes; (3) sneez
person's body. They make contact with and become at
ing; (4) minor aches and pains, possibly minor headache;
tached to bodily tissues after being (1) inhaled (pollen, for
(5) fatigue.
instance), (2) ingested (certain foods, for instance), or (3)
A virus that can be especially pernicious to voices is
injected onto or into a body (insect bite, for instance). Some
the human papilloma virus (HPV). This virus can produce
of the common symptoms that occur within two hours of
papillomas or papillomata—wart-like grow ths—in the
exposure are sneezing, inflammation of respiratory mu
surface layer of vocal fold tissue. This relatively uncom
cosa, runny nose, itchy-watery eyes, flushing, diarrhea, hives,
mon condition, can occur at any age. Papillomata can be
dizziness, fast heart rate, pressure-pain in the ears, head
removed only by precise laser microsurgery (see Chapter
aches, gastrointestinal distress, and/or general fatigue.
11). Repeated removals usually are necessary, ranging from
Most people are not susceptible to allergens. At least
several months to years between surgeries. Vocal fold func
20% of United States population experience some type of
tion can become exceedingly impaired over time because
allergic disease during their lifetime. Usually, the onset of
of inevitable formation of scar tissue.
allergic disease is triggered by a stressful environmental incident, such as a viral infection, physical or emotional
F u n g a l In fe c tio n s Fungi are closer in structure to plants than are the
trauma, or by surgery in a genetically susceptible person. Allergy can occur at any age.
Among children, allergic
other infectious microorganisms. The most common fun
disease occurs in boys more commonly than girls. Among
gus that can affect voice directly is Candida albicans. It is a
adults, it occurs more commonly in women than men. An
yeast-like fungus and is part of the normal content of the
array of medications and other treatments are available to
oropharynx, gastrointestinal tract, skin, and the vagina in
treat allergy (Chapters 9 and 10 have details).
women. Certain bacteria are its natural enemy and nor mally keep it in balance. Its infective process is called can
A lle r g ic R e a ctio n to In h a la n ts
Under certain circumstances it can invade and
The most common inhaled allergens include pollens,
colonize in mucosal tissues of the pharynx, larynx, and
molds, animal danders, dust mites, and various substances
esophagus.
found in dust. Common household dust may include lint,
didiasis.
Laryngeal candidiasis is seen most commonly in per
danders, mites, insect parts (cockroaches, for instance), vari
sons who use steroid inhalers at high doses and frequen
ous fibers, and other microscopic matter. Danders are tiny
cies. Prolonged, broad-spectrum antibiotic use can lower
flakes of dead cells that have fallen away (exfoliated) from
the number of bacteria that prey on Candida, and thereby
animal or human skin.
These allergens produce allergic
increase the possibility of infection. Typical symptoms and
rhinitis in the nose, allergic sinusitis in the sinuses, aller
signs of chronic mucosal candidiasis of the larynx and
gic laryngitis in the larynx, and allergic asthma in the
pharynx are: (1) hoarseness; (2) a chronic m ild-to-moder
lungs.
ate sore throat; (3) hazy-white covering on the vocal folds
Allergic reactions are seasonal in some people.
They
and/or distinct white spots elsewhere in the mouth and
occur when the allergens to which they are sensitive be
throat.
come plentiful. Ragweed pollen is plentiful in the Eastern United States at the end of summer. Grass is a prominent
A lle rg ie s
allergen in the Western United States during May and June. In the Midwest, for instance, tree pollen is massively pro
The term allergy refers to an increased reactivity of the human immune system to certain foreign or nonself sub
540
bodymind
&
voice
duced in the early spring, grass pollen in May and June, and ragweed pollen from mid-August to October.
Sea
sonal molds are problematic from March to November,
cer (Latin: cancer = crab).
but especially in October and November.
place the normal tissues of origin and eventually may dis
Perennial (year-round) allergic reactions are caused most
Cancer cells invade and/or re
tribute their malignancy to other organs and systems of
frequently by dust mites and household dust contents in
the body (metastasis).
city homes, and dust mites and cat dander in suburban
the tide.
The immune system cannot stem
homes. Dust contents and mold are two allergen sources
Carcinoma is a form of cancer that affects epithelial
that are common for people who rehearse and perform in
cells. It is the commonest form of cancer that occurs in the
theatres. Older, more dank theatres are especially infested
larynx, including the vocal folds. Increasing hoarseness is
with significant amounts of dust and mold in curtains and
its main vocal symptom. Tobacco use is strongly associ
other backstage equipment.
ated with laryngeal carcinoma. The seven warning signs of cancer—in any body site—
Certain chemicals (perfumes and interior burning fire wood residues, for instance) also can produce hypersen sitivity reactions, especially in allergic people.
are:
In recent
1. change in bowel or bladder habits;
years, such chemical sensitivity is being reported more of
2. a sore that does not heal;
ten. The condition is extremely difficult to document sci
3 . unusual bleeding or discharge;
entifically. Identifying chemical triggers involved and de
4. thickening or lump in breast or elsewhere;
fining the varied symptom clusters are only two of the
5. indigestion or difficulty in swallowing;
hurdles that physicians face.
6 . obvious change in a wart or mole; 7. nagging cough or hoarseness.
A lle r g ic R e a ctio n to F o od s Some food allergies are immediate, mild, IgE-mediated reactions to ingested foods such as nuts and shellfish. The
F or T h o se W h o W a n t to K n o w M o re...
reaction usually occurs within two hours of ingestion. In highly susceptible people, however, even minute amounts
In normal health, the respiratory tracts of all human
of a particular protein, such as peanuts, can cause severe,
beings contain an ecologically balanced "flora and fauna"
even fatal reactions. People who are highly susceptible to
of bacteria, viruses, fungi, and other potential "non-you"
food allergies need to carry with them at all times a supply
invaders such as dust, pollen, and so forth. M any of the
of epinephrine to counteract the allergy mediators (com
organic substances keep each other in check to help keep
mercially available as Epi-pens© or ANAKITS(Epi)©).
the ecology balanced. Enzymes are synthesized that attack
There are food intolerances that do not involve IgE
and degrade bacteria. Immune system cells, distributed by
antibodies. Food intolerances can be related to structural
the circulatory system, are contained within the mucosal
or functional abnormalities, such as enzyme deficiencies
tissues and in its mucus coating. They, too, help with eco
(lactose intolerance) or the presence of malignant cancer.
logical balance. For instance, when you are well hydrated,
Non-immunologic food reactions include food additives
your respiratory tract mucus engulfs potential pathogens
or dyes, toxins, or psychogenic reactions (anorexia and
and antigens, and microscopic hairs (cilia) move the mu
bulimia).
cus at a flow rate of approximately 6 to 7 millimeters per minute to be swallowed. The pathogens are then destroyed
C an cer
in the digestive tract (Wilson & Montgomery, 1991). This chapter is about what happens when your immune sys
The immune system is thought to play a major role in maintaining ordered function in the body's cells. Certain
tem defenses are penetrated by "non-you invaders". Bacteria are partly labeled by their shape.
Bacteria
conditions within some of the body's cells, as yet not wholly
can be spherical (cocci), rod-shaped (bacilli), spiral (spiro
defined, cause some cells in some people to radically change
chetes), and comma-shaped (vibrios). The most common
their function and structure. The condition is called can immune
system
reactions
to
invaders
541
infectious bacteria in the respiratory tract are group A strep
one that most commonly can affect vocal function—Can
tococci, Streptococcus pneumoniae, Staphylococcus aureus, and
dida albicans.
Haemophilus influenzae.
These bacteria commonly inhabit
The term allergy (Greek: alios = other; genein = to pro
the front of the nose and the nasopharynx, and other areas
duce) was coined in 1906 by the French physician Clemens
of the respiratory tract A bacterium known as Helicobacter
Baron von Pirquet (1874-1929).
pylori (H. pylori) is now known to infect the stomach lining
environmental proteins that are capable of producing an
and is the cause of gastritis and a factor in the development
allergic reaction in people, and they have no noticeable
of peptic ulcers in the stomach (Margen, 1995). Unlike bacteria, viruses are parasitic, that is, they do not have a self-sustaining, independent metabolism and
effect on about 80% of people. They include microscopic sized pollen, molds, animal dander, dust mite, and dust contents such as insect parts (cockroaches).
cannot reproduce themselves unless a cell of a host organ ism supplies the chemical means to do so. Viruses have a
Allergic diseases are categorized by the two ways that the acquired immune system responds to allergens:
nucleic-acid core (DNA or RNA) that is encased by a coat ing of protein. When a virus invades a living cell, its DNA or RNA provide the genetic code for its own replication
Allergens are common
1. immediate, humoral, or
antibody-mediated reactions;
and 2. delayed, or cell-mediated reactions.
and the host cell provides the chemical materials and "pro duction machinery". At least 200 of the known viruses are
In everyday dialogue, allergy has become synonymous
pathogenic in humans. Some viruses are known to mutate
with immediate hypersensitivities.
as they replicate. They adjust to changing anti-viral im
reaction to occur, a genetically susceptible person must first
mune system characteristics.
be exposed to an allergen that is capable of eliciting an
Some viral infections are life-threatening (rabies, HIV);
In order for an allergic
antibody response (immunoglobulin).
The allergen trig
some produce chronic disease states (Hepatitis B, Epstein-
gers an initial development of the antibodies, but the aller
Barr); some produce acute diseases (Herpes simplex, mumps,
gic reaction only occurs after a subsequent exposure to the
measles, influenza A, common cold); and some produce
allergen.
cellular or tissue changes that are barely noticed, if at all.
There are five classes of immunoglobulin antibodies,
Before bacteria and viruses were discovered, all common
designated by the letters A, D, E, G, and M; they are abbre
infectious diseases were called influenza.
viated as IgA, IgD, and so forth. IgE is the
When bacterial
antibody that
and viral diseases began to be distinguished and named,
is involved in immediate allergic reactions. IgE is concen
the term influenza was sometimes attached to instances of
trated on the immune system's mast cells that are found in
both.
all tissues. Mast cells contain powerful preformed packets
The currently best known life-threatening virus is the
of transmitter molecules that mediate an inflammatory re
Human Immunodeficiency Virus (HIV), which causes the
action in the tissues, such as edema (swelling) and increased
Acquired Immunodeficiency Syndrome (AIDS). It progres
clear mucus production. Histamine is the most common
sively destroys the immune system, eventually leaving a
mediator. The mast cells secrete an ongoing supply of the
person without immune system defense against virulent
mediators and produce symptoms that can continue for
infectious pathogens.
hours after the exposure to the allergen.
Fungi are dependent on carbon sources. Saprophytic
Hypersensitivity to various environmental chemicals
fungi sustain themselves on dead plants or animals, while
is a growing problem. Apparently, hypersensitivity to one
parasitic ones do so on living plant or animal hosts, in
chemical over a long enough time span can result in a
cluding humans. There are about 100,000 identified fungi.
spreading of hypersensitivity to other chemicals, and even
There are about 100 microscopic fungal parasites that live
to foods and other inhalants to which there was no previ
in humans.
ous sensitivity (Rubin, 1991). The mechanisms are not yet
Only 10 are pathogenic, among them is the
understood very well.
542
bodymind
&
voice
Some food allergies are delayed reactions involving
guarantee, however, that allergy or other infectious dis
multiple antibodies, such as IgG and IgM, and cell-medi-
eases will be prevented indefinitely.
In fact, intense or
ated reactions. These reactions may affect multiple systems
chronic distress eventually can suppress immune system
and organs of the body. They are responsive to frequency
effectiveness (Kiecolt-Glaser & Glaser, 1991).
and volume of food ingestion (Rubin, 1991). Foods that
Production of immune system cells increases and de
tend to be eaten frequently and in high volumes are milk,
creases as part of the body's physio chemical biorhythms
wheat, corn, yeast, soy, and egg. Many food reactions can
(Levi, et al., 1989; Knapp, 1992). The documented rhythms
be clarified by diet diaries, elimination strategies, food skin
are circadian (about 24 hours), circaseptan (about 7 days),
testing, and double-blind food challenges (Sampson &
and circannual (seasonal) in duration. Disruption of these
Metcalfe, 1992; Crowe & Perdue, 1993)
rhythms with irregular sleep-wake patterns, for example,
The edema and increased mucus production can result in symptom clusters that may include nasal, throat, and
can inhibit nonspecific and specific immune system effec tiveness.
vocal fold swelling (congestion); sneezing, itchy-watery eyes,
Insufficient amounts of sleep reduce the amount of
sore throat, need to clear thickened mucus from the vocal
slow-wave sleep (SWS) but not rapid eye movement sleep
folds, coughing, pressure-pain in the ears, headaches, gas
(REMS).
trointestinal distress, and general fatigue.
During SWS, there are increases in several
immunotransmitters such as interleuken-1 and -2, that en
Continued in
flammation and exposure to the allergen can result in in
hance immune responses.
creased susceptibility to
otitis media with effusion (see
longer periods of time, there is a reduction in immune sys
Chapter 5) and vocal fold tissue reactions if a person's voice
tem competence, and therefore, increased susceptibility to
is used frequently or vigorously (Benninger, 1994, p. 184;
viral and bacterial infection and allergic symptoms. When
Pang, 1974; Sataloff, 1991, p. 154).
viral or bacterial infections occur, somewhat powerful sleep-
In a genetically susceptible person, the onset of allergic disease can be triggered by a stressful incident, such as a
With insufficient sleep over
inducing transmitter molecules are produced and distrib uted (various cytokines, muramyl peptide) that lengthen
viral infection, physical or emotional trauma, or even sur
and "deepen" SWS, so that specific and nonspecific im
gery. A stunningly intricate and highly variable cascade of
mune system actions are facilitated (Brown, et al, 1989,1992).
neural and transmitter molecule actions are produced within
Tobacco combined with alcohol use increases the risk,
the hypothalamic-pituitary-adrenal axis during eustressful
particularly for supraglottic larynx cancer (located above
and distressful life circumstances (see Book I, Chapter 5).
the folds; Burch, et al., 1981; Flanders & Rothman, 1982;
The primary biochemical initiation of stress reaction in
Muller & Krohn, 1980). A connection has been proposed
volves pituitary gland production and circulatory distri
between laryngopharyngeal reflux disease (LPRD) and lar
bution of corticotropin-releasing hormone (CRH). Recep
ynx cancer (Morrison, 1988; see Chapter 3).
tor sites for CRH exist on mast cells of the immune system which are primary inducers of inflammation (Webster, et al., 1998).
Parts of the nervous, endocrine, and immune
R eferen ces and S elected B ib lio g ra p h y
systems produce the various molecules, have receptor sites for them, and their functions are modulated by them. When mental-emotional distress episodes are acutely intense, the hypothalamic-pituitary-adrenal axis produces a sharp in crease in the immune system's natural killer cells which contribute to an enhancem ent of immunity (all other physio chemical factors being favorable) (Kiecolt-Glaser & Glaser, 1991; Locke, et al., 1984; Rubin, 1991; Whiteside & Herberman, 1989).
The natural killer cell increase is no
Baker, B.M., Baker, C.D., & Le, H.T. (1982). Vocal quality, articulation and audiological characteristics of children and young adults with diagnosed allergies. Annals of Otology, Rhinology, & Laryngology, 91, 277-280. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publishers. Black, P.H., & Berman, A.S. (1999). Stress and inflammation. In N.P. Plotnikoff, R.E. Faith, A.J. Murgo & R.A. Good (Eds.). Cytokines: Stress and Immunity (pp. 115-132). Boca Raton, FL: CRC Press.
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to
invaders
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Boyles, J.H. (1991). Allergic rhinosinusitis: Diagnosis and Treatment. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 1873-1887). Philadelphia: W.B. Saunders.
Levi, F., Reinberg, A., & Canon, C. (1989). Clinical immunology and al lergy. In J. Arendt, D. Minors, & J.M. Waterhouse (Eds.), Biological Rhythms in Clinical Practice (p. 9). London: Butterworths. Levine, A.J. (1992). Viruses. New York: Scientific American Library.
Brown, R., Pang., G., Husband, A.J., & King, M.G. (1989). Suppression of immunity to influenza virus infection in the respiratory tract following sleep deprivation. Regulatory Immunology, 2, 321. Brown, R., Pang., G., Husband, A.J., King, M.G., & Bull, D.F. (1992). Sleep deprivation and the immune response to pathogenic and nonpathogenic antigens. In A.J. Husband (Ed.), Behavior and Immunity (pp. 127-155). Boca Raton, FL: CRC Press. Burch, J.D., Howe, G.R., Miller, A.B., & Semenciw, R. (1981). Tobacco, alco hol, asbestos, and nickel in the etiology of cancer of the larynx: A casecontrol study. Journal of the National Cancer Institute, 67, 1219. Crowe, S.E., & Perdue, M.H. (1995). Gastrointestinal food hypersensitiv ity: Basic mechanisms of pathophysiology. Gastroenterology, 103, 1075-1095. Demetrikopoulos, M.K., Siegel, A., Schleifer, S.J., Obedo, J., & Keller, S.E. (1994). Electrical stimulation of the dorsal midbrain periaqueductal gray suppresses peripheral blood natural killer cell activity. Brain, Behavior & Im munity, 8, 212-228. Druce, H.M., & Koliner, M.A. (1988). Allergic rhinitis. Journal of the American Medical Association, 259, 260-263. Faith, R.E., Plotnikoff, N.P, & Murgo, A.J. (1999). Cytokines, stress hor mones, and immune function. In N.P. Plotnikoff, R.E. Faith, J.Aj. Murgo, & R.A. Good (Eds.) Cytokines: Stress adn Immunity (pp. 161-172). Boca Raton, FL: CRC Press. Flanders, W.D., & Rothman, K.J. (1982). Interaction of alcohol and to bacco in laryngeal cancer. American Journal of Epidemiology, 115, 371. Fried, M.P, & Shapiro, J. (1991). Acute and chronic laryngeal infections. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 2245-2256). Philadelphia: W.B. Saunders. Fadal, R.G. (1975). Immunoglobulin E and G and the allergic patient. Trans actions of the American Society of Ophthalmology and Otolaryngology: Allergy, 15, 175. Goldman, H.B., & Tintera, J.W. (1958). Stress and hypoadrenocorticism: The implications in otolaryngology. Annals of Otology Rhinology, and Laryn gology, 67(1), 185. Jemmott, J.B., & Locke, S.E. (1984). Psychosocial factors, immunologic mediation, and human susceptibility to infectious diseases: How much do we know? Psychological Bulletin, 95, 78-108. Kiecolt-Glaser, J., & Glaser, R. (1991). Stress and immune function in humans. In R. Ader, D. Felten, & N Cohen (Eds.), Psychoneuroimmunology (2nd Ed.) (pp. 849-868). San Diego, CA: Academic Press. King, W.P (1985). Allergic disorders in the otolaryngologic practice. Oto laryngology Clinics of North America, 18, 677-690. Knapp, M.S. (1992). Rhythmicity in immunity and in factors influencing immune responses. In A.J. Husband (Ed.), Behavior and Immunity (pp. 109125). Boca Raton, FL: CRC Press. Kubitz, K.A., Peavey, B.S., & Moore, B.S. (1986). The effect of daily hassles on humoral immunity: An interaction moderated by locus of control. Bio feedback and Self-Regulation, 11, 115-123.
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Locke, S., Kraus, L., Leserman, J., Hurst, M., Heisel, S., & Williams, R. (1984). Life change stress, psychiatric symptoms, and natural killer-cell activity. Psychosomatic Medicine, 46, 441-453. Margen, S. (Ed.). (1995). Are ulcers contagious? University of California at Berkeley Wellness Letter, 11(4), 1. Morrison, M.D. (1988). Is chronic gastroesophageal reflux a causative factor in laryngeal carcinoma? Otolaryngology Head and Neck Surgery, 99, 570575. Muller, K.M., & Krohn, B.R. (1980). Smoking habits and their relationship to precancerous lesions of the larynx. Journal of Cancer Research and Clinical Oncology, 96, 211. Newman, J. (1995). How breast milk protects newborns. Scientific American, 275(6), 76-79. Nieman, D.C. (1995). Exercise, infection, and immune function. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 506-511). St. Louis: Mosby. Pang, L.Q. (1974). Allergy of the larynx, trachea, and bronchial tree. Oto laryngology Clinic of North America, 7, 719-734. Plotnikoff., N.P, Faith, R.E., Murgo, A.J., & Good, R.A. (Eds.) (1999). Cytokines: Stress and Immunity Boca Raton, FL: CRC Press. Rosenberg, P. (1987). Allergy and immunology. In K.J. Lee (Ed.), Essential Otolaryngology Head and Neck Surgery (pp. 759-773). New York: Medical Ex aminations Publishing. Rubin, W. (1991). Vocal effects of allergy and nutrition. The National Asso ciation of Teachers of Singing Journal, 48(1), 21-22, 41. Sampson, H.A., & Metcalfe, D.D. (1992). Food allergies. Journal of the Ameri can Medical Association, 268(20), 2840-2844. Slade, H.B., & Schwartz, S.A. (1987). Mucosal immunity: The immunology of breast milk. Journal of Allergy and Clinical Immunology, 80(5), 548-556. Slaven, R.G. (1988). Sinusitis in adults and its relation to allergic rhinitis, asthma, and nasal polyps. Journal of Allergy and Clinical Immunology, 82, 950-955. Spiegel, J.R., Hawkshaw, M. & Sataloff, R.T. (1991). Allergy. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 153-157). New York: Raven Press. Spiegel, J.R., Sataloff, R.T., & Hawkshaw, M.J. (1990). Sinusitis: Update on diagnosis and treatment. The National Association of Teachers of Singing Journal 47(5), 24, 25. Tashjian, L.S., & Peacock, J.E. (1984). Laryngeal candidiasis: Report of seven cases and review of literature. Archives of Otolaryngology, 110, 906-809. Thawley, S.E. (1991). Cysts and tumors of the larynx. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 2307-2369). Philadelphia: W.B. Saunders. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon.
Webster, E.L., Torpy, D.J., Elenkov, I.J., & Chrousos, G.P. (1998). Corticotro pin-releasing hormone and inflammation. In S.M. McCann, E.M. Sternberg, J.M . Lipton, G.P. C h rousos, P.W. Gold, C.C. Sm ith (Eds.), Neuroimmunomodulation (Vol. 840, pp. 21-32). New York: Annals of the New York Academy of Sciences. Weigent, D.A., & Blalock, J.E. (1999). Bidirectional communication between the immune and neuroendocrine systems. In N.P Plotnikoff, R.E. Faith, A.J. Murgo, & R.A. Good (Eds.). Cytokines: Stress and Immunity (pp. 173-186). Boca Raton, FL: CRC Press. Whiteside, T.L., & Herberman, R.B. (1989). The role of natural killer cells in human disease. Clinical Immunology and Immunopathology, 53, 1-23. Wilson, K. (1987). Voice Problems of Children (2nd Ed.). Baltimore: Williams and Wilkins. Wilson, W.K., & Montgomery, WW. (1991). Infectious diseases of the paranasal sinuses. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 18431860). Philadelphia: W.B. Saunders.
immune
system
reactions
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invaders
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chapter 3 how vocal abilities can be limited by non-infectious diseases and disorders of the respiratory and digestive systems Norman Hogikyan, Leon Thurman, Carol Klitzke
Y
our respiratory system includes all the anatomical
haled gases and foreign substances, for instance, can re
parts that allow you to breathe and exchange "new
sult in pathological tissue reactions throughout your respi
air" for "used air".
ratory tract, including your vocal folds.
It provides the streaming
breathflow that your larynx converts into soundflow.
It
includes all of the tubes through which breathed air passes, that is, your nose, mouth, pharynx (throat), larynx, trachea,
E ffe cts o f S m o k in g an d O th er P o llu ta n ts An actor-singer had been teaching in a high school
Your upper airway includes
educational theatre program. Her voice had been hoarse
your larynx and all of the tubes above it. Your lower air
and limited in pitch range for some years. She attributed it
bronchial tubes, and lungs.
way is made up of the respiratory areas that are below
mostly to being out of shape vocally. She decided to rees
your larynx.
tablish her speaking and singing skills and do some local
Your digestive system includes all of the passages
acting. As she increased her voice use to reclaim her former
through which food passes, that is, your mouth, pharynx,
skills, she noticed that her pitch range was not increasing
esophagus, stomach, and intestines. Other organs, such as
and the hoarseness was getting worse.
the liver and pancreas, also play important roles in diges
pointment to be seen by an interdisciplinary voice treat
She made an ap
tion.
ment team -a voice-ear-nose-throat physician, a voice-ex perienced speech pathologist, and a therapeutically experi
N o n in fe c tio u s R esp ira to ry T ra c t D ise a se s an d D iso rd e rs
enced voice educator. She was diagnosed with permanent, somewhat severe polypoid degeneration of her vocal folds. She had smoked
Because you breathe in the neighborhood of 20,000 times every 24 hours, your respiratory tract is constantly
one-to-two packs of cigarettes for the previous 20 years. She left the exam room in tears.
interfacing with the outside world. As a result, the tissues of
Tobacco smoke is the m ost com m on pernicious
your nose, mouth, throat, trachea, bronchi, and lungs are
inhalable substance. It can adversely affect your entire res
prone to diseases and disorders that are caused by both
piratory tract from molecular and cellular levels on up to
infectious and noninfectious foreign substances. Those tis
basic laryngeal and lung functions. It can produce inflam
sues are where your body's immune system first encoun
mation of your entire vocal tract and inhibit immune sys
ters such substances and starts defending you. Certain in
tem function. It is also a primary risk factor for most types
546
bodymind
&
voice
of cancers in the head, neck (including the vocal folds), and
severe enough, can impair breathing and other vocal func
lungs. Both breathing and voice production are adversely
tions.
affected by tobacco smoke (more details are in the For Those
S in u sitis an d R h in itis
Who Want to Know More... section. In some long-term smokers who are also vocal
Rhinitis (inflammation of the nasal mucosa) and si
"overdoers", the mucosa, or lining of the vocal folds, devel
nusitis (inflammation of the paranasal sinuses) are com
ops chronic swelling (edema) just under its surface. Over
mon conditions which often occur together. They can have
time, this edema becomes more and more evident as the
infectious and allergic causes (Chapter 2 has details) as well
mass of the vocal folds increases. Vocal range narrows and
as noninfectious and nonallergic causes (details are in the
shifts downward, so that eventually women with this con
For Those Who Want to Know More... section). When inflam
dition have the lower pitch range of a man, and often are
mation causes obstruction of the ducts that connect the
mistaken for a man when speaking on the telephone. The
paranasal sinuses (on either side of the nose) to the nasal
medical diagnosis is polypoid degeneration of the vocal
cavity, the sinuses do not drain properly. Accumulation of
folds (polyposis), but sometimes is referred to as Reinke's
secretions within the sinuses then occurs, causing internal
Degeneration also occurs
pressure that can lead to discomfort, pain, and headache. If
in the lungs as the smoker is likely to develop chronic bron
the obstruction persists, bacterial infection usually follows.
chitis (described later) or even emphysema. As a smoker's
Structural abnormalities of the nasal cavity can predispose
"pack-years" accumulate, the risk of cancer of the larynx,
an individual to these conditions (Chapter 7 has details).
tongue, throat, and/or lungs increases. [A two pack-a-day
Alterations in vocal resonance due to nasal obstruction are
smoker accumulates two pack years after one year of smok-
the major effect of these conditions on voice, with other
ing.]
voice symptoms sometimes occurring as well.
edema or smoker's polyposis.
If you, or anyone you know, really want to speak and sing with expressive skill for your entire lifetime, do not have anything to do with tobacco or any other substance
L a ry n gitis Some causes of noninfectious, nonallergic laryngi tis are (1) extensive and vigorous voice use, (2) laryngopha
that is smoked. Your vocal abilities will be diminished. While the decision to smoke or not rests with the in
ryngeal reflux disease (see below), (3) endocrine dysfunc
dividual, there are significant amounts of harmful substances
tion (Chapter 4 has details), (4) systemic diseases such as
and gasses in inhaled air that individuals have no choice
lupus,
but to breathe. The quality of the air that you breathe does
mist, or inhaling irritative or caustic chemicals, (6) smoking.
have an impact upon both your general and vocal health.
What affects the nasal cavity and the pulmonary system is
When possible, avoid inhaling air which is high in pollut
likely to affect the larynx, so the processes that are described
ants to prevent both short-term irritative effects, and pos
above and below can result in laryngitis.
(5) breathing very hot air, especially if it contains
sible serious long-term effects on your respiratory and vo cal anatomy. A few extreme examples of adverse respira tory diseases that are caused by airborne materials are the black lung disease of coal miners (emphysema), or pulmo nary fibrosis, or tumors due to prolonged asbestos expo
B ro n ch itis an d O th er P u lm o n a ry D isea ses Asthma (Greek: panting) is the most common of all noninfectious obstructive airway diseases. It is a condition in which the bronchial airways are narrowed by inflam
sure. An irritative chemical effect also can occur in the res piratory tracts of some people when inhaling certain per fume, cologne, or after shave products. Some people expe rience respiratory tract irritation when they inhale enough of the molecules that constitute the odors of certain glues or paints. These reactions commonly induce coughing and, if
matory swelling (bronchitis) and/or contraction of the thin muscles that surround bronchial passages. Less air is able to get in and out of the lungs for oxygen and carbon diox ide exchange, and the person experiences a "tight chest" and episodes of wheezing breath, coughing, or shortness of breath. Breathing out is usually more severely impaired than
non-infectious
diseases
and
disorders
547
breathing in. There is a broad spectrum of potential sever
plies tobacco's effects many times, and adds much more
ity in asthma, from very mild to life-threatening. Severe
intense inflammation of the respiratory tissues, including
asthmatic episodes can result in rapid wheezing or gasping
the vocal folds. Intense swelling (edema) and capillary en
breath and acute neuropsychobiological distress. Asthma
gorgement that produces a rich redness (erythema) are two
can affect voice primarily by decreasing the ability of the
such effects.
respiratory system to inhale and then pressurize the lung-
One of the more important recent scientific findings is
air to create sufficient breathflow between the vocal folds.
that secondary or environmental smoke has degenerative
Asthmatic symptoms can be triggered by inhalation of al
effects on those who breathe it regularly, including carcino
lergens or pollutant particles of irritant chemicals, infection,
genic effects (Dockery, 1996).
cold air, vigorous exercise, acute neuropsychobiological dis
breathe their parents' smoke have greater susceptibility to
tress, or even vigorous singing. Asthma can be exacerbated
respiratory infection and other diseases, and the suscepti
by an airway mucosa that is hypersensitive to disturbance
bility is likely to continue throughout the rest of their lives
of its physio chemical homeostasis.
(Tager, et al., 1983).
F or T h o se W h o W a n t to K n o w M o re...
E ffe cts o f O u td o o r and In d o o r A ir P o llu tio n
Infants and children who
Air pollution in large and small urban areas is a con
R e sp ira to ry D iso rd e rs and D isea ses
tinuing major contributor to lung and heart disease. In the
Respiratory tissues and organs interact with the air
United States, an estimated 64,000 people die one to two
in the outside environment. Protective immune system re
years prematurely each year from inhalation of fine particle
actions occur when the air contains gasses and/or sub
pollution. These particles are about 2.5 to 1.0 micrometers
stances that are irritative or toxic.
There are autonomic
(one micrometer = 1/25,000th of an inch) and are formed
nervous system (ANS) sensorimotor reflex networks in the
when gasses such as nitrogen oxide (NO2), sulfur oxide (SO2),
innervation of the upper and lower airways (McFadden,
ammonia, and organic compounds are converted into solid
1986; Patow & Kaliner, 1984). Because the organs of respi
carbon particles and liquid droplets. They are distributed
ration and voicing are within the respiratory system, such
into the air by such sources as coal-burning electrical power
protective reactions can limit vocal ability.
plants, industrial boilers, diesel-burning trucks and busses, gasoline-burning vehicles, agricultural activity, waste incin
E ffe cts o f T o b a c co S m ok e
eration, and wood-burning stoves (Margen, et al., 1996).
Almost all of the lining, or mucosa, of the respiratory tract is composed of ciliated columnar epithelium.
That
Airborne chemicals are detected in the eyes, nose, mouth and the upper and lower respiratory tract through two sen
means that microscopic hairs (cilia) cover the mucosa. Those
sory modes: (1) olfaction (smell) that is processed through
cilia move synchronously so that mucus flow is moved
the olfactory nervous system (Greer & Bartolomei, 1996),
downward in the pharynx so that pharyngeal and nasal
and (2) the nociceptive chemical irritation sense that is pro
debris can be swallowed and sent out of the body. Below
cessed through several cranial nerves including the trigemi
the level of the vocal folds, the cilia move in such a way
nal (cranial nerve 5) and vagus (cranial nerve 10) (Cometto-
that the mucus flow is moved upward to the swallowing
Muniz & Cain, 1996).
area. The genetic endowment of those cilia makes them so
Over the past 25 years, much progress has been made
resilient that when they are excised and placed in a non
in clearing outdoor air of large-particle pollution through
nutritive setting, they continue their movements for several
regulatory laws that have required industrial air-cleaning
days before they die (Parker, et al., 1983).
systems, catalytic converters on automobile and other en
Tobacco smoke paralyses those cilia. That is how powerful
gines, standard use of no-lead fuels, use of more efficient
and destructive it is. "Smokers' cough" is one result. Smok
engines and fuels. Small-particle pollution, however, remains
ing other substances such as marijuana or hashish multi
totally unabated and unregulated (Margen, et al., 1996).
548
bodymind
&
voice
Ozone (O3) is a major component of urban air pollu tion.
University of Minnesota).
Automobile exhaust and industrial machinery are
Sulphur dioxide and oxides of nitrogen can create a
major sources of ozone. Its effect on people is similar to the
mildly unpleasant odor, and when they mix with respira
effects of tobacco smoke, that is, respiratory tract inflam
tory tract moisture, they produce a mild but irritative acid
mation, alteration of respiratory function due to biochemi
in the nose, mouth, throat and lungs (personal communi
cal, tissue, and cellular changes in the lower airway, includ
cation, 1995, Phillip Smith, Minnesota Energy Information
ing toxic effects on respiratory cilia (Lioy, et al., 1985;
Center). The acid can produce respiratory tract mucosal tis
Schneider, et al., 1989). The effects are more severe in people
sue swelling, including the vocal folds. When a forced-air
with asthma (Kreit, et al., 1989; Molfino, et al., 1991). In the
heating system begins to operate while a wood or natural
larynx, the vocal fold epithelium appears normal after ex
gas fireplace is burning, a pressure field imbalance can be
posure to ozone, but underlying connective tissue under
created that can draw these gasses into room air where they
goes changes after both short term and long term exposure
can be inhaled. Increasingly common triggers of respiratory system
(Leonard, et al., 1995; Sataloff, 1992). Wood and natural gas fireplaces in homes release car
inflammation are referred to as building-associated ill
bon monoxide (CO), carbon dioxide (CO2), sulfur dioxide,
ness and dosed building syndrome or sick building syn
and oxides of nitrogen. The first two gasses are odorless.
drome (James & Cone, 1989; Rose, 1996). Modern tightly
When inhaled in large enough amounts, CO can produce
constructed buildings result in air exchange rates that are
drowsiness, nausea, loss of consciousness, and eventually
less than optimum (Bardana & Montanaro, 1986; Gammage
death. Within the lungs, inhaled carbon monoxide gas (CO)
& Berven, 1999). That means that there is increased foreign
mixes into a large volume of blood. Its single oxide mol
particle and gas density. New carpets sometimes emit ra
ecule binds with the blood's hemoglobin and takes up the
don and other noxious gasses in great enough quantity to
receptors that would normally bind with oxygen (O2).
produce nausea. Increased incidence of respiratory distress
Breathing enough CO over enough time results in insuffi
can result from these various circumstances, along with de
cient oxygen reaching the organs and systems of the body.
terioration of vocal ability, and a frantic search for diagno
Death by asphyxiation can occur. Even working or living in
sis and treatment of a mysterious disease that does not re
an environment with higher than acceptable levels of CO
spond to rest, hydration, antibiotics, and allergy therapy.
can produce disorientating symptoms that reduce mental-
In addition, some people experience nociceptive res
emotional acuity, and, of course, reduced vocal abilities. A
piratory tract distress - sometimes quite severe - when they
workplace that is near an inadequately vented furnace, for
inhale the molecules that constitute the odors of such com
instance, may produce a degree of carbon monoxide "poi
mon products as perfumes, colognes, hair sprays, after-shave
soning".
products, petroleum products, glues, paints and so on
The more CO2 there is in the air we breathe relative to
(Benignus, 1996; Cain, 1996). Distraction and coughing are
O2 (oxygen), respiratory adequacy gradually is reduced.
common responses, and serious airway compromise can
Serious imbalances of O2 and CO2 can result in respiratory
be triggered in some people.
distress, loss of consciousness, possible brain damage, and death. The oxygen content of the interior air may be lower than what inhabitants' bodies need for a balance of oxygen
N o rm a l an d D iso rd e re d N a sa l C on d itio n s
and carbon dioxide. Because oxygen is a crucial fuel for
The volume of blood carried by the tiny capillaries
your whole body, sluggish emotional-cognitive function
within the nose is controlled by microscopic-sized smooth
ing can result. Unusual fainting by choral singers during a
muscles that line the vessels. The vessels that produce en
large choral-orchestral performance has been observed and
gorgement and swelling of the nasal mucosa, and the glan
traced to inadequate air exchange in a large concert hall
dular secretion processes, are controlled by the parasym
(personal communication, 1982, Dwayne Jorgenson, Ph.D.,
pathetic division of the ANS. There is a cyclical variation of blood flow to the mucosa of the right and left nasal cavities.
non-infectious
diseases
and
disorders
549
In the normal nasal cycle, the right and left nasal cavities
constrictor decongestant nose sprays can produce rebound
alternate between congestion and decongestion in a time
rhinitis after their use is discontinued. The uninformed user
pattern that normally alternates between about 90-120 min
then may resume use and the rebound effect can increase
utes and about 20 minutes. This is one manifestation of the
so that the user becomes a nose spray "addict." Prolonged
body's normal ultradian cycles (of less duration than the
use can result in the hypertrophic growth of the nasal tur
nearly 24-hour circadian cycles) (Gluckman & Stegmoyer,
binates, necessitating surgery (Gluckman & Stegmoyer, 1991).
1991; Lloyd & Rossi, 1992).
Other medications can have the side effect of rhinitis, such
Perennial noninfectious, nonallergic rhinitis is the
as antihypertensive agents, aspirin, and oral contraceptives.
term for nasal inflammation that can occur at any time of
So-called "recreational" drugs are placed in this category,
the year and is not the result of infection or allergy.
A
and alcohol, tobacco smoke, hashish, and marijuana are
common form of perennial noninfectious, nonallergic rhinitis
examples. Cocaine is a vasoconstricting agent that can pro
is vasomotor rhinitis (Benninger, 1994).
It is diagnosed
duce severe chronic rhinitis, nasal crusting and ulceration,
only when all other sources of rhinitis are first ruled out,
and large-scale nasal cell death and collapse (Parker, et al.,
such as infection, allergy, or endocrine imbalance. Symp
1985; Gluckman & Stegmoyer, 1991).
toms include congestion of nasal mucosa, a degree of nasal airway obstruction, and profuse drainage of nasal secre
R e sp ira to ry D iso rd ers A respiratory disorder that reduces or eliminates deep,
tions. Vasomotor rhinitis is thought to result from an un
slow-wave sleep (delta-range of brain wave frequencies) is
stable ANS, including a hyperresponsive parasympathetic
referred to as obstructive sleep apnea syndrome (OSAS)
nasal stimulation with hyperresponsive mucosa. Anxiety,
(Benninger, 1994; Hall, 1986; Thawley, 1986). During sleep,
hostility, guilt, depression, and constant frustration may ini
the tongue and soft palate of some people make contact
tiate the condition, and it can be triggered by irritation of
and block both the nasal and oral airways. In some people,
the nasal mucosa by polluted air, tobacco smoke, unpleas
nasal air passes between the nasopharyngeal wall and the
ant odors such as certain perfumes, and changes in baro
soft palate, and the palate flaps to create the sound of snor
metric pressure, ambient temperature, or increased relative
ing. In some people, however, the nasal passage becomes
humidity (Gluckman & Stegmoyer, 1991; Benninger, 1994).
completely obstructed and breathing is completely stopped.
With habitual nose breathing, particle inhalants will be fil
As the O2 content of the blood drops, the respiratory neu
tered from the air by the nasal cavity, explaining the nasal
rons of the brainstem trigger repeated reflexive attempts to
reaction. The reaction will be made worse with mucosal
breathe. Typically, there is movement of the head and torso
dehydration. Occasionally, some irritants may descend to
and eventually a sudden, loud snore accompanies a brief
the throat and larynx to induce inflammation there. With
period of breathing. Apnea refers to interruptions of reflex
habitual mouth breathing comes a much higher incidence
ive tidal breathing (Greek: a = without; pnein = breathing).
of noninfectious and nonallergic pharyngitis, laryngitis, and
The more apneic episodes there are during sleep, less re
bronchitis. Laryngopharyngeal reflux disease also can pro
storative delta sleep occurs, less O2 is available for tissue repair, muscle use, and brain function. Those who develop
duce rhinitis (see below). Some people who experience chronic nonallergic rhini
this disorder are quite fatigued during waking hours. The
tis may also develop polyps inside one or both cavities,
ability to focus attention and concentrate for longer time
and thus a degree of nasal airway obstruction.
periods is diminished, and driving motor vehicles for longer
nasal
Smaller
polyps can be treated with corticosteroid sprays.
time periods can be dangerous.
Larger nasal polyps are treated by combinations of sys
Asthma affects over eight million people in the United
temic and topical corticosteroids and surgery (Gluckman &
States (Baum, 1985). In some people, upper respiratory ex
Stegmoyer, 1991).
ertion or distress can trigger an asthmatic episode. For in
Nasal inflammation that is induced by medications is called rhinitis medicamentosa.
550
bodymind
&
voice
The use of topical vaso
stance, high-volume air exchange in strenuous aerobic
movement especially in cold air conditions, can trigger such
may become inflamed, the common symptoms of which
a response (Benninger, 1994; Spiegel, et al., 1991). Chronic
are indigestion and heartburn. If the acid backs up all the
neuropsychobiological distress can influence asthmatic epi
way out of the esophagus and into the throat or pharynx,
sodes, mediated through ANS networks (McFadden, 1986;
pharyngeal tissue irritation occurs. Severe reflux tends to
Patow & Kaliner, 1984).
occur most commonly when laying down, or during epi
A special form of asthma is airway reactivity in duced asthma in singers (ARIAS).
Singing is demanding
sodes of "bearing down", that is, fairly intense contraction of abdominal muscles. Symptoms of pharyngeal irritation
on the pulmonary system, similarly to aerobic exercise, and
include: a nagging sore throat, a frequent sense of needing
in some singers a combination of triggers can induce ARIAS.
to clear the throat of phlegm, and a feeling of a "lump in the
Shortness of breath, voice fatigue, and decreases in pitch
throat". Once into the pharynx, acid can readily spill into
and volume ranges are the common symptoms. Over time,
the larynx, and onto the vocal folds. Redness and swelling
observable compensatory changes in vocal coordination
are seen, and they usually are most severe in the posterior
can occur, such as tongue retraction, unnecessary effort in
portions of the larynx which are closest to the top of the
the external laryngeal muscles, and tense jaw.
esophagus, Hoarseness, lowering of average speaking pitch
Usually, emphysema results from long-term indus
range, increased effort when singing, and "a tired voice" are
trial pollutants-working in coal mines, for instance-or from
common vocal signs and symptoms of GERD/LPRD. Vo
long-term cigarette smoking.
Lung tissues lose their
cal manifestations of this disease tend to be worse in the
"sponginess" and become distended because the elastic fi
morning than in the evening. Chapter 9 has a summary of
bers in the tissues are gradually destroyed. Respiratory func
medical and practical treatments for GERD/LPRD.
tion and O2/C O2 exchange is greatly reduced, and with time,
G a stro e so p h a g e a l R eflu x D isease (G E R D )/L a ry n g o p h a ry n g e a l R eflu x D ise a se (L P R D )
death occurs by slowly progressive "suffocation".
N o n in fe c tio u s D ig e stiv e T ra ct D ise a se s an d D iso rd e rs
In addition to common symptoms of GERD/LPRD As mentioned at the beginning of this chapter, your
noted above, there are many other symptoms attributable
digestive system is basically all of the parts of you through
to this condition.
Symptoms can appear in a variety of
which food passes. In many ways, you are what you digest.
clusters. They can be chronically intermittent or they may
Besides that, when your digestive system is diseased or dis
not be at all obvious-even to health professionals (Benninger,
ordered, your "mental-emotional" functions are thrown "out
1994; Koufman, et al., 1996; Sataloff, 1991).
of whack".
interpreted as chronic allergy, a lingering infection, asthma,
They can be
Gastroesophageal reflux disease (GERD) (stomach
or other diseases, when they actually are GERD or LPRD.
acid reflux), is a common digestive disorder in which the
In milder manifestations of LPRD, the physical symptoms
lower esophageal sphincter (LES) does not prevent the
may not be obvious, yet still result in a degree of vocal fold
highly acidic contents of the stomach from flowing back up
swelling and thus affect vocal fold function. Symptoms or
into the esophagus. When the acid reflux passes the upper
signs of GERD/LPRD may also include:
esophageal sphincter (UES) and flows onto the surface
1. occasional indigestion (dyspepsia) or heartburn (1 to
tissues of the larynx and pharynx, then the disease is re
5 times per month), frequent heartburn (2 to 3 times per
ferred to as laryngopharyngeal reflux disease (LPRD)
week), or chronic heartburn (daily or near daily); symptoms
(Koufman, et al., 1996). GERD/LPRD can occur at any time
can be acutely painful, but they also may not be overtly
in life, from infancy to older adulthood.
noticeable;
If reflux of acidic stomach contents occurs frequently enough, the lining of the esophagus becomes irritated and
2. occasional to frequent throat clearing of thick, tena cious mucus, especially when waking from sleep;
non-infectious
diseases
and
disorders
551
3. occasional to frequent "bad" or "bitter" taste in the mouth, especially upon arising from sleep;
Sensory nerve endings in the esophagus are part of the vagus nerve (cranial nerve X) that also provides sen
4. occasional to frequent odorous breath, especially upon arising from sleep;
sory and motor innervation for the larynx and the lung's bronchial muscles. With repeated GERD episodes, the high-
5. noticeable frequency of belching;
acid irritation of the esophagus can trigger a reflex reaction
6. occasional regurgitation into the throat ("wet burps"),
in the vagus nerve that produces constrictions of bronchial
quickly swallowed, followed by coughing and throat-clear-
muscles (Mansfield & Stein, 1978). More labored breathing or even periodically severe, asthma-like bronchospasms can
ing; 7. occasional to frequent sensation of a mild to promi nent sensitivity, irritation, acid-like "burning,"
or soreness
in the throat area, especially after arising from sleep;
8. sensation of a "lump in the throat" that is not re lieved by throat clearing; 9. mild to chronic or intermittently chronic vocal hoarseness that is at its worst in the morning;
result.
When stomach reflux
reaches the lower throat
(LPRD), air movement during breathing (especially when asleep) can vaporize the high-acid liquid into microscopic sized droplets, and take them into the windpipe, bronchial tubes, and lung tissue. Those tissues then become irritated and swollen. Chronic congestion, coughing, even wheezing can result, and the condition can be diagnosed as asthma.
10. dry mouth/throat;
Seventy percent of asthmatics improve after reflux therapy
11. dry coughing, sometimes repeated hacking cough;
(Barish, et al., 1985; Depla, 1989; Gotto, 1995; Mansfield &
12. feeling of tightness in throat or upper chest with
Stein, 1978).
shortness of breath and/or wheezing (sometimes chest pain);
On exhalation, the high-acid vaporized droplets can
13 . occasional to frequent bronchospasms and other
be taken into the nasopharynx and other areas of the nasal
asthma-like symptoms;
cavity.
14. occasional brief choking episodes (laryngospasms);
Those tissues then become irritated and swollen.
Allergy-like symptoms may then occur such as chronic nasal congestion and drainage, and the condition can be diag
Once the vocal folds have been bathed in reflux acid,
nosed as allergy (Gotto, et al., 1995).
there is no natural means of clearing it off. The arytenoid
GERD/LPRD is rather common among performers and
area of the larynx and the vocal folds can become irritated
other extensive and vigorous voice users. One medical prac
over time, taking on a reddened appearance (erythema) and
tice survey noted that 38% of singers who were assessed by
a swollen, stiffened condition (edema). Limitations on vo
videostrobolaryngoscopy had signs of GERD (Sataloff, 1991,
cal capabilities are common. Infection of the stomach by
p. 179). Skilled singers and speakers may notice an incon
the bacterium helicobacterpylori, treatable with antibiotics, can
sistency in various vocal abilities, including:
reduce GERD/LPRD. Chronic, long-lasting LPRD has been
1. vocal fry in speech;
associated with granuloma and ulceration of the rear por
2. occasional "scratchy" or "crackly" voice quality;
tion of the vocal folds (Goldberg, et al., 1978), and esoph
3. inability to make clear non-airy sound at softer
ageal and laryngeal cancer (carcinoma) (Koufman, 1991;
volume levels;
Morrison, 1988; Sataloff, 1991). An anatomical abnormal
4. increased neck-throat effort;
ity called hiatal hernia occurs in approximately 40% of the
5. sluggish pitch movement;
United States population, and can predispose people to
6. diminished upper pitch range;
GERD/LPRD (Davis, 1972). It is a condition in which the
7. increased lower pitch range in speaking and sing
top portion of the stomach protrudes up through the dia
ing;
phragm, and the lower esophageal sphincter is unable to
8. decreased range of pitch inflection in speech;
prevent stomach contents from flowing into the esophagus.
9. increased vocal warm-up time, especially in the
Respiratory and abdominal effort during episodes of ob structive sleep apnea syndrome (OSAS) can induce episodes of GERD/LPRD.
552
bodymind
&
voice
morning.
Some physicians could miss this diagnosis when: 1. patients report their vocal symptoms but do not report indigestion or heartburn
R efe re n ce s and S ele cte d B ib lio g ra p h y
[physicians are familiar
with GERD but may not be familiar with LPRD, and may
R esp irato ry
not be aware of laryngeal, pharynx-nasal, and pulmonary
Bardana, E.J., & Montanaro, A. (1986). Tight building syndrome. Immunol ogy and Allergy Practice, 8, 74-88.
complications (Gotto, et al., 1995; Koufman, et al., 1996)]; 2. obvious redness is not observed in the laryngeal/ pharyngeal area by an ear-nose-throat specialist, and vo cal fold swelling is undetected during mirror laryngoscopy or even flexible-nasal laryngeal stroboscopy. [Rigid-oral
Barish, C.F., Wu, W.C., & Castell, D.O. (1985). Respiratory complications of gastroesophageal reflux. Archives of Internal Medicine, 145, 1882-1888. Bascom, R., Kesavanathan, ]., & Swift, D.L. (1996). Indoor air pollution: Understanding the mechanisms of the effects. In R.B. Gammage & B.A. Berven (Eds.). Indoor Air and Human Health (2nd Ed., pp. 151-157). Boca Raton, FL: CRC Press.
laryngeal videostroboscopy, is extremely valuable for a re liable diagnosis of any form of vocal fold swelling (high
Baskerville, R.D. (1972). Internal laryngeal injury in children due to inges tion of atmospheric toxic agents. The Journal of School Health, 42(7), 577-580.
magnification, strobe photography for "slow motion" view ing of vocal fold vibration, and a videotape recording for repeated viewing)]; 3. usual tests for GERD or hiatal hernia (barium swal low or single probe pH test, for instance) do not indicate its presence in the laryngopharyngeal area.
Baum, G.C. (1985). Textbook of Pulmonary Disease. Boston: Little, Brown. Benignus, V.A. (1996). Effects of irritants on human task performance and vigilance. In R.B. Gammage & B.A. Berven (Eds.). Indoor Air and Human Health (2nd Ed., pp. 249-261). Boca Raton, FL: CRC Press. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medidne: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers.
In addition to hiatal hernia, there are other factors Cain, WS. (1996). Overview: Odors and irritation in indoor pollution. In R.B. Gammage & B.A. Berven (Eds.). Indoor Air and Human Health (2nd Ed., pp. 23-30). Boca Raton, FL: CRC Press.
that can cause or contribute to GERD-LPRD, including: 1. obesity; 2. eating and drinking foods that enhance acid pro duction in the stomach, such as fatty, fried, or spicy foods, alcoholic or caffeinated beverages, and chocolate; 3. eating and drinking foods that increase the produc tion of "gasses" in the stomach, including carbonated bev erages of any kind such as soft drinks and mineral water; 4. consuming large amounts of food and liquid, thus increasing pressure in the stomach (Nebel & Castell, 1972); 5. eating and drinking (except water) within 2 to 3 hours before sleeping (low-acid fruits would be an excep tion, such as bananas, cantaloupe, honeydew melons: these fruits leave the stomach within about 45 minutes; avoid citrus fruits);
6. stressful life circumstances such as emotional con flicts with family, friends, co-workers; worrying of any kind, many commitments, overworking; 7. smoking or chewing tobacco and drinking alcohol (Dennish & Castell, 1971);
8. antiinflammatory agents such as aspirin, ibuprofen, and corticosteroids (cortisone).
Cometto-Muniz, J.E., & Cain, WS. (1996). Physio chemical determinants and functional properties of the senses of irritation and smell. In R.B. Gammage & B.A. Berven (Eds.), Indoor Air and Human Health (2nd Ed., pp. 53-65). Baco Raton, FL: RC Press. Dockery, D.W (1996). Environmental and tobacco smoke and lung cancer: Environmental smoke screen? In R.B. Gammage & B.A. Berven (Eds.), Indoor Air and Human Health (2nd Ed., pp. 309-323). Baco Raton, FL: RC Press. Gammage, R.B., & Berven, B.A. (Eds.) (1999). Indoor Air and Human Health (2nd Ed.). Boca Raton, FL: CRC Press. Gluckman, J.L., & Stegmoyer, R.J. (1991). Nonallergic rhinitis. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngol ogy (Vol. Ill: Head and Neck, pp. 1889-1898). Philadelphia: WB. Saunders. Greer, C.A., & Bartolomei, J.C. (1996). The neurobiology of olfaction. In R.B. Gammage & B.A. Berven (Eds.). Indoor Air and Human Health (2nd Ed., pp. 3 151). Boca Raton, FL: CRC Press. Grillo, H.C., & Mathisen, D.J. (1991). Disease of the trachea and bronchi. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 2385-2397). Philadelphia: W.B. Saunders. Greer, C.A., & Bartolomei, J.C. (1996). The neurobiology of olfaction. In R.B. Gammage & B.A. Berven (Eds.), Indoor Air and Human Health (2nd Ed., pp. 3 151). Baco Raton, FL: CRC Press. Haapanen, M.L. (1990). Provoked laryngeal dysfunction. Folia Phoniatrica, 42, 157-169.
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Hall, J.B. (1986). The cardiopulmonary failure of sleep-disordered breathing. Journal of the American Medical Association, 255, 930-933. Horstmann, D., McConnell, W., Folinsbee, L., Abdul-Salaam, S., & Ives, P. (1989). Changes in pulmonary function and airway reactivity due to pro longed exposure to typical ambient ozone (O3) Levels. In T. Schneider, S. Lee, G. Walters, & L. Grant (Eds.), Atmospheric Ozone Research and Its Policy Impli cations (pp. 493-499). Amsterdam: Elsevier.
Strauss, R.H., McFadden, E.R., Ingram, R.H., & Jaeger, J.J. (1977). Enhance ment of exercise-induced asthma by cold air. New England Journal of Medicine, 297, 743-747. Tager, I.B., Weiss, S.T., Munoy, A., et al., (1985). Longitudinal study of the effects of maternal smoking on pulmonary function in children. New England Journal of Medicine, 309, 699-703. Thawley, S.E. (1986). Obstructive sleep apnea. Insights in Otolaryngology, 1,1-8.
James, E., & Cone, M.J.H. (Eds.) (1989). Building Associated Illness and the Sick Building Syndrome. Philadelphia, PA: Hanley & Belfus. Kreit, J.W., Gross, K.B., Moore, T., Lorenzen, T.J., D'Arcy, J., & Eschenbacher, W.L. (1989). Ozone-induced changes in pulmonary function and bronchial responsiveness in asthmatics. Journal of Applied Physiology 66, 217-222. Leonard, R., Charpied, G., & Faddis, B. (1995). Effects of chronic ozone (O3) exposure on vocal fold mucosa in bonnet monkeys. Journal of Voice, 9(4), 443-448. Lioy, P.J., Vollmuth, T.A., & Lippman, M. (1985). Persistence of peak flow decrement in children following ozone exposures exceeding the national ambient air quality standard. Journal of the Air Pollution Control Association, 35, 1068-1071. Lloyd, D., & Rossi, E. (1992). Ultradian Rhythms in Life Processes: A Fundamental Inquiry into Chronobiology and Psychobiology. New York: Springer-Verlag. Margen, S., et al. (1996). Taking your breath away. University of California at Berkeley Wellness Letter, 12(11), 4. Matsuo, K., Kamimura, M., & Hirano, M. (1985). Polypoid vocal folds: A 10-year review of 191 patients. Auris, Nasus (Tokyo), 10S, 37-45. McFadden, E.R. (1986). Nasal-sinus-pulmonary reflexes and bronchial asthma. Journal of Allergy and Clinical Immunology, 78, 1-3. Molfino, N.A., Wright, S.C., Katz, I., Tarlo, S., Silverman, F., McClean, P.A., Szalai, J.P, Raizenne, M., Slutzky, A.S., & Zamel, N. (1991). Effect of low concentration of ozone on inhaled allergen responses in asthmatic subjects. Lancet, 338, 199-203. Parker, G.S., Mehlum, D.L., & Bacher-Wetmore, B. (1985). Ciliary dyskinesis: The immobile cilia syndrome. Laryngoscope, 93, 573. Patow, C.A., & Kaliner, M. (1984). Nasal and cardiopulmonary reflexes. EarNose-Throat, 63, 22-28. Rose, C. (1996). Building-related hypersensitivity diseases: Sentinel event management and evaluation of building occupants, In R.B. Gammage & B.A. Berven (Eds.) Indoor Air and Human Health (2nd Ed., pp. 211-219). Boca Raton, FL: CRC Press. Schneider, T., Lee, S., Walters, G., & Grant, L. (Eds.) (1989). Atmospheric Ozone Research and Its Policy Implications. Amsterdam: Elsevier. Sataloff, R.T. (1991). Common infections and inflammations and other con ditions. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 241-245). New York: Raven Press. Sataloff, R.T. (1992). The impact of pollution on the voice. Otolaryngology Head and Neck Surgery, 106(6), 701-705. Spiegel, J.R., Sataloff, R.T., Cohn, J.R., & Hawkshaw, M. (1991). Respiratory dysfunction. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 159-177). New York: Raven Press.
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Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon. United States Department of Health and Human Services, A Report of the Surgeon General (1988). The Health Consequences of smoking: Nicotine Addiction. Rockville, MD: U.S. Government Printing Office. United States Department of Health and Human Services, A Report of the Surgeon General (1988). Reducing the Health Consequences of Smoking: 25 Years of Progress. Rockville, MD: U.S. Government Printing Office. United States Department of Health and Human Services, A Report of the Surgeon General (1988). The Health Benefits of Smoking Cessation: Executive Sum mary. Rockville, MD: U.S. Government Printing Office. United States Environmental Protection Agency, Office of Air and Radiation (1988). The inside story: A guide to indoor air quality. Washington, DC: Indoor Air Quality Information Clearinghouse. Wilson, K. (1987). Voice Problems of Children (2nd Ed.). Baltimore: Williams and Wilkins.
D igestive Behar, J.N., & Ramsley, G. (1978). Gastric emptying and antral motility in reflux esophagitis. Gastroenterology, 74, 253-256. Barish, C.F., Wu, W.C., & Castell, D.O. (1985). Respiratory complications of gastroesophageal reflux. Archives of Internal Medicine, 145, 1882-1888. Bell, N.J., & Hunt, R.H. (1992). Role of gastric acid suppression in the treat ment of gastroesophageal reflux disease. Gut, 33, 118-124. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medidne: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers. Burton, D.M., Pransky, S.M., Kearns, D.B., Katz, R.M., & Seid, A.B. (1992). Pediatric airway manifestations of gastroesophageal reflux. Annals of Otology Rhinologyand Laryngology, 101(9), 742-749. Castell, D.O., Wu, W.C., & Ou, D.J. (Eds.), (1985). Gastro-Esophageal Reflux Dis ease. New York: Futura. Davis, M.V (1972). Relationship between pulmonary disease, hiatal hernia, and gastroesophageal reflux. New York State Journal of Medicine, 72, 955-958. DeMeester, T.R., Johnson, L.F., Josephs, G.J., Toscano, M.S., Hall, A.W., & Skin ner, D.B. (1976). Patterns of gastroesophageal reflux in health and disease. Annab of Surgery, 184, 459-470. Dennish, G.W., & Castell, D.O. (1971). Inhibitory effect of smoking on the lower esophageal sphincter. New England Journal of Medicine, 284, 1136-1137. Dent, J., Dodds, W.J., Toouli, J., Barnes, B., & Lewis, I. (1985). Mechanisms of sphincter incompetence in patients with symptomatic gastroesophageal re flux. Gastroenterology, 84, 1135.
Depla, A.C. (1989). Gastro-oesophageal reflux in patients with bronchial asthma. Digestion, 44(supplement 1), 63-67. Goldberg, M., Noyek, A., & Pritzker, K.P.H. (1978). Laryngeal granuloma secondary to gastroesophageal reflux. Journal of Otolaryngology, 7, 196-202. Gotto, A.M., Wolf, M., Harding, S., Israel, E., & Koufman, J. (1995). Pulmonary and Tracheolaryngeal Complications of gastroesophageal reflux disease (GERD), (Vid eotape). Houston, TX: College of Medicine and Office of Continuing Educa tion, Baylor University. Koufman, J. (1991). Otolaryngologic manifestations of gastroesophageal reflux disease (GERD): A clinical investigation of 225 patients using ambula tory 24 hr pH monitoring and an experimental investigation of the role of acid and pepsin in the development of laryngeal injury. Larynqoscope, 101 (Supplement 53). Koufman, J., Sataloff, R.T., & Toohill, R. (1996). Laryngopharyngeal reflux: Consensus conference report. Journal of Voice, 10(3), 215-216. Koufman, J., Wiener, G., Wu, W., & Castel, D. (1988). Reflux laryngitis and its sequelae: The diagnostic role of ambulatory pH monitoring. Journal of Voice, 2(2), 78-89. Lawrence, VL. (1985). Do buzzards roost in your mouth at night? The National Association of Teachers of Singing Bulletin, 19, 42. Lumpkin, S.M.M., Bishop, S.G., & Katz, P.O. (1989), Chronic dysphonia secondary to gastroesophageal reflux disease (GERD): Diagnosis using si multaneous dual-probe prolonged pH monitoring. Journal of Voice, 3, 351355. Mansfield, L.E., & Stein, M.R. (1978). Gastroesophageal reflux and asthma: A possible reflex mechanism. Annals of Allergy, 41, 224-226. Morrison, M.D. (1988). Is chronic gastroesophageal reflux a causative fac tor in laryngeal carcinoma? Otolaryngology Head and Neck Surgery, 99, 370-373. Nebel, O.T., & Castell, D.O. (1972). Lower esophageal sphincter pressure changes after food ingestion. Gastroenterology, 63, 778-783. Sataloff, R.T. (1991). Reflux and other gastroenterologic conditions that may affect the voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 179-183). New York: Raven Press. Sataloff, R.T., & Spiegel, J.R. (in press). Gastroesophageal reflux laryngitis. In D.O. Castell (Ed.), The Esophagus (2nd Ed.). Boston: Little, Brown. Spechler, S.J. (1992). Epidemiology and natural history of gastroesophageal reflux disease. Digestion, 51 (supplement 1), 24-29. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon.
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chapter 4 how vocal abilities can be limited by endocrine system diseases and disorders Leon Thurman, Mary Ann Emanuele, Carol Klitzke
T
he endocrine system is made up of glandular or
G en era l E n d o crin e Im b a la n ce s
gans distributed throughout the b o d y (Book I, Chapter 4 has details). The nervous system inner
When abnormal fluctuations occur in the endocrine
system , vates them and they interact with each other and with most
u n fo rtu n a te
co n se q u e n ce s
to
h u m an
organs and systems of the body by way of numerous trans
n e u ro p s y c h o b io lo g ic a l fu n c tio n in g are co m m o n .
mitter molecules (Book I, Chapters 2, 4, and 5 have de
Bodyminds may interpret such consequences as disease,
tails). The specific transmitter molecules of the endocrine
physical debility, reduction of cognitive sharpness, and/or
system are called hormones (Greek: hormaien = to begin
emotional distress. There can be disruptions in metabolic
action). Hormones produced by the endocrine system are
processes, female menstruation cycle, sleep-wake patterns,
distributed by the circulatory system. The cells that make
hunger-satiation patterns, mood and emotional equilib
up the system's organs have receptor sites for its own hor
rium, and cognitive and motor functions. Some of these
mones and for other transmitter molecules that are distrib
disruptions can adversely affect self-expression, including
uted throughout the body.
speaking and singing functions.
Hormones stimulate or inhibit the body's organs and
Distressful and eustressful life circumstances can dis
systems during physical growth and development, and they
turb neuroendocrine functions. Irregular food intake times
participate in the metabolic ecology of the body.
Some
and high-level consumption of simple sugars, rather than
hormones are produced and distributed at timed intervals
complex carbohydrates, can disrupt blood glucose (sugar)
in response to environmental events. For instance, the tim
levels. Several hours after a meal, the levels of glucose in
ing and amount of hormone secretion are influenced by
the blood become lower and sensory nerves detect the
variations in year-round outdoor temperatures, the amount
neuropsychobiological state of hunger.
That state com
of light versus dark, and gravitational variations to which
monly includes a reduction of general Vitality" and in
human bodyminds are exposed. These factors and others
creased sensitivity to negative mood.
play an important role in normal human functioning, such
exertion also can play a role in abnormal neuroendocrine
as (1) the 28-day menstrual cycle in women, (2) the ap
function.
proxim ately 2 4 -h o u r
eating disorders called bulimia and anorexia nervosa.
circadian cycles (Latin: circa =
Minimal physical
Neuro endocrine dysfunctions are part of the The
around; dies = day) that are influenced by 24-hour light-
nonmedical use of anabolic steroids by some athletes can
dark cycles, and (5) the shorter than 24-hour ultradian
produce endocrine dysfunctions that result in diminished
cycles (Latin: ultra = above or less than; dies = a day).
vocal capabilities, among other effects.
556
bodymind
&
voice
D iab etes
sponse to perceived threat (Book I, Chapter 4 has details). Either a chronic excess or deficiency of cortisol can alter
Diabetes mellitus is a serious metabolic disease. When
voice functioning. A blood test of its level—and that of the
food is digested in the stomach and intestines, a crucial fuel
pituitary s adrenocorticotropic hormone (ACTH)—helps di
is produced for metabolism in every cell in the bodymind-
agnose an adrenal gland disorder.
-glucose. From the digestive tract, it enters the circulatory
A second adrenal cortex hormone that relates to voice
system for bodywide distribution. After a meal, therefore,
function is aldosterone—a potent salt- and water-retain-
blood glucose levels are elevated. That process triggers the
ing hormone. A chronic excess of aldosterone can lead to
secretion of the hormone insulin, mainly by the pancreas,
vocal fold edema (swelling), while deficiency results in de
to regulate glucose metabolism and other metabolic pro
hydration and low blood pressure.
cesses.
can measure its level.
Diabetes involves inadequate insulin production
or action, resulting in insufficient blood glucose metabo lism in the bodymind's cells.
A simple blood test
The adrenal cortex also produces two relatively weak androgen hormones. They are of little significance in men,
With long-standing diabetes, more and more capillar
but they are important in females, particularly in regulat
ies close down and peripheral nerves are not adequately
ing sex drive.
supplied. That results in gradual reduction in the kines
secrete abnormally high levels of these androgens and pro
thetic sense and in fine-tuned motor function.
duce several virilizing effects such as lowering of voice pitch
Muscle
wasting and decreases in mucus production also occur.
In several diseases, female adrenals may
range, growth of facial hair, and so forth.
Eventually, these changes affect voice function adversely.
The adrenal medulla, the inner part of the adrenal glands, produces two transmitter molecules that are not
T h y ro id G la n d D iso rd e rs
hormones.
W hen epinephrine and norepinephrine are
secreted into the circulatory system in large enough The gland that may impact most directly on voice is
amounts—in stress reaction, for instance—they cause con
the thyroid gland, located just below the thyroid cartilage
striction of blood vessels, thus a rise of blood pressure,
in front of the trachea (see Figure 1-4-1 in Book I, Chapter
and faster delivery of the biochemical contents in the blood.
4). Thyroid hormones play important roles in a wide ar
They also are significant neurotransmitters for various parts
ray of physiologic processes in the body. Primarily, they
of the nervous system, including the ascending reticular
modulate metabolic processes and the synthesis of vari
activating system that can put the whole brain on a high-
ous proteins. Throughout life, they play an important role
alert, high-function status, and the hypothalamus and the
in normal growth and replacement of cells, and in bone
pituitary (Book I, Chapters 3 and 4 have details). Excess
maturation. Imbalances in the production of thyroid hor
secretion of these two transmitter molecules also may con
mones can contribute to many body dysfunctions, includ
tribute to inconsistencies in skilled voice function.
ing voice disorders that result from hyperthyroidism (too much thyroid horm one production) and hypothyroid ism (not enough thyroid hormone production).
The For
S ex u a l H orm o n e P rocesses, Im b a la n c e s, an d D iso rd ers
Those Who Want to Know More... section has some details. Following birth, the first extensive influence of the sexual
A d r e n a l G la n d D iso rd e rs
hormones occurs with the onset of reproductive capabil ity--puberty.
Secondary benchmark signs of puberty in
The cortex of the adrenal glands synthesize and release
males are (1) the appearance of facial hair and (2) the trans
three hormones into the circulatory system for bodywide
formation of voice pitch range and quality over a period
distribution. The major one is cortisol. It is necessary for
of about one to two years (Book IV, Chapter 4 has details).
normal metabolism, immune function, and cellular repair
The benchmark sign of puberty in females is menarche,
processes, and is significantly involved in the human re
the onset of the menstrual cycle (Book IV Chapter 5 has
endocrine
system
diseases
and
disorders
557
details). Any unusual delays in these developments may
likely if aspirin and aspirin substitutes are used for relief of
indicate
discomfort or pain (acetaminophen does not have this ef
endocrine dysfunction.
Effects of sexual hor
mones on vocal function are more common in females
fect).
than males. Adverse physical effects can occur during the
P reg n an cy
menstrual cycle, pregnancy, and menopause.
Birth control pills are used by many women to pre vent pregnancy.
T h e M e n stru a l C ycle Menstrual cycles are regulated and modulated by an
When first introduced, they contained
amounts of progesterone (an anabolic steroid) that pro
array of transmitter molecules. The two most prominent
duced virilization effects on female voices—sometimes per
are estrogen and progesterone.
Normal menstrual cycles
manent. Current dosages have corrected that excess, but
occur approximately every 28 days. The first day of the
some individual reactions may still occur. Many profes
cycle is the first day that the menses flow from the vagina,
sional performers use them with no adverse effects.
and that also is the first day of the approximate 14-day
Some wom en experience trouble-free pregnancies.
This phase
M any women, however, do experience a variety of physi
ends just prior to ovulation. During this phase, estrogen
cal and biochemical effects, especially during first-time preg
levels gradually increase while progesterone levels are low.
nancies. Regurgitation during "morning sickness" can pro
In cooperation with other hormones, estrogen influences
duce acid irritation of the vocal folds and vocal tract.
proliferative or follicular phase of menstruation.
the dilation of blood vessels with increased blood volume
Decreased gastrointestinal motility may result in con
in the uterine wall to increase its capability for sustaining a
stipation, with resultant abdominal bloating and pressure.
new life. M any tiny tubular follicles are developed in the
Through the course of a pregnancy, the increasing size of
ovary, and when one ruptures, an egg is released and at
the uterus also leads to abdominal pressure along with
taches onto the uterine wall. The release of an egg is called
stress on the spinal column, increased pulmonary pres
ovulation. It occurs when estrogen levels are at their peak,
sure, and decreased lung capacity.
and it begins the approximate 14-day secretory or luteal phase
affect gastric reflux tendencies, breathing capabilities for
of the cycle.
These conditions can
Progesterone levels gradually increase and
skilled voicing, and musculoskeletal configuration, with
peak in mid-phase. Soon after that, a secondary peak of
adverse consequences for general body alignment and bal
estrogen occurs prior to menstrual flow, during which the
ance.
premenstrual syndrome occurs.
Along with the adrenal
hormone aldosterone, estrogen and progesterone can pro duce water and salt retention—some degree of bloating— during the premenstrual time. Diminished voice function is common during the pre
M en op au se Cessation of female menstruation and reproductive function occurs over several months to several years.
It
commonly occurs in the late 40s but has occurred in some
Reduction of estrogen levels during
females between ages 35 to 55 years. As ovarian and pitu
premenstruation can result in dilation of nasal, vocal tract,
itary sexual hormone function gradually ceases, the levels
and vocal fold blood vessels, swelling of vocal fold con
of estrogen and progesterone vary widely and can pro
nective tissues, and water retention. Perceived hoarse and
duce varied adverse effects. By the end of menopause, zero
rough voice qualities can occur along with a reduction in
estrogen is produced. During the process, many women
menstrual period.
the average pitch area during speech and reduction of pitch
experience hot flushes and other physical changes such as
range during singing. A "heavy" sensation may be sensed
fatigue, nervousness, headaches, insomnia, dizziness, de
in the upper larynx, along with a sense of increased vocal
creased cognitive sharpness and ability to focus concen
effort, and sluggish laryngeal movement when singing faster
tration, and heightened emotional sensitivity.
musical passages and wider pitch intervals. Vocal fold hem
The presence of progesterone that is unchecked by es
orrhage is more likely during this time, and is even more
trogen can result in greater water retention with thicker-
558
bodymind
&
voice
stiffer vocal folds and dryness of the mucosa that lines the
disruptive effect (Brandenberger, 1992; Wever & Rossi, 1992).
entire respiratory system. A lowering of average speaking
Sleep deprivation can produce chronic disruption of sen
pitch area and a more full-bodied voice quality may occur,
sorimotor and cognitive functions, and imbalances in en
along with hoarseness and an increase in vocal effort, es
docrine and immune system functions (Benninger, 1994).
pecially during singing. Often, these manifestations are tem
A number of disturbances in the hypothalamic-pituitary-
porary.
Estrogen-progesterone therapy may reestablish
endocrine axis may produce deficits in voice function
horm onal balances that reverse nearly all of the above
(Sataloff, 1991). These conditions can limit the capacity of
symptoms
bodyminds for effective vocal self-expression in speaking and singing.
F or T h o se W h o W a n t to K n ow M o re,,,
Some habitual life-style behavior patterns, such as highdemand distressful and eustressful circumstances and bodymind mismanagement, can disturb the relative bal
The relatively new science of chronobiology (Greek:
ances in neuroendocrine function (Orr, Hoffman & Hegge,
chronos = time) studies timed or cyclical events in life pro
1974).
cesses. As human bodyminds have adapted to durational
blood glucose from digested food is part of the hunger-
The interaction of insulin from the pancreas and
aspects of their environment, durational psychophysiologi-
satiation cycle. That interaction is automatic and always
cal events have occurred, such as:
maintains a blood glucose level between 70-mg and 120-
1. the 28-day menstrual cycle in women;
mg per deciliter of blood. In a few people, however, the
2. the approximately 24-hour circadian cycles (Latin:
pancreas has a propensity to produce excessive insulin af
circa = around; dies = day) in all human beings, manifested
ter a meal, thus creating an intense urge for carbohydrates
in such human behavior as sleeping and waking that are
too soon after eating.
influenced by the 24-hour light-dark cycles (French, 1995;
now labeled glucose sensitivity, popularly known as hypogly
Veldhuis, & Johnson, 1988; Wever, 1988); and
cemia.
This insulin-glucose imbalance is
Up-down mood swings, physical-emotional mal
3 . the ultradian cycles (Latin: ultra = above or less
aise, and inability to engage in concentrated activities are
than; dies = a day) that normally alternate from about 90-
associated with this condition. Irregular food intake sched
100 alert-active minutes versus about 20 restorative min
ules, prominent and long-term consumption of simple sug
utes (Kripke, 1982; Kripke, et al, 1985; Lloyd & Rossi, 1992;
ars with minimal consumption of complex carbohydrates
Poirel, 1982).
and other nutrients, and minimal body exertion are asso ciated with insulin-glucose imbalances (van Cauter, et al.,
Irregularity in, or disruption of endocrine function can
1989). These conditions also limit bodymind capabilities
result in deficits of physio chemical function that human
for effective communication. Occasionally, endocrine im
beings may interpret as disease, physical debility, reduc
balances are part of the eating disorders called bulimia and
tion of cognitive sharpness, and /or emotional malaise
anorexia nervosa (Friedman, 1978). High-acid irritation of the
(Wever, 1988; Puczynski, et al., 1990; Veldhuis, 1992). Sea-
vocal tract and vocal folds occurs following the induced
sonal-affective disorder, for instance, is a disorder involv
vomiting in bulimia (Benninger, 1994).
ing insufficient light stimulation through the eyes and skin
When diabetes mellitus has progressed over a long
(Bloom, Lazerson & Hofstadter, 1985). A number of cir
time span, it causes damage to the circulatory system as
cumstances can disrupt monthly hormonal cycles in women
increasing numbers of capillaries close down. The result is
(Blankstein, et al., 1981; Veldhuis & Johnson, 1988). Travel
that peripheral nerves are inadequately supplied, kinesthetic
across time zones induces cyclic changes in the light versus
sensation is gradually reduced, fine-tuned motor function
dark stimulation of epinephrine-norepinephrine (stimulant
is gradually reduced, muscle wasting occurs, and mucus
transmitters) and serotonin-m elatonin (sleep-inducing
secretions decrease. Susceptibility to inflammatory infec
transmitters). Irregular sleep-wake patterns have the same
tions results from reduced immune function. Excessive blood
endocrine
system
diseases
and
disorders
559
glucose levels can result in loss of consciousness (diabetic
end of normal, thyroid replacement medication is recom
coma) (Olefsky, 1977). These changes can occur in the lar
mended, particularly if the TSH level is in the high-normal
ynx, resulting in gradual reduction of voice skill capabili
range. General symptom constellations may include: puffy
ties.
face, dry-coarse hair, loss of eyebrow hair, slower than
In advanced stages, vocal fold paralysis can occur,
producing a weak, hoarse voice (Vaughan, 1982).
If the
normal heartbeat, lethargy, muscle weakness, sensation of
onset of diabetes occurs in adulthood, however, the dis
a lump in the throat, weight gain, constipation, brittle fin
ease may never affect voice function noticeably (Benninger,
gernails, arthritis, cold intolerance, infertility, depression,
1994).
dry skin, fatigue, forgetfulness, muscle aches, enlarged thy
Some athletes use anabolic steroids to boost muscle
roid (goiter) that exerts pressure against the larynx, and
These
heavy menstrual periods in women. The condition may
steroids produce a lowering of mean speaking fundamen
result in the formation of a gelatin-like protein substance
tal frequency and a degree of hoarseness, especially in
in the superficial layer of the vocal fold mucosa, thus a
women (Damste, 1964; Strauss, Liggett & Lanese, 1985).
swelling and stiffening of the folds. The more severe the
Other virilizing effects also occur in women (Damste, 1967).
hypothyroidism the greater the gel accumulation, the greater
Those who use voice in their careers or special avocations
the vocal fold dysfunction.
will experience diminished vocal capability when using
include reduction of pitch range and vocal fold agility and
anabolic steroids (Sataloff, 1991; Benninger, 1994).
a fuzzy sound quality, as manifested by a reduction of upper
mass and strength (body builders, for example).
The effects on vocal ability
Thyroid gland dysfunction can disturb many meta
partials in the vocal sound spectrum (Sataloff, 1991;
b o lic and physical fu n ctions th rou g h o u t the entire
Benninger, 1994). Hoarseness (Ritter, 1964) and "a veil over
bodymind, including voice function.
the voice" also are common descriptions of the voice qual
Thyroid disorders
are diagnosed by assessing the blood levels of the thyroid
ity.
hormones T3 and T4 and thyroid-stimulating horm one
Premenstrual syndrome (PMS) is associated with a
(TSH) which is produced in the pituitary. Hyperthyroid
constellation of symptoms that include backache, head
ism is an overproduction of thyroid hormone that results
ache, muscle pain, fatigue and lethargy, water retention and
in increased metabolic rate and disturbances of the auto
abdominal bloating, change in appetite, heart palpitations,
nomic nervous system, such as increased heart rate. Gen
nausea, diarrhea, heightened emotional responsiveness,
eral symptom constellations may include: hair loss, bulg
anxiety, irritability, depression, decreased concentration and
ing eyes, unusual sweating, enlarged thyroid (goiter), weight
cognitive acuity. Painful menstruation (dysmenorrhea) may
loss, frequent bowel movements, warm-moist palms, tremor
occur in about 50% to 70% of women, and may be so
of fingers, soft fingernails, difficulty sleeping, heat intoler
severe in about 10% of women that they cannot function
ance, infertility, irritability, muscle weakness, "nervousness,"
in social settings (Benedek & Rubinstein, 1942; Andersch &
and scant menstrual periods in women. Hyperthyroidism
Milson, 1982; Wentz, 1988). Symptom constellations may
contributes to a weakening of larynx muscles and thus
include abdominal cramping (uterine contraction), low back
produces a reduction of vocal abilities (Benninger, 1994).
pain, headaches, nausea and vomiting, dizziness, diarrhea,
Treatment may involve several medical options (Watt-
nervousness, and fatigue. Common treatment may include
Boolsen, et al., 1979; Benninger, 1994).
use of heating pads on painful areas, regular body exertion
Hypothyroidism is an underproduction of thyroid
(such as "pleasure walking," but not necessarily during pain
Below-normal T3 and T4 levels and/or an el
ful episodes), aspirin or ibuprofen, possibly prescription
evated TSH level indicate hypothyroidism, which usually
narcotics during severe pain. Estrogen-progesterone therapy
hormone.
is treated by thyroid horm one replacement medication.
also may be used to relieve symptoms, but skilled vocal
Small abnormal levels are more common and lead to ear
performers must be guided closely by voice-aware ear-
lier and more noticeable limitations in voice function. Even
nose-throat physicians (Sataloff, 1991; Benninger, 1994).
when thyroid hormone levels are normal but on the low
Nonsteroidal antiinflammatory drugs such as aspirin and
560
bodymind
&
voice
ibuprofen are not recommended for females who must use
able in order to prevent systemic weakness (anemia)
th e ir
(Rovisky, 1990). Vocal performance and anemia do not go
v o ices
ex te n siv e ly
or
v ig o r o u s ly
d u rin g
well together (Benninger, 1994).
premenstruation (see later). Voice function may be diminished during ovulation
During menopause, as androgen production contin
(Higgins & Saxman, 1989) but has been well documented
ues and estrogen production in the ovaries decreases to
during the premenstrual period (Davis & Davis, 1993;
near zero, hot flushes occur in about 80% of women (Ander
Hirson & Roe, 1993; Hoover, 1991). The larynx has been
son, et al., 1987). Disturbances of the sleep-wake cycle also
identified as an estrogen target organ (Abitbol, et al., 1989)
can occur along with genital dryness and atrophy, and in
and the vocal fold epithelial membranes have estrogen re
creased likelihood of cardiovascular and metabolic bone
ceptor sites (Fergusson, et al., 1987). Reduction of estrogen
diseases (Anderson, et al., 1987; Mezrow & Rebar, 1990).
levels during premenstruation can result in dilation of na
Various neuroendocrine malfunctions can result in al
sal, vocal tract, and vocal fold blood vessels, swelling of
tered psychosocial behavior, such as fatigue, nervousness,
vocal fold connective tissues, and water retention. The re
headaches, insomnia, dizziness, decreased cognitive acuity
sult is perceived hoarse or rough voice quality.
and concentration, and heightened emotional sensitivity
These conditions also result in reduction of mean speak
(Anderson, et al., 1987; Mezrow & Rebar, 1990). Vocally,
ing fundamental frequency (Brown & Hollien, 1981), re
the presence of progesterone that is unchecked by estrogen
duction of uppermost pitch range capabilities, and slug
can produce hoarseness with a more full-bodied voice qual
gish vocal fold movement during faster sung pitch pat
ity, a lowering of mean speaking fundamental frequency,
terns. The swelling also can be relatively minimal and pro
and an increase in laryngeal effort during voicing. Often,
duce barely audible voice quality changes. A woman might
these m anifestations are temporary.
feel a "heavy" sensation in the upper larynx and a sense of
xerophonia may occur (dryness of the respiratory mucosa,
Xerostom ia and
increased effort when voicing. A greater predisposition to
including mouth, throat, and vocal folds), as well as altered
vocal fold hemorrhage can occur, especially if nonsteroi
taste sensations, "burning" and pain in the mouth, and sen
dal antiinflammatory drugs (NSAIDs) are consumed to re
sitive gums that bleed easily. These symptoms are thought
duce pain (aspirin, ibuprofen, naproxen sodium, ketoprofen;
to be related to reduced activation of estrogen receptors in
see Chapter 10). Acetaminophen for pain reduction is more
the mucosa (reported in Gershoff, 1996).
accommodating to vocal fold tissues, although it does not
changes and laryngeal sensations may occur before the more
reduce other symptoms of inflammation.
Subtle voice
Laryngopathia
obvious symptoms of menopause, such as hot flushes.
premenstrualis is a term that some physicians use to describe
Skilled vocalists who are sensitive to small changes of vo
abnormal larynx function during the premenstrual time
cal output may notice unfamiliar inconsistencies of voice
(Sataloff, 1991; Benninger, 1994).
function and be puzzled by them. When symptoms are
M any of the physio chemical changes associated with
adverse and chronic, estrogen-progesterone therapy may
the menstrual cycle may occur during pregnancy, espe
reestablish hormonal balances that reverse nearly all of the
cially th o se a ssociated w ith elevated estrogen and
above symptoms (Sataloff, 1991; Benninger, 1994).
progesteronelevels (Hume & Killan, 1990; Rovisky, 1990). Examples are: increased blood vessel dilation, blood vol ume (as much as 40% to 55%), water and salt retention,
R eferen ces and S elected B ib lio g ra p h y
and increased vulnerability of vocal fold tissues to colli sion and shearing forces from voice use (possible vocal fold hemorrhage).
Voice changes during pregnancy are
referred to in medicine as laryngopathia gravidarum (Sataloff, 1991; Benninger, 1994). During pregnancy, about 725 mg of iron is needed daily, so that supplementation is desir
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Rovisky, J.J. (1990). Maternal physiology in pregnancy. In J.J. Sciarro (Ed.), Gynecology and Obstetrics (Vol. 2). Philadelphia: J.B. Lippincott. Rubinov, D.R., & Roy-Byrne, P. (1984). Premenstrual syndromes: Over view from a methodologic perspective. American Journal of Psychiatry, 141, 163-172. Sataloff, R.T. (1991). Endocrine dysfunction. In R.T. Sataloff (Ed.), Profes sional Voice: The Science and Art of Clinical Care (pp. 201-206). New York: Raven Press. Shiff, M. (1967). The influence of estrogens on connective tissue. In G. A sboe-H ansen (Ed.), Hormones and Connective Tissue (pp. 2 8 2 -341). Munksgaard Press. Strauss, R.H., Liggett, M.T., & Lanese, R.R. (1985). Anabolic steroid use and perceived effects in ten weight-trained women athletes. Journal of the Ameri can Medical Association, 253, 2871-2873. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon. van Cauter, E., Desir, D., Decoster, C., Fery, F., & Baiasse, E. (1989). Noctur nal decrease in glucose tolerance during constant glucose infusion. Journal of Clinical Endocrinology and Metabolism, 69(3), 604-611. Vaughan, C.W. (1982). Diagnosis and treatment of organic voice disor ders. New England Journal of Medicine, 307, 863-866. Veldhuis, J. (1992). A parsimonious model of amplitude and frequency modulation episodic hormone secretory bursts as a mechanism for ultradian signaling by endocrine glands. In D. Lloyd & E. Rossi (Eds.), Ultradian Rhythms in Life Processes: A Fundamental Inquiry into Chronobiology and Psychobi ology (pp. 139-172). New York: Springer-Verlag. Veldhuis, J., & Johnson, M. (1988). Operating characteristics of the hypothalamo-pituitary-gonadal axis in men: Circadian, ultradian, and pulsatile release of prolactin and its temporal coupling with luteinizing hormone. Journal of Clinical Endocrinology and Metabolism, 67(1), 116-123. von Gelder, L. (1974). Psychosomatic aspects of endocrine disorders of the voice. Journal of Communication Disorders, 1, 257-262. Watt-Boolsen, S., Bichert-Toft, M., & Boberg, A. (1979). Influence of thy roid surgery on voice function and laryngeal symptoms. British Journal of Surgery, 66, 535-536. Weiss, R. (1988). Women's skills linked to estrogen levels. Science News, 341. Wentz, A.C. (1988). Dysmenorrhea, premenstrual syndrome and related disorders. In H.W. Jones, A.C. Wentz, & L.S. Burnett (Eds.), Novak's Textbook of Gynecology (pp. 240-262). Baltimore: Williams & Wilkins. Wever, R. (1988). Order and disorder in human circadian rhythmicity.: Possible relations to mental illness. In D. Kupfer, T. Monk, & J. Barchas (Eds.), Biological Rhythms and Mental Disorders. New York: Guilford. Wever, R., & Rossi, E. (1992). The sleep-wake threshold in human circa dian rhythms as a determinant of ultradian rhythms. In D. Lloyd & E. Rossi (Eds.), Ultradian Rhythms in Life Processes: A Fundamental Inquiry into Chronobiology and Psychobiology (pp. 307-322). New York: Springer-Verlag. Wilson, K. (1987). Voice Problems of Children (2nd Ed.). Baltimore: Williams & Wilkins.
endocrine
system
diseases
and
disorders
563
chapter 5 how vocal abilities can be limited by diseases and disorders of the auditory system Norman Hogikyan, Darrel Feakes, Leon Thurman, Elizabeth Grambsch
A
ll of your senses are your bodymind's gate
T y p e s o f H e a rin g L o ss
way to the development and refinement of your perceptual, value-motive, and concep
Your ability to hear requires an interaction of many
tual categorizations (see Book I, Chapter 7). Memory, learn
different parts of your auditory system.
ing, self determination and health processes depend on those
the system can be more easily understood when you think
categorizations, as does sung or spoken self-expression.
of it as being divided into two subdivisions:
Refinement of your auditory, visual, and kinesthetic per ceptual senses and elaboration of fine-tuned vocal motor
Dysfunctions in
1. those parts that conduct sound energy to your two organs of hearing (the two cochleae);
skills are absolutely necessary for deeply satisfying involve
2. the cochleae, plus the auditory nerves which con
ment in language and music-making. Dysfunction in any
nect them to both sides of your brainstem, plus all of the
one of your sensory systems, or your vocal motor system,
auditory processing parts within your brain.
will result in some degree of expressive impairment. Auditory experiences, and the development of finer and finer auditory discriminations, are major bedrocks upon
Major elements in the delivery of sound to your two hearing organs are:
which language, paralanguage, and singing abilities are elabo
1. the external ears;
rated. These bedrocks begin to be formed during prenatal
2. the external auditory canals (the part where wax
and early childhood experiences with heard speech, voice
accumulates);
and musical sounds (see Book IV Chapter 1). Those accu
3. the tympanic membranes or eardrums; and
mulating auditory experiences then "guide" experimenta
4.
tion with the motor coordinations that eventually result in
the three hearing bones in each ear that transfer
sound from your eardrums to your cochleae.
spoken and sung self-expression. If any part of the audi tory system (from ear through brain and voice) functions
Your external ears are the two semirigid, skin cov
abnormally, the bedrocks will be incompletely formed and
ered structures with a cartilaginous framework, that are lo
spoken language, reading, and singing abilities will be im
cated on either side of your head. Your external auditory
paired. This chapter addresses some of the more common
canals are the small tubes that "channel" sound waves to
impairments of the auditory sense. Book I, Chapter 6, in
your eardrums.
cludes a review of auditory anatomy and physiology.
564
bodymind
&
voice
Your tympanic m em branes-eardrum s-
are the thin tissues that vibrate in response to sound pres
2. has difficulty localizing sounds;
sure waves that impact on them.
3.
Sound vibration is then transmitted in each ear from
cial situations; 4. is not developing language, speech, and singing abili
your eardrums to your cochleae by the three interconnected hearing bones. They are housed in two matched spaces in
ties in a normal timeline; 5. may cover ears and report ear pain when in the
your head that are referred to as your middle ears. Your middle ears are closed off from the outside world except for
presence of music or louder sounds;
6 . is frequently uneasy or fearful in unfamiliar situa
the tubes that connect your middle ears to the rear sides of your nose-your eustachian tubes, named after the 15th century Italian anatomist Bartolomeo Eustachio.
is under-responsive or appears to withdraw in so
tions;
Your
7. consistently plays alone, rather than with other chil dren, where spoken communication is necessary;
middle ear hearing bones are: 1. the malleus (Latin: hammer);
8. says "What?" or "Huh?" often
2. the incus (Latin: anvil); and
9. consistently does not follow directions or misun
3. the stapes (Latin: stirrup).
derstands them; 10. may become belligerent when urged to accom
Each of your eardrums is connected to its malleus,
plish tasks that have not been understood.
and the incus and stapes bones follow. A direct connection exists between the third hearing bone, the stapes, and your
C o n d u c tiv e H e a rin g L oss
two inner ears, that is, your cochleae. Your cochleae trans duce sound vibrations into nerve impulses that travel along
Abnormalities within the middle ear, or in the ear ca
the neurons of your right and left hearing nerves, that is,
nal, are the most common causes of conductive hearing
your vestibulocochlear or eighth cranial nerves. Your hearing
loss. In children and sometimes in adults, middle ear dis
From
orders are usually related to dysfunction of the eustachian
the brainstem, the neural impulses of hearing distribute to
tube. Normally, the tube is opened by periodic swallow
multiple higher levels of the brain to complete the intake
ing, chewing, or yawning. The air pressure inside the middle
process of hearing.
ear, then, is equalized with the atmospheric pressure out
nerves transmit those impulses to your brainstem.
Dysfunctions in the parts of your auditory system that
side the middle ear. When airplanes ascend and descend
conduct sound energy to the cochlea lead to conductive
and the cabin pressure changes, middle ear air pressure and
hearing loss.
Dysfunctions in the cochlea, the auditory
atmospheric pressure become unequal. That is when you
nerve, or the auditory processing parts of the brain cause
feel a need to "pop your ears" (Chapter 9 discusses Valsalva's
sensorineural hearing loss.
test).
Mixed hearing loss results
If one or both of your eustachian tubes remain closed
from combinations of conductive and sensorineural hear
for longer periods of time, then the air pressure in your
ing loss. Hearing loss in children is particularly important. They
middle ear decreases (negative pressure) and fluid gradually
cannot communicate about the abnormality of their hear
accumulates. Those conditions prevent normal sound con
ing. Pre-language children must have normal auditory pro
duction through your middle ear bones and hearing loss
cessing in order to develop all aspects of language and mu
results.
sical abilities. Detecting hearing loss in children is very chal
results with inflammation.
lenging for parents and educators, and may only be docu
with effusion is the diagnosis (Greek: ot = ear). Fluid that is
mented by expert examination by an ear-nose-thorat phy
not infected also can accumulate in your middle ear and
sician and an audiologist. Some behavioral signs of hearing
cause hearing loss; often, this type of fluid is not detected
impairment are:
until you begin to notice hearing abnormalities. An exami
1.
If the fluid contains bacteria, then an ear infection Acute or chronic otitis media
nation by an ear-nose-throat physician with testing by an does not attentively respond to sounds or responds
inconsistently;
audiologist is the next step. auditory
system
disorders
and
diseases
565
Other causes of conductive hearing loss are holes in
or earache, or to tug on an ear to alert them to the presence
the eardrum (tympanic membrane perforations) or prob
of noninfected middle ear fluid.
Children with noninfected
lems with the hearing bones. Perforations of the eardrum
fluid accumulation in middle ears will often be symptom-
usually occur due to trauma or infection. Separation of the
free compared to the more obvious symptoms associated
joints between the hearing bones also can be due to trauma
with acutely infected ears. Fluid and a mild hearing loss,
or infection. Sometimes, children are born with this condi
then, can be present for an extended period of time without
tion. A disorder called otosclerosis causes fixation of the
being detected.
stapes, and thus conduction of sound to the cochlea is in
The first two years of a child's life are the most impor
terrupted. A discussion of treatment for conductive hearing
tant for development of speech, language, and paralanguage
loss can be found in Chapter 9.
skills. Hearing plays a dominant role in this development. The age when middle ear fluid accumulates most frequently
C o n d u ctiv e H e a rin g L oss in C h ild ren
in children is between the ages of 6 and 18 months. This
In children, the auditory sense is crucial for future
age coincides very closely with the critical language learn
personal and social success in life. Hearing is the bedrock
ing time. The research findings are clear and unequivocal:
on which speech and language skills are built. Most chil
frequent episodes of middle ear fluid and the associated
dren whose language and speech skills are delayed will ex
mild hearing loss during early childhood can impair and/
perience delayed learning in school and/or learning dis
or contribute to the delay of language, paralanguage, and
abilities (Kraus, et al., 1996; Wong, 1991). The auditory sys
speech (Kraus, et al., 1996), as well as music and singing skills
tems of children who have a history of early repeated epi
(Klajman, et al., 1982).
sodes of middle ear infection have received incomplete, dis
between frequent episodes of early middle ear fluid and
torted, or inadequate auditory signals to process into
learning and behavior problems. Children who are labeled
memory. At the neural level, that means that the number
as "slow learners" often have a hearing loss that has gone
and strength of synaptic microcircuits in the auditory sys
undetected.
tem are less than would be expected in children who have had normal auditory processing.
There also is a strong correlation
Any child with symptoms or signs of ear infections,
Their auditory percep
such as tugging at the ears, obvious ear pain, ear drainage
tual and conceptual categorization skills will be mildly to
(clear or pus-like yellow or green), unexplained fevers or
severely underdeveloped, so that their ability to make sense
fussiness, or obvious hearing loss, needs to be examined by
of heard language will be impaired. Their people-to-people
a physician to determine what the nature of the problem is,
interactions will include more frequent misunderstandings.
and to verify response or lack of response to treatment.
W hat appears to be inattention or lack of concentration or
Repeated infections that do not respond to antibiotic therapy
"slow learning" in schooling tasks may actually be an audi
require evaluation and treatment by an ear-nose-throat
tory processing deficit.
physician and an audiologist. Evaluation and treatment is
The most common hearing loss in children is a con ductive loss, and
otitis media with effusion is the most
crucial at the first signs of any delay in acquisition of lan guage skills (Beilis, 1996).
common cause (Silva, et al., 1986; Roberts, et al., 1991;
These conditions can be prevented with appropriate
Schilder, et al., 1994; Gravel & Wallace, 1995). It usually is
care. Children who are at risk for having repeated middle
mild and can occur in one or both ears. If a young child
ear infections should be evaluated no later than six months
has a mild loss in one ear, parents, day-care providers, or
of age and then every six months until the child is three or
teachers are not likely to determine its presence by observ
four years old. Most children do not have any overt symptoms.
ing responses to sound. Hearing loss in both ears is usu
Recent research has indicated that breast-fed infants have
ally more detectable, although mild losses may lead only to
stronger immune systems (Newman, 1995; Slade & Schwartz,
subtle behavioral changes which are often overlooked.
1986).
Parents and teachers cannot rely on children to have a fever
mother's immune system capabilities are passed on to the
566
bodymind
&
voice
Breast milk is the means by which much of the
child. The longer children are breast-fed, the lower the in
Since the language delays and learning problems tend to be
cidence of infections in the gut, ear, and respiratory tract
permanent, it is of paramount importance that auditory
(Goldman, 1993; Newman, 1995). Presumably, this includes
system disorders be identified at the earliest possible age and
middle ear infections.
treated immediately.
By identifying and treating these cir
cumstances appropriately, many of the learning and social problems can be prevented or their severity can be less
B a rrie rs to L e a rn in g A sso c ia te d W ith C h ro n ic O titis M e d ia w ith E ffu sio n (O M E )
ened. A deficient auditory processing system can have a
A small percentage of children struggle with their schoolwork and receive low grades, even though they have normal language and speech skills and normal or above normal intelligence test scores. Parents and teachers, there fore, are puzzled as to why these students are not able to be successful academically. Typically, a majority of these children have a history of early, repeated episodes of middle ear fluid-usually infections-and/or upper respiratory infections during the first two years of life. The following circumstances may be indications that children are having, or have had, or may be predisposed to having, episodes of middle ear fluid: 1. consistent breathing through the mouth, snoring
subtle or a severe effect. Once the problem is identified and explained in terms that both parents and child can easily understand, then classroom modification and teaching tech niques can be adjusted to help the children achieve optimal success in the classroom (Beilis, 1996a,b). Small changes in where the child sits or stands and adjustments in teaching techniques can often make a dramatic difference in a child's self-identity, educational achievement, and social behavior. Amplification equipment is available that links only the teacher and the affected child(ren), so that the teacher's spo ken communications can be distinguished from other class room sounds. Before children can learn the communicative skills they will use tomorrow, they must have heard all their yesterdays.
when sleeping on their back, and/or restless sleeping at age 15 months and older; 2. parents and/or siblings who have a history of fre
S e n so rin e u ra l H e a rin g L o ss
quent upper respiratory infections or allergies during their early childhood;
Sensorineural hearing loss may occur anywhere from the cochlea to the auditory cortex. Causes include, but are
3. premature children;
not limited to: hereditary conditions, bacterial or viral in
4. children who attend day care centers;
fections of the ear, exposure to certain drugs, traumatic in
5. children with measured cognitive deficits;
6. children with cranial-facial anomalies such as cleft palate;
juries, tumors, systemic diseases, noise exposure, and aging. Older adult patients or their spouses may note losses gradu ally as a result of age-related changes in the auditory ner
7. infants whose parents prop the feeding bottle;
8. children whose parents smoke in the house or burn wood in a home fireplace; 9. children who have their first incidence of middle ear fluid accumulation before 12 months of age.
vous system. Usually, visual examination of the ear is en tirely normal, so this type of loss requires a hearing test by an audiologist for diagnosis.
S e n so rin e u ra l H e a rin g L oss in C h ild ren In the United States, one in every 750 children may
Children who have persistent difficulties in the class room should be evaluated for attention deficit disorder (ADD) and attention deficit-hyperactive disorder (ADHD), and have a central auditory processing evaluation by an audiologist. Their visual processing also needs to be tested.
have a disabling sensorineural hearing loss (Feinmesser & Tell, 1976). It can occur due to nongenetic and genetic fac tors (Paparella & Schachern, 1991a,b). A congenital senso rineural hearing loss in both ears (binaural) will diminish the development of language and musical skills. Following
auditory
system
disorders
and
diseases
567
birth, although otitis media is a disease of the middle ear,
quickly to medication, then placement of ventilating tubes
inflammatory agents and other toxins can pass into the
in the child's ears must be considered. The tubes will allow
inner ear, most likely through the round window mem
aeration of the middle ears so that hearing can be normal
brane of the cochlea and cause sensorineural hearing loss
through the very important language, speech, and song learn
(Goycoolea, et al., 1980; Paparella, et al., 1984; Paparella &
ing years.
Schachern, 1991a).
Distorted central auditory processing creates a deficit
Children with a sensorineural hearing loss in one ear
or a delay in the development of language, speech, and
are at high risk for diminished development of language
musical abilities. Under those circumstances, a school stu
and musical skills. Hearing loss in one ear diminishes or
dent is likely to interpret the sounds that they hear as nor
eliminates the "stereo effect" that binaural hearing provides.
mal. They have no "normal" hearing experience to com
This, in turn, reduces the ability to: (1) identify where sounds
pare it with. They do not understand why their parents
are coming from (sound localization), and (2) detect impor
and teachers are disappointed or displeased with their talk
tant sound sources when they are sounding at the same
ing, reading, and singing skills, and their schoolwork. They
time as other sounds. Distinguishing a teacher's voice from
do not understand when their peers perceive their conver
several voices talking at the same time would be very diffi
sational contributions or their behavior as sometimes in
cult, for example, or hearing and performing a particular
appropriate. If their central auditory processing disorder
musical line in a homophonic or polyphonic musical con
is not detected and treated, they are at risk for having aca
text.
demic, social, and employment problems in the future. Central auditory processing refers to transmission
Most children with a CAPD exhibit educational diffi
of auditory signals within the central nervous system, from
culties while they are in kindergarten or first grade. In some
the brainstem to the primary auditory cortex and beyond
children, however, they may not become apparent until the
(Book I, Chapter 6 has a brief review of anatomy and physi
fourth or fifth grade. The social and academic behaviors of
ology). Children who have a central auditory processing
children who have a CAPD are similar to those children
disorder (CAPD) are not able to perceive and "interpret"
who have an attention deficit disorder (ADD), with or with
sound signals completely and accurately, even when their
out hyperactivity.
inner ears and cochlear nerves are functioning normally.
children face are very similar to the challenges that children
These incomplete, inconsistent, and/or distorted signals are
with a CAPD face. Many children with disordered auditory
the result of abnormal formation of neuron networks some
processing systems struggle in the classroom, but do not
where within the auditory nervous system. For example,
meet the ADD criteria. The following are the most common
students with a CAPD may not be able to accurately distin
characteristics of children with a CAPD.
guish a verbal message spoken by a teacher when it is de livered in the presence of routine classroom noise.
The educational challenges that ADD
1. They are easily distractible and are not able to con
The
centrate when there are other auditory and/or visual dis
message may only be partly perceived, remembered incom
tractions present; may be accused of not paying attention,
pletely, or forgotten.
or of listening only to what happens to be personally inter
A common source of CAPD is chronic episodes of middle ear fluid in infants and toddlers who are within two years of post-birth life.
esting. They may be accused of daydreaming. 2. They may complain about "trouble hearing" in the
For example, children who have
classroom, yet their hearing may be (superficially) tested
enlarged adenoids commonly experience an accumulation
and found to be normal. Their parents may be told that
of middle ear fluid. The adenoids are located near the area
their child is not a good listener. They may frequently mis
where the eustachian tubes open into the nasal cavity. When
understand assignments, the date assignments are due, and
they are sufficiently enlarged, they can prevent normal pres
so on. They may do very well in one-to-one or a very
sure equalization in the middle ears by narrowing the tube
structured schooling environment where they are able to
or closing it off.
568
If the middle ear fluid does not respond
bodymind
&
voice
easily hear the teacher's voice without being distracted by classroom noises. 3.
2.
congenital perinatal infection such as rubella, toxo
plasmosis, syphilis, herpes, and cytomegalovirus;
They may have, or appear to have, problems with
short-term memory, and thus may not be able to remem
4. birth weight of less than 3 pounds;
4. They will usually have difficulty with the phonics
5. bacterial meningitis, especially due to Haemophilus Influenza;
comprehension skills become inadequate. Spelling and math also may be affected.
some anatomic malformations in the head and neck,
such as a cleft palate, or elsewhere in the body;
ber directions easily in the classroom or family settings. aspects of a reading program, thus reading and/or reading
3.
6. severe asphyxia during birth, which may include children with an APGAR score of 0 to 3 or those who fail to
5. They may appear to be disorganized.
initiate spontaneous respiration by 10 minutes, with hypo
6. Their response to questions and directions requires
tonia persisting until two hours of post-birth age.
additional processing time in the brain, thus appropriate response usually takes a brief period of time. Often, they
Of the children in one Australian study who had sen
are not allowed the necessary extra time because no one is
sorineural hearing loss, however, only about 54% had any of
aware of the CAPD. Teachers may think the child does not
the above characteristics (Menser & Forrest, 1974).
know the information.
words, about one-half of the infants with a sensorineural
7. They may object to going to school because they
In other
hearing loss did not fall into the high-risk category.
Can
find it confusing or overwhelming and thus, threatening.
nongenetic sensorineural hearing loss occur in prebirth in
Defensive or defeatist behaviors may be displayed and a
fants? Two studies have indicated that a high percentage of
negative self-identity may develop. Without detection and
children with diagnosed hearing loss were born to mothers
treatment of the CAPD, the complexity of these trends are
who were exposed to occupational noise levels in the range
likely to increase over time and be very challenging to re
of 85-dB to 95-dB during pregnancy (Daniel & Laciak, 1982;
solve constructively.
Lalande, et al., 1986). Another study noted that intense noise during fetal life detrimentally affected postnatal adaptabil
Unidentified sensorineural hearing loss can have dev
ity (Ando & Hattori, 1970). Pregnant Japanese women who
astating effects on the educational, social, and emotional
lived near Osaka Airport gave birth to smaller than normal
development of children. The longer a hearing loss remains
babies, and there was a higher than normal incidence of
undetected, the more a child's communication skills will be
premature births and birth defects among them (Szmeja, et
adversely affected, and chances of optimizing them will be
al., 1979).
diminished. In other words, children who experience diag
How can nongenetic sensorineural hearing loss occur
nostic or treatment delays are never able to regain speech
in pre-term infants? Experimental research in such matters
and musical skills they might have developed earlier in life.
cannot be conducted on human subjects, but research on
Detection of any hearing loss is imperative, and it needs to
selected animal subjects has been performed.
be done at the earliest possible age so that appropriate am
posed to ongoing loud noise as high as 120-dB and to short,
plification and speech-language remediation can be pro
very loud noise bursts (such as gun firings), various de
vided to lessen the impact on life-learning and school edu
grees of sensorineural hearing loss have been measured in
cation.
animal fetuses (sheep) that are near the size and matura-
Many hospitals perform a hearing screening test au
tional stage of human fetuses.
When ex
Significant destruction of
tomatically in newborn children who are at the highest risk
inner and outer hair cells in the middle and apical turns of
of having a congenital, permanent sensorineural hearing
the cochleae were observed (Gerhardt, et al., 1999).
loss. High-risk indicators are (Paparella & Schachern, 1991a): 1.
Automatic hearing exams for all newborns-now avail-
family history of sensorineural hearing loss that able-would be of great benefit to the children and to the
occurred at any early age;
societies into which they are born. For children with hear
auditory
system
disorders
and
diseases
569
ing impairment then, a complete and detailed family his
sound waves are received by and processed through the
tory is essential, along with complete otologic and audiologic
outer, middle, and inner ears, the mechanical vibratory
exams, followed immediately by any necessary medical and
movements that they induce in the organ of Corti's basilar
surgical treatment, and/or hearing aid prescription. Educa
membrane are of very high amplitudes. The "whipping" of
tion of the parents about adjustments to their parenting
the basilar membrane can cause swelling in the tissues of
and educational responsibilities will be necessary.
the organ of Corti, a temporary loss of normal function,
Before children can learn the communicative skills they will need
and thus, a temporary hearing loss. Very intense vibratory motion creates a back-and-forth shearing motion between
tomorrow, they must have heard all their yesterdays.
the organ of Corti's moving hair cells and the stationary
F or T h o se W h o W a n t to K n o w M o re,,,
tectorial membrane.
Specific hair cells transmit signals in
response to specific frequencies. When hair cells are sheared
Over the human lifespan, reduction of hearing capa
off, they do not regenerate.
So, once they are destroyed,
bilities is common. It can be temporary or permanent, and
hearing in the particular frequency range of the destroyed
there can be variability in the degree of hearing loss within
hair cells is lost permanently.
individuals (Borg, et al., 1992). If periods of loud sound are
The effects of noise levels in various workplaces have
of relatively short duration and there are times of relative
been studied rather extensively (Dancer, et al., 1992; Ward,
quietness in between, then there may be a mild acoustic
1984, 1991). The greater the intensity and the greater the
trauma that produces a temporary hearing loss.
Typi
times of high-dB exposure over a period of years can result in a
cally, normal hearing is recovered during relative quiet. A
cumulative permanent hearing loss. In the United States,
common symptom is consciously perceived, temporary
businesses must respond to governmental regulatory stan
tinnitus (Latin: tinnire= tinkle or jingle), commonly referred
dards on workplace noise levels, and the use of protective
to as a "ringing in the ear" (Dancer, et al., 1992; Meyerhoff &
measures, for the protection of employee hearing (OSHA,
Cooper, 1991).
1983). The four factors that affect NIHD are: (1) the fre
Permanent damage to the inner ear, thus permanent hear
quencies in the noise, (2) the intensity of the frequencies, (3)
ing loss and possibly a consciously perceived, long-term or
the amount of exposure time, and (4) whether or not the
continuous tinnitus, can occur as a result of severe acoustic
noise is continuous or intermittent with relative quietness
trauma (Ward, 1991). There are degrees of acoustic trauma,
between bursts. Ears are more prone to hearing losses in
and thus, degrees of hearing loss.
Noise-induced hearing
response to frequencies between 2,000-Hz and 3,000-Hz
damage (NIHD) occurs when the tops of some of the sen
(Ward, 1991). Continuous noise levels of 85-dB and above
sory receptor cells (hair cells), located within the cochleae's
are subject to regulation standards. High-intensity, shorter
organs of Corti, are sheared off and destroyed.
The de
sound bursts of 90-dB and above are regulated by modify
struction can occur in response to: (1) very short, loud,
ing the degree of sound intensity and the amount of expo
impulse noise near the ears, such as gunshots or firecrack
sure time.
ers, that have been measured as high as 120-dB to 140-dB; (2) intermittent, uninterrupted sound(s) of relatively short
M u sic-In d u ce d H e a rin g L oss (M IH L )
duration, with very high sound pressure levels, such as jet
MIHL occurs when musicians are exposed to repeated
aircraft bursts (about 130-dB), or symphony orchestra or
episodes of higher-dB music over a period of years, or with
rock band performances (can range as high as 100-dB to
periodic abrupt high-volume bursts (Einhorn, 1999). This
130-dB); and (3) less intense, but relatively loud continuous
cumulative permanent hearing loss is a crucial issue for
sound levels over longer periods of time, say, from 85-dB
musicians (Benninger, 1994; Cutietta, et al., 1994; Speaks, et
to 100-dB, or more, over several hours.
al., 1970; Westmore & Eversden, 1981) and for non-musi
Hair cells convert the mechanical motions of the in
cians w ho listen to m usic at higher intensity levels
ner ear into nerve impulses that transmit all aspects of sound
(Goodman, 1980; Nodar, 1986). A variety of ear protection
waves to the brain's auditory system. When high-pressure
570
bodymind
&
voice
measures exist (Chasin, 1996, 1999; Chasin & Chong, 1992), including:
(1) wearing specially designed ear protection
devices that reduce the incoming dB levels by anywhere from about 15-dB to 35-dB, (2) engaging in as many rela tively quiet periods as possible during a rehearsal-performance day, and (3) engaging in long periods of silence be tween higher-dB episodes. These measures allow the physi cal effects of acoustic trauma to heal as much as possible. Singers, teachers of singing, music educators, and choral conductors who are in the presence of higher-intensity, closedistance singing, live instrumental accompaniments, or re corded instrumental accompaniments, may be susceptible
Cutietta, R.A., Millin, J., & Royse, D. (1989). Noise-induced hearing loss among school band directors. Bulletin of the Councilfor Research in Music Educa tion, No. 101,41-4 9. Dancer, A.L., Henderson, D.H., Salvi, R.J., & Hamernik, R.P. (Eds.) (1992). Noise-Induced Hearing Loss. St. Louis, MO: Moseby-Year Book. Daniel, T., & Laciak, J. (1982). Observations clinique et experionces concernant l'etat de l'appareil cochleovestibulaire des sujets exposes au bruit durant la vie foetale. Revue de Laryngologie, 103, 3 13- 3 18. Einhorn, K. (1999). Noise-induced hearing loss in the performing arts: A otolaryngologic perspective. The Hearing Review, 6(2), 28-30. Feinmesser, M. & Tell, L. (1976). Evaluation of methods on detecting hearing impairment in infancy and early childhood. In E.T. Mencher (Ed.), Early Identification of Hearing Loss (pp. 102-113). New York: S. Karger.
to MIHL (Benninger, 1994; Sataloff, 1991).
Gerhardt, K., Pierson, L.L., Huang, X., Abrams, R.M., & Rarey, K.E. (1999). Effects of intense noise exposure on fetal sheep auditory brain stem re sponse and inner ear histology. Ear & Hearing, 20, 21-32.
R efe re n ce s and S ele cte d B ib lio g ra p h y
Goldman, AS. (1993). The immune system of human milk: Antimicrobial, antiinflammatory, and immunomodulating properties. Pediatric Infectious Dis ease Journal, 12(8), 664-671.
Ando, Y., & Hattori, H. (1970). Effects of intense noise during fetal life upon postnatal adaptability. Journal of the Acoustical Society of America, 47, 1128-1130. Beilis, T.J. (1996a). Management of auditory processing disorders. In T.J. Beilis, Assessment and Management of Central Auditory Processing Disorders in the Educational Setting. San Diego: Singular. Beilis, T.J. (1996b). Considerations in central auditory processing service delivery. In T.J. Beilis, Assessment and Management of Central Auditory Processing Disorders in the Educational Setting. San Diego: Singular. Beilis, T.J. (1996c). Assessment and Management of Central Auditory Processing Dis orders in the Educational Setting. San Diego: Singular. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers. Borg, E., Canlon, B., & Engstrom, B. (1992). Individual variability of noiseinduced hearing loss. In A.L. Dancer, D.H. Henderson, R.J. Salvi, & R.P. Hamernik (Eds.), Noise-induced Hearing Loss (pp. 467-475). St. Louis, MO: Mosby-Year Book. Chasin, M. (1996). Musicians and the Prevention of Hearing Loss. San Diego: Singular. Chasin, M. (1999). Musicians and the prevention of hearing loss: The A, Bb, and C#'s. The Hearing Review, 6(2), 10, 12, 16. Chasin, M., & Chong, J. (1992). A clinically efficient hearing protection pro gram for musicians. Medical Problems of Performing Artists, 1,42. Cooper, J.C., & Meyerhoff, WL. (1991). Functional hearing loss. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngol ogy (Vol. II: Otology and Neuro-Otology, pp. 1161-11167). Philadelphia: W.B. Saunders. Cutietta, R.A., Klich, R.J., Royse, D., & Rainbolt, H. (1994). The incidence of noise-induced hearing loss among music teachers. Journal of Research in Music Education, 42(4), 3 18-330.
Goodman, R.S. (1980). Output intensity of home stereo headphones. Ear; Nose, Throat Journal, 59, 330-333. Goycoolea, M.V., Paparella, M.M., Goldberg, B., & Carpenter, AM. (1980). Permeability of the round window membrane in otitis media. Archives of Otolaryngology, 106(7), 430-433. Gravel, J.S., & Wallace, I.F. (1995). Early otitis media, auditory abilities, and educational risk. American Journal of Speech-Language Pathology, 4(3), 89-94. Hall, J.W, & Bulla, WA. (1999). Assessment of music-induced auditory dys function. The Hearing Review, 6(2), 20, 22, 24, 27. Hall, J.W., Grose, J.H., & Pillsbury, H.C. (1995). Long-term effects of chronic otitis media on binaural hearing in children. Archives of Otolaryngology, 121, 857-862. Hetu, R., & Fortin, M. (1995). Potential risk of hearing damage associated with exposure to highly amplified music. Journal of the American Academy of Audiology, 6(5), 378-387. Hinojosa, R., & Naunton, R.F. (1991). Presbycusis. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & WL. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1629-1637). Philadelphia: WB. Saunders. Hough, J.VD., & McGee, M. (1991). Otologic trauma. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1137-1160). Philadelphia: WB. Saunders. Hughes, G.B., & Nodar, R.H. (1985). Physiology of hearing. In G.B. Hughes (Ed.), Textbook of Clinical Otology (pp. 71-77). New York: Thieme-Stratton. Jackler, R.K., & Brackmann, D.E. (Eds.) (1994). Neurotology. St. Louis: MosbyYear Book. Klajman, S., Koldej, E., & Kowalska, A. (1982). Investigation of musical abilities in hearing-impaired and normal-hearing children. Folia Phoniatrica, 34, 229-233. Kraus, N., McGee, T.J., Carrell, T.D., Zecker, S.G., Nicol, T.G., & Koch, D.B. (1996). Auditory neurophysiologic responses and discrimination deficits in children with learning problems. Science, 273, 971-973.
auditory
system
disorders
and
diseases
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Lalande, N.M., Hetu, R., & Lambert, J. (1986). Is occupational noise expo sure during pregnancy a high risk factor of damage to the auditory system of the fetus? American Journal of Industrial Medicine, 10,427-435. Menser, M.A., & Forrest, S.M. (1974). Rubella: High risk incidence of defects in children considered normal at birth. Medical Journal of Australia, 1,123-126. Meyerhoff, WL., & Cooper, J.C. (1991). Tinnitus. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1169-1179). Philadelphia: WB. Saunders. Möller, A.R. (1994). Physiology of the ear and the auditory nervous system. In R.K. Jackler & D.E. Brackmann (Eds.), Neurotology (pp. 19-39). St. Louis: Mosby-Year Book. Moore, J.K. (1994). The human brainstem auditory pathway. In R.K. Jackler & D.E. Brackmann (Eds.), Neurotology (pp. 3-18). St. Louis: Mosby-Year Book. Newman, J. (1995). How breast milk protects newborns. Scientific American, 273(6), 76-79. Nodar, R.H. (1986). The effects of aging and loud music on hearing. Cleve land Clinic Quarterly, 53, 49-52. Occupational Safety and Health Administration (OSHA). (1983). Occupa tional noise exposure: Hearing conservation amendment. Federal Register, 48(46), 9738-9783. Paparella, M.M., & Jung, T.T.K., & Goycoolea, M V (1991). Otitis media with effusion. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 13 17-1342). Philadelphia: W.B. Saunders. Paparella, M.M., Morizono, T., Le, C.T., Mancini, F., Sipilä, P., Choo, Y.B., Lin den, G., & Kim, C.S. (1984). Sensorineural hearing loss in otitis media. An nals of Otology Rhinology and Laryngology, 93,(6), 623-629. Paparella, M.M., & Schachern, P.A. (1991a). Sensorineural hearing loss in children-nongenetic. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1561-1578). Philadelphia: W.B. Saunders. Paparella, M.M., & Schachern, P.A. (1991b). Sensorineural hearing loss in children-genetic. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1579-1599). Philadelphia: WB. Saunders. Roberts, J.E., Burchinal, M.R., Davis, B.P, Collier, A.M., & Henderson, F.W. (1991). Otitis media in early childhood and later language. Journal of Speech and Hearing Research, 34, 1158-1168. Sataloff, R.T. (1991). Hearing loss in musicians. American Journal o f Otoloqy, 12(2), 122-127. Schilder, A.G.M., Snik, A.F.M., Straatman, H., & van den Broek, P. (1994). The effect of otitis media with effusion at preschool age on some aspects of auditory perception at school age. Ear and Hearing, 15, 224-23 1. Silva, P.A., Chalmers, D., & Stewart, I. (1986). Some audiological, psycho logical, and behavioral characteristics of children with bilateral otitis media with effusion: A longitudinal study. Journal of Learning Disabilities, 19, 165169. Silverman, S.R. (1991). Rehabilitative audiology. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngology (Vol. II: Otol ogy and Neuro-Otology, pp. 1005-1015). Philadelphia: W.B. Saunders. Slade, H.B., & Schwartz, S.A. (1987). Mucosal immunity: The immunology of breast milk. Journal of Allergy and Clinical Immunology, 80(3), 348-356.
572
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Speaks, C., Nelson, D., & Ward, WD. (1970). Hearing loss in rock and roll musicians. Journal of Occupational Medicine, 12, 216-219. Sprinkle, P.M., & Lundeen, C. (1991). The otolaryngologist and the Occupa tional Safety and Health Act. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. II: Otology and NeuroOtology, pp. 1037-1052). Philadelphia: W.B. Saunders. Szmeja, Z., Slomko, Z., Sikorski, K., & Sowinski, H. (1979). The risk of hearing impairment in children from mothers exposed to noise during pregnancy. International Journal of Pediatric Otorhinolaryngology, 1, 221-229. Ward, W.D. (1984). Noise-induced hearing loss. In D.M. Jones & A.J. Chapman (Eds.), Noise and Society (pp. 77-109). London: Wiley. Ward, W.D. (1991). Noise-induced hearing damage. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. Meyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1639-1652). Philadelphia: WB. Saunders. Westmore, G.A., & Eversden, I.D. (1981). Noise-induced hearing loss and orchestral musicians. Archives of Otolaryngology, 107, 761-764. Willeford, J.A., & Burleigh, J.M. (1985). Handbook of Central Auditory Processing Disorders in Children. New York: Grune & Stratton. Wong, B.YL. (Ed.) (1991). Learning About Learning Disabilities. San Diego: Aca demic Press.
chapter 6 how vocal abilities can be limited by diseases and disorders of the central nervous and musculoskeletal systems Norman Hogikyan, Leon Thurman, Carol Klitzke our nervous system can be described as The Internet
the scope of this chapter, some of the more common neural
and Command Center of your body It enables you to
conditions that affect speaking and singing will be presented.
Y
receive, process, and react to external events and to
internal bodily events.
Your visual, auditory, and soma
tosensory networks are your receivers (Book I, Chapter 6 has a review).
S o m a to se n so ry D iso rd e rs o f V o ic e and S p e e ch
Other parts of your brain categorize and Sensation in the laryngeal structures that are located
interpret the sensory input—cognition (see Book I, Chapter Your motor system can then be activated to initiate
above the true vocal folds is initially detected by the inter
coordinations of your muscular and skeletal systems to
nal branches of the left and right superior laryngeal nerves.
produce
Sensation in all other laryngeal structures, including the true
7).
stabilization and/or movement of your skeletal
framework-including your voice.
Diseases and disorders
vocal folds, is initially received via the left and right recur
in those systems can limit vocal self-expression, sometimes
rent laryngeal nerves. Each of these nerves is a branch of
subtly and sometimes severely,
the left and right vagus nerves, the longest and most widely
Disorders of the nervous system are traditionally classi
distributed of the cranial nerves. Sensation in other head
fied as somatosensory (Greek: soma = body; Latin: sentire =
and neck anatomy is conducted through various other cra
to sense or feel), cognitive (Latin: cognoscere = to know),
nial and spinal nerves (Book I, Chapters 3 and 6 have re
motor (Latin: motare = move about), or a combination of
views).
the three. The somatosensory or receptive side of the ner
Isolated sensory injuries to laryngeal nerves are not
vous system includes the kinesthetic or proprioceptive sense.
common, and if unilateral, they are likely to go unnoticed.
The somatic sense is important in processing (1) conscious
Subtle changes in sensation or proprioception may occur
feedback for control of phonation, and (2) reflex feedback
during or following periods of inflammation.
control of phonation that is outside conscious awareness.
such as clearing one's throat, throat "tickles", or coughing
The motor part of the nervous system controls all bodily
episodes can occur. A bilateral sensory loss, particularly in
movements, including the subtle movements of the intrin
the supraglottis, can lead to significant swallowing difficul
sic laryngeal, pharyngeal, and tongue muscles. While a com
ties (dysphagia).
prehensive discussion of neurological disorders is beyond
"voicebox" is airway protection during swallowing.
Symptoms
One of the prim ary functions of the This
will most likely be a problem if combined with a motor
CNS
and
m u s c u l o s k e le t a l
system
diseases
and
disorders
573
loss of some sort. Loss of sensation in other head and neck
damage that produces the amusias occurs in the right hemi
structures can reduce the extent of resonance sensation and
sphere areas of the temporal and frontal lobes that corre
of articulatory cues that relate to vocal efficiency. Alcohol
spond to the language comprehension and production ar
is a central nervous system depressant that reduces the ability
eas of the left hemisphere. Amusia and aprosodia usually
of the brain to process somatosensory feedback cues with
co-occur. Some of the amusias have resulted in loss of the
peak accuracy. Skilled vocal coordinations, therefore, can
ability to respond to (1) the contoured pitches of melodies,
be compromised.
(2) the simultaneous pitches of chords, (3) tonal timbre, and
D iso rd e rs o f C o g n itio n in L a n g u a g e and M u sic
sulted in loss of the ability to:
(4) the emotional expressiveness of music. Some have re (1) sing pitches, (2) play
pitches on an instrument, and (3) compose music. Agraphia is loss of the ability to write language be
There are many causes for disruption of normal cog
cause of damage to Wernicke's area. Alexia is loss of the
nitive processing in the brain. One common cause of cog
ability to read because of damage to the visual cortex of the
nitive disruption is temporary reduction of blood supply
language hemisphere (the left in about 95% of people) and
to the whole brain or elimination of blood supply to any of
to the posterior area of the corpus callosum that transfers
the brain's anatomic regions.
visual perception from the non-language hemisphere (usu
Blood supply is copiously
distributed throughout the brain.
If blood supply to the
ally the right) to the language hemisphere. Wernicke's area
whole brain is eliminated, death follows quickly. If blood
is denied the processing of visually perceived language, but
supply is permanently diminished or eliminated to any
speech comprehension and spoken and written language
anatomic region of the brain, the sensory, cognitive, or motor
production are preserved. Alexia without agraphia means
functions that are subserved by that region are diminished
that a person cannot read language, but they can write it,
or eliminated. Asphyxiation, traumatic brain injury, tumor, and
even though they cannot read what they have just written.
cerebrovascular accident (CVA) are four means by which blood supply can be denied to the brain or any of its regions. A CVA is commonly referred to as stroke. It is a block
M o to r D iso rd e rs o f V o ic e an d S p ee ch
age of blood supply to one or more specific brain regions. If a CVA diminishes or eliminates blood flow to Wernicke's
M otor or movement disorders affecting the voice or
or Broca's areas, then language comprehension or produc
larynx are much more common than sensory disorders.
tion is diminished or eliminated. The condition is referred
As with other neurological conditions, they can be due to
to as dysphasia or aphasia (Greek: dys = disordered; a =
injuries or diseases in the central nervous system (brain
without; phasis = speech).
and spinal cord), or peripheral nervous system
(nerves
Aprosodia most commonly results from a CVA or
extending beyond the central nervous system). The periph
traumatic brain injury in the areas of the right hemisphere
eral innvervation of the larynx is often affected in laryngeal
that correspond to Wernicke's and Broca's areas in the left
movement problems.
hemisphere.
Abnormal perception and/or production of
The intrinsic laryngeal muscles are innervated by the
pitch inflection in speech are prominent symptoms. When
recurrent laryngeal nerves of the vagus. These nerves are
aprosodia occurs, the singing of musical pitches is usually
called "recurrent" because they do not take a direct route to
diminished or eliminated (Ross, 1981).
the larynx from the brainstem, but instead take a circuitous
Amusia is loss of some or all of the brain areas that
path which puts them at risk for injury in non-larynx areas
enable the comprehension and production of music (Benton,
of the body. On the left side, the recurrent laryngeal nerve
1977; Hodges, 1996; Marin, 1982; Wertheim, 1977; Yamadori,
drops down into the chest and wraps around the aorta
et al., 1977). There has been much less research into the
before returning to the neck to innervate the larynx. On the
amusias compared to the aphasias. A large majority of the
right side, it drops down less than on the left, and "recurs"
574
bodymind
&
voice
around the subclavian vessels in the upper chest before
called apraxia (Webster, 1995, pp. 299, 300).
The person
returning to the larynx.
These nerves are thus prone to
will be unable to perform, or will haltingly attempt to per
injury from surgery or natural disease processes from where
form, complex volitional motor acts in which many muscles
they exit the skull through the mid and upper chest.
must coordinate in a particular sequence. Because speech
The cricothyroid muscles, important for the voice (par
is a complex volitional act, apraxias of speech are not sur
ticularly singing), are innervated by the external branches
prising. The speech of apraxic patients may be "scrambled",
of the superior laryngeal nerves. These nerves take a direct
containing many phoneme substitutions and distortions.
path to the larynx, but are prone to injury in the neck. The
They also have great difficulty starting utterances as they
cricothyroid muscles are important for the ability to lengthen
"grope" for words. The muscles themselves are not para
and tense the true vocal folds, and therefore the ability for
lyzed or even weak, and people with apraxia perform less
higher pitched phonation.
Loss of cricothyroid function
complex tasks normally. They may make several attempts
eliminates the entire upper pitch range and upper register
to say the same thing but different errors are displayed in
voice qualities.
each attempt.
Under appropriate circumstances, trained
It can be helpful to categorize movement disorders
speech pathologists or music therapists may be able to use
affecting voice into conditions which lead to increased or
singing to re-establish speech function through alternate
inappropriate motor activity, and those that lead to decreased
intact neural pathways that previously were used for sing-
or absent activity. In the following sections, some of the
ing.
more commonly encountered conditions are presented.
Tremor can be defined as a rhythmical movement of a part of the body. Vocal tremor occurs both as an isolated
C o n d itio n s o f In cre a se d or In a p p ro p ria te M o v em e n t
condition, or it may accompany tremors in other parts of
Dystonias are a family of conditions characterized by inappropriate muscle contractions, commonly referred to as spasms, that can be sustained or intermittent. When dystonias occur in specific muscular anatomy, they are re ferred to as focal dystonias. Three other types of dystonias are referred to as multifocal, segmental, and generalized. Dystonia in the muscles on one side of the face is called hemifacial spasm, and dystonia of muscles in the neck is called spasmodic torticollis,
spasmodic dysphonia (SD) is a focal
dystonia that affects either the adductory laryngeal muscles, the abductory muscles, or both. The six types of dysarthria involve a loss of control over the muscles of speech articulation due to disruption of normal function of central or peripheral motor nerves. They are often described by patients as difficulty in talking. Symp toms can include hypernasality in speech, poor articula
the body in conditions such as essential tremor. It is often aggravated by emotions or fatigue. The vocal symptoms of the famous United States actress, Katherine Hepburn, are evidence of an essential tremor (Personal communication, Arnold Aronson, Ph.D., CCC/SLP, Mayo Clinic, Rochester, Minnesota). Stuttering d urin g sp eech is ch a ra cte riz ed b y dysfluency, that is, the normal connected flow of word sounds is frequently disconnected so that particular word sounds are blocked or repeated because the signals for the motor moves that could produce the next word sound are temporarily prevented. People who stutter in speech, how ever, can produce words with normal fluency when they sing.
C o n d itio n s o f D e c re a se d or A b se n t M o v em e n t
tion, strained voice quality, irregular or jerky speech and
Vocal fold paralysis is a relatively common neuro
repetition of syllables, weak voice with many hesitations
logical disorder which can dramatically alter voice. While
intermixed with brief rushes of speech, frequent stoppages
dysfunction of the recurrent laryngeal nerves often causes
of speech; and involuntary, stereotyped facial spasms (tics).
both a motor and sensory deficit, it is the symptoms and
When the pre motor cortex, but particularly the supple
signs of motor impairment that predominate. With a uni
mentary motor cortex, are damaged by injury or hemor
lateral paralysis (one vocal fold), change in voice is the pri
rhage, a person will likely show the movements that are
mary complaint, with difficulty swallowing occurring as
CNS
and
m u s c u l o s k e le t a l
system
diseases
and
disorders
575
well in some patients. With bilateral vocal fold paralysis, breathing difficulty is the usual presenting symptom.
The right and left temporomandibular joints (TMJs) connect the skull's right and left temporal bones to the right
There are many possible causes of unilateral vocal
and left rear areas of the mandible (the jaw bone). Tem
fold paralysis, with neoplastic lesions (tumors), surgical
poromandibular joint (TMJ) disorders occur when one
trauma, and idiopathic causes accounting for many cases.
or both of these joints are not functioning optimally.
Inability to project the voice, decreased vocal intensity, and
some cases, the cause of the dysfunction is obvious. If a
vocal fatigue are typical complaints of a patient with unilat
person receives a forceful blow on the jaw, the TMJ may be
eral vocal fold paralysis.
In
The examination findings will
dislocated or the jawbone may be fractured. Distressful life
differ depending on the specific type of neurological lesion,
circumstances can induce unusual neuromuscular tension
but an immobile vocal fold which rests in a partially open
in the several head and neck muscles that attach to the joints,
position is representative. Glottic closure with phonation
and cause more subtle imbalances in joint function (Aronson,
the
1990, p. 121). Teeth grinding during sleep (bruxism) and
"breathflow" for voice due to the abnormal gap between the
continual tensing of the TMJ muscles can be common be
vocal folds.
haviors in people who live high-stress, high-demand life
will usually be incomplete, with inefficient use of
Many cases of unilateral vocal fold paralysis are tem
styles. The joint tissues become irritated, and swelling de
porary, and resolve without medical or surgical interven
velops in and around the joints.
tion. For instance, the left or right recurrent laryngeal nerve
(1) tenderness or pain in the TMJ area, possibly with stiff
Symptoms may include
can be infected by a virus and reduce or eliminate nearly all
ness and pain radiation to other neck and head areas, in
motor function to its corresponding vocal fold (Book II,
cluding headaches; (2) a grating-creaking sound during jaw
Chapter 7 has details). When paralysis is or may be tem
movement or a popping sound when lowering the jaw with
porary, voice therapy can help a person (1) assume optimal
some width; (3) limitations in range of jaw motion that may
voice function under the circumstances, and (2) cope with
include a visible, at-rest "hanging" of the jaw to the right or
the psychosocial consequences of the disorder. When pa
left; (4) ear pain, "ringing in the ear" (tinnitus), and dizziness
ralysis is permanent, both behavioral (voice therapy) and
(vertigo) may occur in some cases (Goldman, 1987; Howard,
surgical treatments exist (Chapter 9 has details). Other mo
1991; Taddey, 1992; Amorino & Taddey, 1994; Benninger,
tor disorders of vocal function are described in the For Those
1994). Frequent, extreme lowering or extreme side-to-side
Who Want to Know More... section at the end of the chapter.
motion of the jaw can contribute to TMJ dysfunction in
The depressant effect of alcohol on the central ner
singers. Its incidence in singers is greater than that for the
vous system is not a neural disorder, as such, but when it
general population (Book V, Chapter 5 has preventive "path
is taken in sufficient amounts it can reduce the speed and
finders").
precision of neuromuscular coordinations, including speak ing and singing.
Likewise, distressful and
Muscle tension dysphonia is a diagnostic term which was
eustressful life
introduced in the early 1980s (Morrison, et al., 1983; Belisle
circumstances can gradually induce neuromuscular ineffi
& Morrison, 1983). It was described as a condition where
ciencies (Chapter 8 has details)
a steady-state, chronic tenseness occurs in the larynx muscles when a person is speaking. Usually, a breathy-constricted qual
D iso rd e rs o f th e M u scu lo sk e le ta l S y ste m
ity is heard rather than a breathy-easy or firm and clear quality. Since the introduction of the term, individual voice clini cians have assigned different meanings to it. Recently, the
Although the musculoskeletal system is involved in
originators of this concept published a reformulation of
many and varied functions throughout the body, only a
their thinking and now refer to it as muscle misuse voice
small number of specific entities related to voice will be
disorder (Morrison & Rammage, 1993; Morrison, 1997).
considered here.
This condition can be generated by distressful emotional events (Chapter 8 has more details).
576
bodymind
&
voice
Laryngeal tension-fatigue syndrome (Koufman & Blalock, 1988) may have three different histories:
low-level tonus. When muscles have been used for longer
(1) the
spans of time with relatively intense contractions, the muscles
Vocal underdoer", such as a person who is described as
are harder to the touch in their at-rest state because more
shy and/or soft-spoken, but who has undertaken a job or
fibers are being contracted with greater intensity to main
avocation that requires extensive or vigorous voice use; (2)
tain higher-level tonus.
a person who has regularly used voice rather frequently and with appropriate vigor, but some circumstance has re
Strictly speaking, un d ercon d ition ed laryngeal muscles and vocal fold tissues is not a voice disorder.
sulted in considerably less voice use (vacation, inappropri
Underconditioning can, however, cause a myriad of un
ate voice rest, recent long-lasting upper respiratory infec
usual, and sometimes unexpected, vocal signs and symp
tion, recent surgery), and the person has returned to their
toms.
former extent and vigor of voice use (this situation hap
Maintaining overall vocal fold muscle contraction and
pens to many singers); or (3) older adults who have spoken
stabilization of length in order to maintain pitch, actually
and/or sung much less than they once did, and have re
may mean continuous, minute readjustment in the contrac
sumed doing so (Book IV, Chapter 6 has details).
tion/relaxation of the laryngeal muscle fibers. Although
The symptoms of the syndrome are sensed by the
laryngeal muscles are naturally somewhat fatigue-resistant,
voice user but may not be observable by a physician. Voice
compared to some other muscles, they will fatigue over time
quality may be perceived as fuzzy sounding after ten minutes
during extensive and vigorous voice use. Additional vocal
to one hour or more of voicing. When viewed by means of
fold tissue (nodules, for instance) or tissue disruption (pol
the laryngeal videostroboscope, the vocal folds may ap
yps, for instance) hasten the onset of vocal muscle fatigue
pear to be inadequately adducted, bowed, or completely
by increasing the "work" of vocal production.
normal. In the neck/larynx area, sensations may be per
Increased laryngeal conditioning means:
ceived that are described as fatigue, irritation, soreness, or ache,
1. the mucosal tissues where ripple-waves occur un
or a sensation of a lump in the throat that does not clear
dergo micro-level changes that include a kind of "toughen
(official term: globus sensation).
This disorder is not often
ing" while retaining optimum elasticity and compliance, re
seen in a talkative, outgoing individual, except under the # 2
sulting in increased tissue tolerance for extensive and strenu
history as described in the previous paragraph.
ous use and increased collision and shearing forces; and
Muscles are made up of numerous individual muscle
2. the laryngeal muscles are increasing in: sfrmgth-capability to contract muscles with greater
fibers with their own nerve connections. The nerves "fire" an electrochemical impulse into the muscle fibers to which
and greater intensity;
they are attached and the fibers contract or shorten. When
endurance-capability to sustain intense contraction
the firing stops, the contraction releases. A whole muscle is
over longer and longer periods of time before fatigue be
said to contract when most of its fibers are contracted. In
gins;
dividual muscle fibers under stress respond by alternately contracting and releasing in milliseconds of time, but in
precision, speed and "smoothness" of neuromuscular co ordinations;
such a way that at any one time, most of the fibers are contracted.
bulk-m argins of vocal folds are moved slightly closer to the laryngeal midline because of thyrovocalis
When muscles are not contracted, spontaneous nerve
muscle bulking;
firings continue into some of the muscle fibers. That rela tively minimal firing maintains what is called the muscle's
3.
recovery from fatigue is faster when muscles and
tissues are well conditioned.
tonus. When muscles have been used for relatively minimal spans of time with minimal contraction intensities, the
An underconditioned larynx means:
muscles are quite lax in their at-rest state because fewer
1.
fibers are being contracted with less intensity to maintain
CNS
and
vocal fold mucosal tissues have undergone micro
level changes that include relative tissue "softness" and a
m u s c u l o s k e le t a l
system
diseases
and
disorders
577
low-peak of elasticity and compliance, resulting in low tol
speech system (Aronson, 1990; Dworkin, 1991; Webster, 1995,
erance for extensive and vigorous voice use with increased
p. 299).
collision and abrasion forces; 2.
• Flaccid dysarthria is caused by damage to the lower
laryngeal muscles have decreased strength, endurmotor neurons in the brainstem or to the cranial motor
ance, bulk, and neuromuscular precision, speed and smooth
nerves.
ness. They will fatigue more quickly; clearer and louder
breathy voice quality are its common symptoms.
sound is less available due to reductions in adductory muscle
Hypernasality in speech, poor articulation, and
• Spastic dysarthria is caused by damage to neurons in
strength and thyrovocalis muscle bulk; and the neuromus
the primary motor cortex.
cular coordinations for pitch and timing are sluggish and
strained voice quality, and low-pitched voice are its com
Extremely poor articulation,
off-tune (see Book II, Chapter 15 for details).
mon symptoms. • Ataxic dysarthria is caused by damage to the cer
F or T h o se W h o W a n t to K n o w M o re,,,
ebellum (particularly the vermis). Irregular or jerky speech and repetition of syllables are its common symptoms. • Hypokinetic dysarthria is caused by damage to the
Aphasia is a disorder of neural function that alters
substantia nigra (same as in Parkinson's disease).
Weak
language processing and speech motor functions in a vari
voice, with many hesitations intermixed with brief rushes
ety of ways. It can result from several types of neural in
of speech, are its common symptoms.
sult, but the most common is a left hemisphere CVA. Typi
• Hyperkinetic dysarthria is caused by damage to two of
cally, it is characterized by word finding difficulties and re
the basal ganglia, the caudate and putamen (same as in
duction of auditory retention span.
Huntington's chorea). Irregularities in the rate, pitch, and
Adductory SD is by far the most common spas
loudness of speech; frequent stoppages of speech; and in
modic dysphonia, and leads to a tight, strained vocal quality
voluntary, stereotyped facial spasms (tics) are its common
with intermittent abrupt, pressed constrictions or termina
symptoms.
tions of voice.
Typically, the pressed "spasms" are more
• When a patient displays symptoms of mixed dysar
evident when a patient is asked to sustain vocal sound for
thria, a collection of the above symptoms will reflect which
several seconds on a vowel that is produced with an open
of the above brain areas are affected.
vocal tract, such as /ah/. Abductory SD is less common, and is characterized by sudden, intermittent onsets of very
Parkinsonism, or Parkinson's Disease, is a condition
breathy vocal quality that occur during running spontane
with multiple neurological manifestations, which can affect
ous speech. It seems as though "the bottom drops out" of
the larynx and voice in some cases. This disorder is char
the voice. Stoppages in the flow of speech also can occur,
acterized by any combination of tremor at rest, rigidity,
but are more related to movement of the vocal folds that
bradykinesia, and loss of postural reflexes (Fahn, 1986;1989).
are an attempt to compensate for the sudden abduction.
According to Blitzer and Brin (1993), in parkinsonism "the
Interestingly, in either type of SD, adduction/abduction for
dysphonia is characterized by a decreased loudness with
singing is often unaffected or is much more fluent than
monopitch, monoloudness, and prosodic insufficiency.
adduction/abduction for speaking (Finitzo & Freeman, 1989;
Voice is decreased in loudness, and tends to fade out at the
Ludlow & Connor, 1987; Stewart, et al., 1997). The symp
end of breath groups"
toms sometimes occur in the lower capable pitch range in
pauses for breaths, and inappropriate silences between words
which habitual speaking usually takes place, but not in fre
and syllables may occur. Examination of the larynx will
quency areas that are above habitual speech frequency ar eas where singing more commonly occurs. There are six different types of dysarthria, and their symptoms reveal the location of the damage in the motor
578
bodymind
&
voice
They also note that inappropriate
often demonstrate bowing and slowed motion of the vocal folds. Myasthenia gravis is a condition which usually first presents with symptoms of abnormal fatiguing of muscles
innervateci by cranial nerves, and can progress to involve
Careful laryngeal endoscopy is essential to an accurate di
any skeletal muscles. Ptosis, or drooping of the eyelids, is
agnosis.
the most common initial symptom. Dysphonia or dysar
arytenoid dislocation is disparity in the vertical orientation
thria can occur in 6% to 25% of patients with this condition
of the two cartilages. When an arytenoid cartilage is dislo
(Grob, 1961).
cated to the posterior of the larynx, the vocal process and
The primary distinguishing characteristic of
Vocal fatigue is the hallmark of voice change with this
vocal fold of the dislocated cartilage is elevated. When the
condition. A weak and breathy voice gradually develops
dislocation is to the anterior of the larynx, the vocal pro
with use, and sluggish movements of the vocal folds may
cess and vocal fold of the dislocated cartilage is lower than
be evident. Periods of vocal rest will generally alleviate the
the unaffected arytenoid.
overt voice changes. Long term treatment of the voice change is the same as for treating the systemic condition. Multiple sclerosis is a condition of unknown cause
R efe re n ce s and S ele cte d B ib lio g ra p h y
which leads to demyelinization, that is, gradual degenera tion and loss of the myelin sheaths around white matter axons in the central nervous system. This condition can have far-reaching effects on both sensory and motor func tions, with motor deficits affecting voice and speech in some cases. Due to a derangement of coordinated muscle activity for speech, dysarthria can be a sign of multiple sclerosis. Amyotrophic lateral sclerosis or "Lou Gehrig's Dis ease" is a devastating, progressive neurodegenerative disor der.
It can affect motor nerves at multiple levels of the
nervous system (upper and lower motor neurons), and even tually impacts muscular functions throughout the head, neck, torso, and extremities. The dysarthria that results from this condition is a mixed spastic-flaccid type, reflecting the up per and lower motor neuron involvement (Darley, 1969).
Amorino, S. & Taddey, J.J. (1994). Temporomandibular disorders and the singing voice. National Association o f Teachers o f Singing Journal, 50(1), 3-14. Aronson, A. (1990). Clinical Voice Disorders (3rd Ed.). New York: Thieme. Belisle, G., & Morrison, M.D. (1983). Anatomic correlation for muscle ten sion dysphonia. Journal o f Otolaryngology 12, 3 19-321. Benninger, M.S. (1996). Dysphonia secondary to neurological disorders. Journal o f Singing, 52(5), 29-32, 36.
Benninger, M.S., & Schwimmer, C. (1995). Functional neurophysiology and vocal fold paralysis. In J.S. Rubin, R.T. Sataloff, G.S. Korovin, & WJ. Gould (Eds.), Diagnosis and Treatment o f Voice Disorders (pp. 105-121). New York: IgakuShoin. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers.
Speech or swallowing difficulty will often be the initial symp
Benton, A. (1977). The amusias. In M. Critchley & R. Henson (Eds.), Music and the Brain: Studies in the Neurology o f Music (pp. 378-397). Springfield, IL:
tom for which a patient seeks medical care.
Charles C. Thomas.
Arthritis (Greek: arthron = joint) is any inflammation that occurs in the joints of the body. It can occur in the
Bigland-Ritchie, B., & Woods, J.J. (1984). Changes in muscle contractile prop erties and neural control during human muscular fatigue. Muscle and Nerve, 1, 691-699.
cricothyroid joints and the cricoarytenoid joints, producing swelling, pain, and reduced range of motion. Movement of those cartilages at those joints is crucial to inhalation and the creation and change of spoken and sung pitches, vol ume levels, and voice qualities. Arytenoid cartilage dislocation usually occurs as a
Blitzer, A., & Brin, M.F. (1991). Laryngeal dystonia: A series with botulinum toxin therapy. Annals of Otology Rhinology and Laryngology, 100, 85-89. Blitzer, A., & Brin, M.F. (1995). Neurolaryngology. In C.W. Cummings, J.M. Fredrickson, L.A. Harker, C.J. Krause, & D.E. Schuller (Eds.), OtolaryngologyHead and Neck Surgery (2nd Ed., Vol. 3). St. Louis: Mosby-Year Book. Blitzer, A., Brin, M., Sasaki, C., Fahn, S., & Harris, K. (Eds.) (1992). Neurologic
result of laryngeal trauma, including trauma that may oc
Diseases o f the Larynx. New York: Thieme Medical.
cur during endotracheal intubation or extubation (Sataloff,
Boucher, R.M., & Hendrix, R.A. (1991). The otolaryngologic manifestations of multiple sclerosis. Ear Nose Throat, 70, 224-233.
1991). Usually, only one of the cartilages is affected. This diagnosis can be misperceived as vocal fold paralysis in some cases, although a true vocal fold paralysis is much more common than dislocation of an arytenoid cartilage.
CNS
and
Crary, M.A. (1993). Developmental Motor Speech Disorders. San Diego: Singular. Darley, F.L., Aronson, A.E., Brown, J.R. (1969). Differential diagnostic pat terns of dysarthria. Journal o f Speech and Hearing Research, 12, 246-269.
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Dedo, H.H., & Behlau, M.S. (1991). Recurrent laryngeal nerve section for spastic dysphonia: 5 to 14 preliminary results in the first 300 patients. An nals o f Otology Rhinology, and Laryngology, 100, 274-279. Dworkin, J.P. (1991). Motor Speech Disorders: A Treatment Guide. St. Louis, MO: Moseby-Year Book. Fahn, S. (1986). Parkinson's disease and other basal ganglion disorders. In A.K. Asbury, G.M. McKhann, & W.I. McDonald (Eds.), Diseases o f the Nervous System: Clinical Neurobiology, Philadelphia: Ardmore Medical Books.
M. Hirano (Eds.), Vocal Fold Physiology: Voice Quality Control (pp. 249-267). San Diego: Singular. Koufman, J.A. & Blalock, P.D. (1991). Functional voice disorders. Otolaryngologic Clinics o f North America, 24, 1059-1073. Koufman, J.A. & Blalock, PD. (1988). Vocal fatigue and dysphonia in the professional voice user: Bogart-Bacall syndrome. Laryngoscope, 98,493-498. Ludlow, C.L., & Connor, NP (1987). Dynamic aspects of phonatory control in spasmodic dysphonia. Journal o f Speech and Hearing Research, 30, 197-206.
Fahn, S. (1989). The history of parkinsonism. Movement Disorders, 8, S2-S10. Finitzo, T., & Freeman, F. (1989). Spasmodic dysphonia, whether and where: Results of seven years of research. Journal o f Speech and Hearing Research, 32, 541-555. Freedman, M.R., Rosenberg, S.J., & Schmaling, K.B. (1991). Childhood sexual abuse in patient with paradoxical vocal cord dysfunction. Journal of Nervous and Mental Disorders, 179, 295-298. Gandevia, S.C., Enoka, R.M., McComas, A.J., Stuart, D.G., & Thomas, C.K. (Eds.) (1995). Fatigue: Neural and Muscular Mechanisms, New York: Plenum. Garfinkle, T.J., & Kimmelman, C.P (1982). Neurologic disorders: amyotrophic lateral sclerosis, myasthenia gravis, multiple sclerosis, and poliomyelitis. American Journal of Otolaryngology, 3, 204-212.
Marin, O. (1982). Neurological aspects of music perception and perfor mance. In D. Deutsch, (Ed.), The Psychology o f Music (pp. 453-477). Orlando, FL: Academic Press. Middlestadt, S.E., & Fishbein, M. (1989). The prevalence of severe muscu loskeletal problems among male and female symphony orchestra string players. Medical Problems o f Performing Artists, 4(1), 44. Morrison, M.D. (1997). Pattern recognition in muscle misuse voice disor ders: How I do it. Journal o f Voice, 11(1), 108-114. Morrison, M.D., Hamish, N, & Rammage, L.A. (1986). Diagnostic criteria in functional dysphonialaryngoscope, 96,1-8. Morrison, M.D., & Rammage, L.A. (1993). Muscle misuse voice disorders: Description and classification. Acta Otolaryngologica (Stockholm), 113,428434.
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Scherer, R.C., Titze, I.R., Raphael, B.N., Wood, R.P, Ramig, L.A., & Blager, R.F. (1987). Vocal fatigue in a trained and an untrained voice user. In T.Baer, C. Sasaki, & K. Harris (Eds.), Laryngeal function in Phonation and Respiration. San Diego: Singular Publishing.
Sherman, D., & Jensen, P.J. (1962). Harshness and oral-reading time. Journal o f Speech and Hearing Disorders, 27(2), 172-177. Schapiro, R.T (1991). Clinical neurology for the otolaryngologist. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngol ogy (Vol. IV: Plastic and Reconstructive Surgery and Interrelated Disciplines, pp. 22971-2982). Philadelphia: W.B. Saunders. Scheinberg, L., & Smith, C.B. (1987). Rehabilitation of patients with multiple sclerosis. Neurology Clinics, 5, 585-598. Stewart, C.F., Allen, E.L., Tureen, E.L. Diamond, B.E., Blitzer, A., & Brin, M.F. (1997). Adductor spasmodic dysphonia: Standard evaluation of symptoms and severity. Journal o f Voice, 11((1), 95-103. Stringer, S.P, & Schaefer, S.D. (1991). Disorders of laryngeal function. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 2257-2272). Philadelphia: WB. Saunders. Taddey, J. (1992). TMD and musicians: Prevalence and occupational etiologic considerations. Journal of Craniomandibular Practice, 10(3), 241-244. Titze, I.R. (1984). Vocal fatigue: Some biomechanical considerations. In V.L. Lawrence (Ed.), Transcript o f the Twelfth Symposium: Care o f the Professional Voice (Part I, Scientific Papers, pp. 97-104). Philadelphia: The Voice Foundation. Titze, I. (1991). A model for neurologic sources of aperiodicity in vocal fold vibration. Journal of Speech and Hearing Research, 34, 460-472. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon. Trojan, F. & Kryssin-Exner, K. (1968). The decay of articulation under the influence of alcohol and paraldehyde. Folia Phoniatrica, 20, 217-238. Tucker, H.M. (1989). Vocal cord paralysis: Etiology and management. Laryn goscope, 90, 585-590.
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chapter 7 how vocal abilities can be limited by anatomical abnormalities and bodily injuries Norman Hogikyan, Leon Thurman, Carol Klitzke
that result in the formation of a living creature.
M
can have genetic sources, and can lead to abnormalities of
The growth of human beings begins with the
speaking-singing functions. Even with normal genetic ex
merger of two genetic codes, one-half from a male and
pression, epigenetic disruptions of morphoregulatory chem
one-half from a female. Genetic codes signal the basic de
istry during the prenatal period can result in malforma
orphology is the label for the growth processes
Malformations of auditory and neural-vocal anatomy
sign and production of the proteins that form the wide
tions of auditory and neural-vocal anatomy and function.
variety of cells that constitute a human body. A variety of
Insufficient sensorimotor stimulation during late gestation
circumstances can result in genetic codes that produce less-
and childhood can result in underdeveloped neural net
than-normal design and production features.
works, suboptimum neural capabilities, and/or functional
Epigenetic events are growth and regeneration processes
abnormalities that can affect vocal self-expression. For in
that occur as a result of (after) gene expression. They are not
stance, early childhood ear infections (otitis media) can in
controlled genetically, and are subject to influence by bio
terfere with normal auditory reception and prevent opti
chemical events within the body during gestation. For in
mum development of the cochlear and neural functions
stance, epigenetic events cause cells to adhere together to
that are crucial to the development of normal language,
form tissues that make up the shaped organs and systems
voice, and musical capabilities.
of the body. The tissues are guided to their normal loca
Bodily injuries of many types and in many different
tions, and differentiate into distinct functional units due to
parts of the body also can impact upon voice and speech.
the influence of complex morphoregulatory processes that
Manifestations of injury may be subtle and short lived, or
are only incompletely understood at this time.
overt and permanent.
A comprehensive review of the
Disruptions in the production and location of the
potential effects of anatomic abnormalities and bodily in
morphoregulatory molecules can result in physio chemical
juries is well beyond the scope of this chapter, but several
malformations that produce functional abnormalities in
examples are given to illustrate concepts.
people. For instance, pregnant women who consume al cohol in sufficient amounts during certain times of preg
M o rp h o lo g ic V o ice D iso rd e rs
nancy can disrupt morphoregulatory processes so that the malformations of fetal alcohol syndrome occur (Emanuele, et
people are of different sizes and shapes, so their vocal tract
al., 1993).
582
bodymind
Just as the noses, lips, jaws, and earlobes of different
&
voice
and larynx structures (including the vocal folds) have dif
and reduce vocal fold compliance, elasticity, and overall
ferent sizes and shapes. Indeed, there is no clearly marked
agility. The most severe webbing can significantly obstruct
dividing line between the range of normal anatomic varia
the respiratory airway. Surgery is unnecessary with webs
tion and what constitutes an anatomic abnormality. Ge
that do not interfere with vocal function. When webs do
netic and epigenetic processes determine these sizes and
interfere, surgery may repair the folds so that a relatively
shapes, and the extent and vigor of voice use may have
normal or "closer to normal" vocal fold mucosal waving
some influence on dimensions and configurations. There
can occur. Degree of normal vocal function will depend
is a wide range of morphological variation that enables
on the cause of the webbing, its severity, and the surgical
normal vocal function and the wide range of capabilities
method used (Benninger, 1994).
for vocal self-expression. Some formations of vocal
Congenital abnormalities also can exist in the vocal
anatomy do, however, impose degrees of limitation on vocal
tract. The shape and size of vocal tract structures varies
capabilities.
greatly between individuals. For instance, three organs of
Heredity may predispose some people to developing
the immune system are located in the vocal tract, and, when
voice-use disorders more easily. Although not scientifi
enlarged, can protrude into the upper airway and partially
cally studied, it is readily observed in clinical practice that
obstruct it:
some voice users are more prone than others to develop
1. adenoids, located on the posterior pharyngeal wall
ing mucosal disorders of the vocal folds despite having
just behind where the nose opens into the back of the throat;
vocal commitments that are similar to other voice users.
2. palatine tonsils, tucked into each side of the throat
For instance, some people may have thicker or more resil ient laryngeal tissues, with more optimal elasticity and com pliance than other people, making their tissues more toler
beyond the rearmost teeth; 3.
lingual tonsils, located on the back of the tongue
base, between the epiglottis and the tongue.
ant of extensive and strenuous voice use. When condi tioning of laryngeal muscles and tissues is not a factor,
When these organs are enlarged, they can obstruct the
therefore, they may be able to use their voices strenuously
upper airway, and sometimes can interfere with the nor
for longer than normal periods of time with comparatively
mal flow of acoustic sound pressure waves through the
less tissue reaction than might be expected.
Some people
vocal tract, and thus adversely affect vocal resonance
may have more optimum laryngeal blood supply and
(Benninger, 1994). If significant enlargement of these struc
mucosal hydration processes than other people.
tures exists, and is not corrected early enough in children,
Laryngeal webs occur when a portion of the tissues
abnormal craniofacial and dental formation can result
of both true vocal folds have become abnormally attached,
(Rubin, 1987; Principato, 1991; Benninger, 1994). Enlarged
or "webbed" together. Webs may be congenital or acquired.
adenoids reliably lead to a hyponasal vocal quality (re
Congenital webs can occur during in-utero development.
duced nasal resonance), due to blockage of acoustic energy
The lumen of the larynx must undergo canalization (be
at the back of the nose. Enlarged palatine or lingual tonsils
come opened), since it is a closed tube during some early
will "crowd" the pharynx, and block or deflect the normal
phases of gestation. If this does not occur properly, then a
flow of acoustic sound pressure waves and increase the
web may result.
likelihood of a blocked, "darkeif more muffled voice qual
Webs may be very small (microwebs) or may be at tached to most of the vocal fold length.
Some smaller
webs may not affect vocal function at all, but larger ones
ity. Acoustic loading of the vocal folds also may occur, thus contributing to excess laryngeal effort (see Book II, Chapter 12).
may inhibit vocal fold movement to a significant degree.
Obstructive sleep apnea syndrome (OSAS) was only
Milder forms of laryngeal webbing may "teach" the larynx
documented in 1965 and does not have, therefore, a very
to coordinate voicing with habitual excess effort.
More
long history of medical research to document its causes. It
severe forms may restrict mucosal waving and pitch range,
tends to be passed on in families; whether it is hereditary
a n a tom ic al
a b n o rm a litie s
and
bodily
injuries
583
or learned has not been determined as yet (personal com
involve such injuries as bruises, fractures, or lacerations,
munication with Leon Thurman by Wilfred Corson, M.D.,
and may result from assaults, motor vehicle accidents, sports
Medical Director of the Sleep Disorders Center, Fairview
injuries, workplace accidents, slips and falls, or other cir
Southdale Hospital, Edina, Minnesota). Loud snoring and
cumstances. Surgery may also be thought of as a form of
intermittent arrest of breathing during sleep are common
controlled trauma.
signs of this abnormality (Sievert, 1980; Thawley, 1986;
fected by mild to severe trauma to nearly any part of the
Benninger, 1994). During snoring the tongue is lax and pins
body, but especially to areas in or near the head, neck, and
the soft palate and uvula onto the rear pharyngeal wall.
torso.
Voice function can be adversely af
Snoring results when inhaled air passes between both the
Trauma to the anterior neck or cervical spine that is
nasal and oral airways and causes the soft palate and uvula
severe enough to require medical attention is probably most
to beat against the tongue and pharyngeal wall. Over time,
often due to a motor vehicle accident or an altercation.
that pinched beating of the palate and uvula can result in a
Many structures which are vital to voice, and indeed to
swollen and enlarged-elongated soft palate and/or uvula
life, are vulnerable to injury by neck trauma. A laryngeal
(Included in the personal communication, Dr. Wilfred
fracture is one of the potentially catastrophic injuries for a
Corson, cited above).
vocal professional who has been involved in a traumatic
When a person has a congenitally short soft palate,
incident. Disruption of the cartilaginous framework, deli
there will be a predisposition to hypernasal voice quality
cate joints, and mucosa of the larynx can be extensive.
on some or all vowels (Damste, 1988). Cleft palate is a well
Penetrating injuries to the neck with sharp objects or bul
known congenital abnormality that prevents normal clo
lets can create devastating injuries. In addition to the lar
sure between the nasal and oral cavities (Boone, 1983, pp.
ynx, the cranial nerves, carotid arteries, jugular veins, cer
13, 217-219; Stemple, 1984, pp. 61-62), and has a myriad of
vical spine, esophagus, and other vital structures are prone
otolaryngologic consequences.
to potential injury with such neck trauma. The immediate
In the nasal cavity, enlarged turbinates can obstruct
necessity is to establish and secure the airway for breath
the nasal airway and predispose people to chronic mouth
ing, sometimes by temporary tracheotomy. Careful early
breathing and, therefore, dry mucosa of the mouth and
repair of these injuries is necessary if there is to be any
throat including the vocal folds. The nasal septum is the
hope of near normal laryngeal function. A mandibular
divider between the two sides of the nose, and is at least
fracture (broken jaw) is another common injury in such
slightly deviated in virtually everyone. A deviated septum
situations. Usually, satisfactory repair without permanent
can be so severe that it completely obstructs one or both
speech impairment is accomplished. Sometimes lingering
sides of the nose.
temporomandibular joint (TMJ) disorders exist (Chapter 6
This alters nasal resonance and its sen
sations, limits the nasal airway, and also alters normal si nus and nasal physiology and cleansing. Obstruction of
describes TMJ disorders). Trauma to the torso can affect the skeletal, neural,
normal sinus drainage can occur, making the individual
cardiorespiratory, and digestive structures of the body.
more prone to frequent sinus infections.
Bruised or fractured ribs are common in motor vehicle and sports-related injuries, and will temporarily limit res
In ju ry to V o c a l S k e le to n a n d /o r S o ft T issu es
piratory function. While these injuries heal, vocal abilities can be dramatically limited. Frequently, penetrating inju ries to the torso are lethal due to severe cardiorespiratory
When anything impacts on a body with sufficient force
trauma. The left recurrent laryngeal nerve passes into the
to cause disruption of normal structure or function, it is
upper chest before innervating the larynx, and is prone to
termed trauma. The term also can refer to tissue reactions
injury with trauma in this area. This can, of course, cause
to toxins in contact with the body, and to psychobiologi-
vocal fold paralysis (Chapter 6 has details).
cal reactions to distressful life events. Physical trauma may
584
bodymind
&
voice
Iatrogenic trauma (physician created trauma) to the critical structures of voice also can occur. While not inten tional, of course, this type of trauma is usually due to (1) the anatomical juxtaposition of certain structures, and (2) the necessary manipulation of the larynx for procedures that require general anesthesia. Recurrent laryngeal nerve injury is a recognized potential complication of surgery on the thyroid or parathyroid glands. This is because this nerve runs very close to the thyroid gland and is therefore prone to injury during these procedures. A vocal fold pa ralysis can result. Vocal fold mucosal scarring may result from surgery on the vocal folds themselves. Modern in strumentation and techniques, when used, make scarring relatively rare as compared to the past when illumination and magnification were not as great as current standards. Even in the best of hands, though, vigorous tissue reac tions to surgical manipulation can sometimes lead to scar ring that can affect voice function adversely (see Chapter
Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention ofProfessional Voice Disorders (pp. 177-215). New York: Thieme Medical Publishers. Damste, PH. (1988). Shortness of the palate: A cause of problems in sing ing. Journal o f Voice, 2(1), 96-98. Emanuele, M.A., Halloran, M.M., Uddin, S., Tentler, J.J., Emanuele, N.V., Lawrence, A.M., & Kelley, M.R. (1993). The effects of alcohol on the neu roendocrine control of reproduction. In S. Zakhari (Ed.), Alcohol and the Endocrine System. Bethesda, MD: National Institutes of Health Publication # 2 3. Gluckman, J.L., & Mangal, A.K. (1991). Laryngeal trauma. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngol ogy (Vol. III: Head and Neck, pp. 223 1-2244). Philadelphia: W.B. Saunders. Mohr, R.M.. (1991). Endoscopy and foreign body removal. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngol ogy (Vol. III: Head and Neck, pp. 2399-2427). Philadelphia: W.B. Saunders. Myer, C.M., & Cotton, R.T. (1991). Congenital abnormalities of the larynx and trachea and management of congenital malformations. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, WL. (Eds.), Otolaryngol ogy (Vol. III: Head and Neck, pp. 2215-2229). Philadelphia: W.B. Saunders. Pennington, C.L. (1972). External trauma of the larynx and trachea. An nals o f Otology Rhinology and Laryngology, 81, 546-554.
11).
Intubation injury to laryngeal or pharyngeal struc tures can occur any time that a breathing tube is necessary during surgery.
Injury can be relatively minor, such as
mild, temporary vocal fold swelling and hoarseness, or they can be significant. Laryngeal mucosal disruptions or dislocations of an arytenoid cartilage are possible conse quences of intubation and/or extubation. Thankfully, lasting injuries due to intubation are unusual. Acquired laryngeal webs most commonly occur as a consequence of a trauma where the mucosa of both an terior true vocal folds is denuded.
This leaves two raw
Principato, J.J. (1991). Upper airway obstruction and craniofacial mor phology. Otolaryngology Head and Neck Surgery, 104, 881-890. Richardson, M.A., & Cotton, R.T. (1984). Anatomic abnormalities of the pediatric airway. Pediatric Clinics o f North America, 3 1, 821-834. Rubin, R.M. (1987). Effects of nasal airway obstruction on facial growth. Ear Nose Throat, 66, 44-53.
Sataloff, R.T. (1991a). Bodily injuries and their effects on the voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 207-210). New York: Raven Press. Sataloff, R.T. (1991b). Structural and neurological disorders and surgery of the voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 267-299). New York: Raven Press.
surfaces which frequently oppose each other, and can heal
Sataloff, R.T. (1995). Genetics of the voice. Journal o f Voice, 9(1), 16-19.
together to create a tissue web. Surgical removal of vocal
Sievert, P. (1980). Snoring. Southern Medical Journal, 73, 1035-1036.
fold papillomata is an example of a situation where such raw surfaces may be created, with a resultant anterior com missure web (Benjamin, 1983; Stasney, 1995; Chapter 2 de scribes papillomata).
An important part of the surgical
technique for treating papillomata is avoidance of a web.
R eferen ces and S elected B ib lio g ra p h y
Stasney, C.R. (1995). Laryngeal webs: A new treatment for an old prob lem. Journal o f Voice, 9(1), 106-109. Stemple, J.C. (1984). Clinical Voice Pathology: Theory and Management. Colum bus, OH: Charles E. Merrill. Thawley, S.E. (1986). Obstructive sleep apnea. Insights o f Otolaryngology, 1, 1-8 . Webster, D.B. (1995). Neuroscience o f Communication. San Diego: Singular. Wilson, K. (1987). Voice Problems o f Children (2nd Ed.). Baltimore: Williams and Wilkins.
Aronson, A. (1990). Clinical Voice Disorders (3rd Ed.). New York: Thieme. Zwillich, C.M. (1979). The clinical significance of snoring. Archives o f Internal Benjamin, B. (1983). Congenital laryngeal webs. Annals o f Otology Rhinologyr and Laryngology, 92, 3 17-326.
a n a tom ic al
Medicine, 139, 24-26.
a b n o rm a litie s
and
bodily
injuries
585
chapter 8 neuropsychobiological interferences with vocal ability Leon Thurman, Carol Klitzke
atherine was a lawyer with a successful law firm, hut she was
The parts of us that coordinate to produce voice dur
so ensnared by depression that she could not function in her
C
ing speech and song are operated by the same brain that
work. She could not communicate well with other people, so
processes all of our perceptions, memories, learnings, and
make a living. For about one year; she had been seeing a psychiatrist
primarily left hemisphere cortical roots (in 90% to 95% of
for treatment of clinical depression. They had decided she should start
people), processes the language elements of speech and song.
returning to her work as a lawyer. The partners in her law firm were
The emotional motor system, with primarily right frontal
supportive and provided guidelines for resuming her career.
lobe and limbic system roots (cingulate cortex, amygdala,
our health. The somatic motor system, with she did case research and filing in the firm's law library in order behaviors—and to
One drawback to her return to law practice was her demeanor -
hypothalamus, and autonomic nervous system), processes
her voice and her face. The partners noticed that when she conversed
both spontaneous and planned emotional expression
with people, her voice was extremely soft; almost monotone, and her
(Holstege, et al., 1996). These initiating areas project through
face expressionless. Effective client communication was crucial to her
the lateral periaqueductal gray areas of the brainstem's me
return, so her psychiatrist suggested that she see a specialist in vocal
dulla oblongata and several associated ganglia and nuclei
communications.
before projecting out of the central nervous system through
With slumped body still face, and nearly flat-line voice, she
several cranial and spinal nerves to the respiratory, laryn
hesitantly revealed her circumstances to that specialist. She was asked
geal, and vocal tract muscles (Davis, et al., 1996; Holstege, et
about what interested her when she became a lawyer, what she per
al., 1996; Holstege & Ehling, 1996; Price, 1996).
ceived about the general state of her relationship with the partners and
periaqueductal gray areas of the brainstem are richly inter
colleagues, what kind of "lawyer work" she did, and how a vocal com
faced with value-emotive processing in the limbic system.
The
munications specialist might help her. This conversation flowed into
When our neuropsychobiological selves are ill or in
some imitative voiceplaysm experiences that were imbedded in mini
physical or psychological pain, or having any experience
story role playing. The voiceplay involved explorations of pitch, vol
that triggers an elevation or decline in emotional respon
ume, verbal timing, and voice quality variety, in a safe, respectful, and
siveness, our vocal coordinations are changed. The neuromusculoskeletal processes of the respira
humor-filled setting. Herface-her whole body-and her voice came alive. She knew it,
tory system, the larynx, and the vocal tract articulators are
too. The combination of continued psychiatric counselling and voice edu
very responsive to emotional distress.
cation helped her overcome the depression and resume her career.
distress, the nervous system appears to "devitalize", and the
586
bodymind
&
voice
In some types of
tone of the somatic and emotional motor systems is re
places, things, and events of their lives, however, were con
duced or "flattened" (see Book II, Chapter 4 for more). Dur
siderably different compared to ours. There are vastly more
ing many types of distress, the emotional motor system
people, places, things, and events that are available for our
muscles contract to degrees that usually are not detected in
visual, auditory, and kinesthetic senses to scan and for our
conscious awareness. The contractions restrict the normal
internal processing to categorize, appraise, and react to. The
flexible, fluid movements of the muscles of vocalization. A
past 60 years alone have brought a plethora of first-time
kind of binding or holding occurs, that at best, produces
experiences for human beings to appraise. In order to sur
inefficient voice use; at worst, considerable dysphonia or
vive well, then, we have to learn a much larger array of
aphonia can occur (Aronson, 1990, p. 121).
categorization and appraisal skills and protective and con
These voice changes can result from such severe psy chosocial distresses as physical, emotional, and sexual abuse,
structive behaviors, compared to our hunter-gatherer an cestors.
and other intense and/or prolonged distressful life experi
Such circumstances create many more demands on
ences. Anxiety, depression, schizophrenia, and mutism are
the neuropsychobiological processes that are our selves. Life
some of the resulting neuropsychobiological conditions
is challenging.
(Moses, 1954; Darby, 1981; Scherer, 1981; Williams & Stevens,
In the 1930s, Dr. Hans Selye, an Austrian physician
1981; Cummings, et al., 1983; Schleifer, et al., 1983; Streeter,
who lived most of his life in Montreal, Canada, was already
et al., 1983; Freedman, et al., 1991; Hickie & Hickie, 1992;
observing the effects of "modern times". He became curious
Butcher, et al., 1993; Rosen & Sataloff, 1997). Skillfully tap
about people who had symptom clusters that did not match
ping into the verbal and nonverbal communication capa
clear diagnostic categories and people who were prone to a
bilities of human beings, certainly including vocal capabili
higher than normal rate of disease. His monumental re
ties, can be used as one window into psychotherapeutic
search began. In that research, he and his medical associ
treatment of people who are experiencing such life chal
ates coined the phrases biological stress syndrome and
lenges (Darby, 1981; Bady, 1985; Butcher, et al., 1993; Rosen
general adaptation syndrome.
& Sataloff, 1997).
the general public are largely responsible for populariza
Books that he wrote for
tion of the common term stress.
N e u ro p sy c h o b io lo g ic a l S tress R ea ctio n an d its C o n se q u e n ce s
"I'm stressed out" "There's just too much stress in my life." "My job is so stressful." What is stress? Those common uses reveal a certain
"Life is difficult."
sense of what it is, but Selye was more precise. He defined
Those words open Scott Peck's book, The Road Less
stress as any demand placed on the body (Selye, 1974,1978). When
Traveled (1974).
we evaluate and react to life's experiences, that is a demand,
We human beings have an extremely strong, built-in
a stress. So, digesting food is such a demand. So is carry
capability for survival, for protecting ourselves, for finding
ing on a conversation, taking a walk, laughing at a joke,
ways to be safe and well.
We bodyminds appraise our
singing, weeping at the loss of a friend, earning a living,
surroundings 24-hours per day. We are biologically pro
raising children, going to school.... The only people who
grammed to determine, according to past experiences, if the
are stressless are dead because stress is necessary in order
people, places, things, and events we are experiencing are
for us to stay alive and to thrive.
literally or potentially threatening to us, are safe, or are
Ultimately, Selye's research question was, "What hap
potentially or literally beneficial to our well being (aspects
pens to human beings when there are more stresses than
of these processes are presented in Book I, Chapters 2 through
our bodyminds have the capacity to endure?"
5 and 7 through 9).
Dr. Selye defined two general kinds of stress. Distress
Our hunter-gatherer and agricultural ancestors of
is any unwanted demand on our body that results in unpleas
about 10,000 years ago had the same type of biological
ant consequences and feelings. Reactions to threat is one
survival processes as we do (Mithen, 1996). The people,
category of distressful experiences, and distresses can be n eu r o p s y c h o b io lo g ic a l
in te rferen c es
587
highly demanding on our physio-chemical resources.
Brief review:
When we are distressed, the sympa
Eustress is any wanted demand that results in pleasant conse
thetic portion of our autonomic nervous system, integrated
quences and feelings. Intensely satisfying work, volunteer
with an epinephrine-norepinephrine-cortisol prominent
activities, cultivating warm and communicative relationships
recipe of messenger molecules, activate the energy expend
with other people, eating tasty meals, and laughing at a funny
ing processes of our bodies. So our heart rate and blood
comedian would be eustressors. But some eustressors can
pressure increase to speed the flow of blood that delivers
become distressors. All we have to do is overcommit our
energy to our muscles. If threatening, distressful circum
selves with too many activities with deadlines and pres
stances continue for fairly long periods of time, and that
sures. Potential and literal threat to our well being can rear
energy in our muscles is not used up, there will be a near-
an unpleasant head.
continuous tensing in our muscles.
Usually, we are not
Our main inborn bodymind program that is designed
able to sense the degree of tensing. Over a course of distress
to protect us is commonly referred to as our fight, flight, or
ful experiences, we may feel aches, stiffness, or obvious pain
freeze response. The primary function of the fight, flight,
in joints and muscles.
or freeze response is self-protection in emergency situa tions.
For instance, back in hunter-gatherer days, if a
Another result of distress is that blood flow to skin surface and to some areas of our brain's neocortex is re
wounded animal turned on the hunter, the hunter's
duced. That means that any perspiration on our hands will
bodymind would interpret that situation as threatening, and
be cool and clammy, and more importantly, our ability to
enormous energy would be supplied to muscles by the emer
think, speak, or sing is likely to be reduced. The sympa
gency fight or flight program so the hunter could stand and
thetic portion of the autonomic nervous system also re
fight, run as fast as possible to safety, or freeze in hiding.
duces digestive action in the stomach and intestines. The
After such a threatening experience, then, there was plenty
ducts that secrete mucus into our throats become narrower.
of time for another inborn bodymind program to activate-
That mucus provides lubrication for smooth swallowing of
the restoration response (these responses are introduced
food, and for the waving, colliding, and shearing of our
in Book I, Chapters 2 and 4). The enormous increase of
vocal folds (Chapters 1 and 12 have some details). When
stimulation options in Western cultures over the past 100
under severe distress, we may call our very dry throat "cot
years has resulted in considerable lessening of the time that
ton mouth" and note that we can't talk or sing with a con
people take to allow this response to occur. One conse
sistently clear voice because our vocal folds are compara
quence is that the response of fetal babies to their mothers'
tively dry and stiff.
frequent or intense distress can result in greater reactivity to
When we are under stress, our metabolic rates in
stressful situations in their children following birth (see Book
crease. That means we are using up our physio-chemical
IV Chapter 1). The restoration response was named "the
energy at a faster pace. As we become progressively en-
relaxation response" by Dr. Herbert Benson, Harvard Medical
ergy-depleted, our bodymind "energy banks" will send "state
School. Dr. Benson conducted his early research in the late
ments" to us about the degree of depletion. In other words,
1960s and early 1970s and has since written journal articles
our bodyminds present us with a hierarchy of symptoms
and books (1972, 1984, 1996) about the restoration response,
in an effort to tell us that we need restoration time. If we
though that is not his term for it.
listen to our energy bank statements, we can take appropri
Selye observed that our bodymind's distress reaction
ate restorative action.
was greater or lesser depending on the degree of potential
The symptoms that our bodyminds will present to
threat to our well being. Prolonged, more intense distress
us, to get our attention, typically begin with minor changes
reduces our bodymind's opportunity to activate its innate
in normal physiology. For instance, early signs of continu
restoration response.
In fact, one result of prolonged or
ing stress reaction may be an involuntary twitching in a
intense distress is a reduction of immune system effective
little finger or eyelid; later we may notice a "crick in the
ness.
neck", or mild nasal congestion, or progressive fatigue. If
In other words, we are more likely to become ill
(Book I, Chapter 5 has some details).
588
bodymind
&
voice
we still do not respond to our bodymind's messages, we
may experience any number of more severe health conse
The intensity of distress reaction matches the degree
quences, including irregular heartbeat, stiff joints, discom
of perceived threat. If an experience is life threatening, the
fort or pain in some areas of our body, dysfunction in our
fight, flight or freeze response is massive. If an experience is
digestive system, and significant inflammation-like conges
mildly threatening to our well being, the response may not
tion of the mucosa of the respiratory tract (includes nose,
be noticed consciously. Frequent distressful experiences over
throat, vocal folds, trachea, and lungs) with vocal dyspho-
an extended period of time may result in an energy drain
nia. The stress reaction hormone CRF (corticotropin-re
that reduces our normal abilities, and may bring on a hier
leasing hormone) triggers the release of the cytokine
archy of symptoms such as involuntary muscle twitches,
interleuken-1, which, in turn, triggers non-infectious, respi
abdominal discomfort, various physical illnesses, anxiety,
ratory tract inflammation (congestion) (Webster, e t al., 1998).
or depression. We can become habituated to these circum
CRF levels can be increased, and nasal-vocal tract conges
stances so that fatigue and discomfort are accepted as nor
tion triggered, when some degree of sleep deprivation oc
mal and familiar.
curs (Brown, et al., 1992; Sternberg, 1999).
Eustress means that an experience is beneficial to our
With prolonged distress, we may become deeply fa
well being and results in physical changes in our bodies
tigued, emotionally depressed, unmotivated, and experience
that we interpret as pleasant feelings. Eustressful experi
a reduction in our normal abilities. Typically, when those
ences can become distressful, however, if there are too many
classic symptoms occur as a result of too much eustress,
of them, creating deadlines and pressures that can become
we tend to label how we react as burnout or exhaustion-
threatening.
a gradual shutting down of nervous system vitality. Actu ally, burnout is depression, which we more commonly as sociate with distressful life circumstances. Our immune sys tem is suppressed, so illness, such as bacterial or viral in fection, is a common way that our bodyminds shut us down and force us into restoration mode.
S u m m a ry So F ar
E ffe cts o f N eu ro p sy c h o b io lo g ic a l S tress on C irca d ia n an d U ltra d ia n C ycles Regularity of your sleep-wake cycles and your food intake times help set and regulate your circadian and ultradian cycles (Lloyd & Rossi, 1992; Thompson, 1993, pp. 204-218; Chapters 4 and 6 have some details) and enhance immune system effectiveness. Going to sleep and waking
To summarize, stress is any demand placed on our
up at about the same time every day has a major influence
bodies. Parts of our bodyminds evaluate all of our experi
over the primary regulator of your biological clocks-the
ences in terms of threat, safety, or benefit to our well being.
suprachiasmatic nucleus of the hypothalamus. Traveling
Distress means that an experience is threatening to some
over several time zones or irregular sleep-wake cycles re
extent, and results in physical changes in our bodies that
sult in diminished mental-emotional sharpness and a dull,
we interpret as unpleasant feelings. The immediate physical
low-energy background feeling-state (see Book I, Chapter
changes may include:
7). Obstructive sleep apnea syndrome (OSAS) is a disease
1. increases in heart rate and blood pressure;
condition that can prevent the deep, restorative sleep that
2. short-term and long-term facilitation of neuromus
occurs in the delta range of brain wave frequencies, and
cular readiness for action;
circadian cycles can be severely disrupted. Disruption of
3 . shallower and more frequent breath rate;
circadian cycles and insufficient sleep over time can sup
4. reductions of blood flow to skin surface and some
press immune system competence and increase susceptibil
areas of the brain's cerebral cortex;
ity to disease (see Chapter 2).
5. reduction of mucous flow in the respiratory and
According to recent psychological theory, sleep is the
digestive tracts (in relatively milder forms of distress, some
time when your brain processes recent experiences and in
people experience an overproduction of mucus); and
tegrates them with past experiences to facilitate creation of
6 . other interferences with digestive function.
short- and long-term memories. If you have numerous ex periences for your brain to process, especially if they are
n eu r o p s y c h o b io lo g ic a l
in te rferen c es
589
distressful experiences, your brain will trigger physio-chemi
delays when he attempted to speak in the upper end of his lower regis
cal responses that are similar to the ones that were pro
ter, and hoarseness was documented. The videostroboscopy revealed
duced during the actual experience. That takes a significant
polypoid degeneration of his vocal folds. When he was told that these
amount of energy, and you may wake up tired rather than
changes in his vocal fold tissues created his vocal difficulties, and that
rested. Such experiences may contribute to the develop
the changes were permanent and irreversible, this very expressive and
ment of various sleep disorders. Learning how to deal with
articulate 25-year smoker wept.
your distressing experiences and to release your restoration response can help you sleep more restfully (Chapter 14 has some suggestions).
N e u ro p sy ch o b io lo g ica l Stress R ela ted to S u rg e ry Surgery places enormous demands on the physio-
N eu ro p sy c h o b io lo g ic a l S tress R elated to D ia g n o sis o f a V o ic e D iso rd e r A professional jazz singer was diagnosed with bilateral vocal
chemical processes of human bodyminds. There has been an invasion of the body's airway during anesthesia. There has been a major alteration of the processes of conscious
fold nodules. She was referred for functional speech/voice evaluation
ness.
There has been a localized severing of the body's
and laryngeal videostroboscopy. Her vocal functions in softer sound-
tissues.
making and speech were so impaired that an evaluation of singing
body-largely outside conscious awareness-respond mas
functions was not even considered. The videostroboscopy revealed a se
sively to such events.
vere hemorrhage that extended over about two-thirds of the length of
affected area may go into a tense holding state to some
The protective physio-chemical processes of the Following surgery, muscles in the
the left vocal fold. The right vocal fold displayed mild hemorrhage and
degree. Not only will the severed or abraded tissues take
capillary ectasia. While reviewing the tape and hearing of the findings,
time to recover, but normalization of psycho-neuro-endo-
she began to weep. She expressed her feelings of loss - loss of a source of
crinological processes will take time as well.
expressive satisfaction, loss of self-respect, possible loss of regard by
ments by those in the surgery room can have helpful or
those with whom she works, cancellation of performances, and loss of
distressing effects on anesthetized patients (Sime, 1976;
income. She spoke of her recent voice-use history in an "if-only-I-had-
Bennett, 1984, 1987; Rossi & Cheek, 1988). Appropriately
known" context. "Is this damage permanent?" she asked. "Can I ever
selected music is known to have neuropsychobiological
sing again?" She was reassured that the likelihood of her singing skill
benefits to surgical patients (Locsin, 1981; Oyama, et al., 1983;
fully and expressively again were very high, but would need her deepest
Korunka, et al., 1992).
Even com
courage and strength to see it through. From this experience, she devel
Voice surgery can be particularly stressful. When voice
oped a determined resolve to do everything necessary to heal her vocal
use is an important aspect of self-identity, a grief-like pe
folds, gain control over her voice use schedule, learn what to do to
riod or depression or anxiety are common. The surgeon,
protect her voice for the rest of her life, learn optimally efficient speak
family, and friends may observe strong emotional reactions
ing and singing abilities, and recondition her vocal muscles and tis
of anger or sadness. To some extent, the presurgical therapy
sues. After several emotionally difficult months, she resumed her sing
session can help prepare patients to focus on the beneficial
ing career.
aspects of the surgery. Social support from family, friends, the physician, and the speech-voice therapist is extremely A teacher of drama and director of high school theatre pro
important to optimum recovery (Carpenter, 1993).
Even
ductions decided to resume his acting career. He knew that his voice
when tissues are substantially healed and the therapeutic
had a rasp-like hoarse quality; had "gotten badly out of shape," and
process is substantially complete, most people are hesitant
that he had to get his voice retrained and reconditioned in order to
to resume strong voicing and full-range singing.
accomplish that goal. A visit to a voice-aware ear-nose-throat physi cian was recommended. His vocal folds were swollen over their entire lengths, and he was referred for functional speech/voice evaluation and laryngeal videostroboscopy. The teacher's vocal pitch range was consid erably lowered, there were obvious vocal instabilities and voice onset
590
bodymind
&
voice
E ffects o f N e u ro p sy ch o b io lo g ica l S tress on V o c a liza tio n Neuropsychobiological stress reaction can produce the postural inefficiencies that are discussed in Book II, Chapter 4. A kind of continual bodywide muscle tension occurs
that includes the respiratory and digestive systems, the lar
are singing incorrectly' and saying to them Are you singing
ynx, and the vocal tract articulators, and may decrease res
with more efficiency today than you were last week?"
piratory tract mucus flow under more extreme conditions.
If their earliest performance experiences did not go
The result is a net increase in unnecessary muscle effort
well, singers may have developed bodymind programs or
during voicing and increase of vocal fold wear and tear. If
"mental/emotional tapes" that habitually induce an expec
present over a course of time, the excess muscular involve
tation of "problems" or "mistakes". People who have per
ment may contribute to increased, habitual, excess effort in
fectionist histories are particularly vulnerable to this form
speaking and singing. Stress reaction can be a prominent
of mental/emotional interference. So thoughts like, "What
contributor to voice disorders because of the debilitating
if that high note cracks?" "What if I forget the words and
effects of the chronic neuromuscular tension that is pro
have to stop singing?" "What will (name of significant judge)
duced in the muscles used for voicing. The chronic tension
think if I don't do well?" The elemental threats of helpless-
increases the rate of laryngeal muscle fatigue and the amount
ness
of force in vocal fold collisions and shearings.
neuropsychobiological responses.
and
abandonm ent
trigger
protective
If singing for others is so unpleasant an experience,
P e rform an ce A n x ie ty
why do we do it? Is this the reason why music was in
Do you remember a time when you were asked to
vented in the first place, so that we can present ourselves
speak, or maybe sing or play a musical instrument in front
for the judgement of others and have our self-identity threat
of a group of people? Do you remember feeling scared,
ened?
having a very self-conscious fear that you might make mis
Are there ways to stop old tapes of performance anxi
takes or not do very well? Was there a fear of what other
ety and learn how to relish the special fulfillment of vocal
people might think, or that your social standing might be
self-expression?
affected? Your well being was being threatened, and you
1.
Performance anxiety can be significantly avoided by learn
reacted with unpleasant feelings that you felt in your stom
ing the extent to which advance preparation is necessary.
ach area or your chest? That was your body's fight, flight,
certain that adequate preparation time is reserved so that
or freeze response.
concentrated preparation can occur. Learn how to prepare
A demand was placed on your
bodymind-a stress-and your bodymind reacted-stress reaction-and the reaction was unpleasant-distress. Performance anxiety is distress that occurs when the performance of
Make
pleasantly for a pleasant, fulfilling, expressive experience.
2.
Reverse the physical effects of the fight , flight or freeze re
sponse by releasing your restoration response.
"Put in the clutch"
task is perceived as threatening to well
by taking one or two rich breaths. That will increase blood
being. Many musical performers find their public music-
flow to your brain and invite a calm focus on the expres
making distressful.
sive moment that you are about to enjoy. Stretch, move
any
The source of the threat may be a fear
of not performing the music "up to standard", a fear of
(walk) and massage yourself to "use up" muscle tension and
"making mistakes", or fear of a negative evaluation by other
increase muscular blood flow.
people, especially people who have pointed out many "mis takes" in the past, or "experts" who may have done so. The
3.
Focus on thefortunate consequences of musical sharing.
Here
are a few suggestions:
right-wrong, correct-incorrect, proper-improper, and good-
A. Focus on the expressive feel of the music in a kind
bad labels produce threat to the well being of people, with
of flow of consciousness. Songs are mini-dramas. Who is
predictable results.
An accurate display of learning and
singing each song? To whom is it being sung? What are the
ability is not possible, very unpleasant feelings are experi
past and present circumstances of the characters in the
enced, a self-judgement of "inadequate" occurs, a fear of the
drama?
same judgement from others occurs, and self-identity takes
B. Imagine and observe your bodily sensations of physi
a beating (Book I, Chapters 8 and 9 have some details).
cally efficient, flow singing, and how alive you feel when
There is a powerful difference between telling someone "You
you sing or speak for others.
n eu r o p s y c h o b io lo g ic a l
in te rferen c es
591
G Visualize yourself singing as you make it look so easy and pleasant and expressive. D. Imagine hearing yourself sing as you make it sound so easy and expressive.
Chapter 6, are stress inoculators. Stress busters are activi ties that can be accomplished in just a few seconds. For example, taking one, two, or ten full breaths will trigger a number of nervous and endocrine system reactions that
E. Imagine a time when it all came together, and how
will reverse some of the sympathetic ANS stress reactions.
that was, and imagine yourself being that way as you sing
Appropriately selected music can trigger the restora
expressively. 4.
tion response (Thurman & Rizzo, 1989). Music therapists, Open your awareness to expressive sharing with other hu in particular, have documented the therapeutic benefits of
man beings so that "performing" is irrelevant.
musical experience (Chetta, 1981; Halpaap, 1987; Daub & Kirschner-Hermanns, 1988; Davis & Thaut, 1989).
Music was invented so that human beings can share
There are two healthy pleasures (Ornstein & Sobel, 1989;
with other human beings an expression of what it means to
Sobel & Ornstein, 1996) that can activate your restorative
be a human being on this Earth. It was not invented to
processes: (1) touch or massage, and (2) appropriately rais
enable us to perform for the judgement of others. At its
ing the temperature of your body. There is evidence that
core, singing is a special sharing of human insights by one
respectful, caring touch and massage (Montagu, 1986) can
or more singers with other human beings. It is a transfor
enhance immunity (Solomon, et al., 1968), reduce heartrate
mation of real-time moments into focused feeling-moments,
and blood pressure (Dreschler, et al., 1985; Weiss, 1986), re
and singers can feel that expression from inside their own
duce chronic anxiety (McKechnie, et al., 1983), and that these
bodies.
effects are beneficial for children and adolescents (Field, et
Musical and dramatic expressing requires a concen
al., 1992).
trated amount of energy expenditure. Demand is placed on
Appropriately raising the temperature of your body
the bodies of the "expressers". It is a stress. Bodies gear up
(hyperthermia) also results in immune system enhancement
for that energy expenditure by increasing "energy flow" to
(Kauppinen & Vuori, 1986), decreased muscle tension
brain, muscles, and so on.
The anticipation of energetic
(DeVries, et al., 1968), and a rise in plasma ß-endorphin and
sharing may result in pacing, hand rubbing, and so forth.
ACTH levels (Jezova, et al., 1985). A kind of depletion of the
This physical reaction is eustress. It is your body preparing
transmitter molecules of stress occurs, and an elevation of
you for energetic, highly concentrated self-expression. It is
tone in the parasympathetic division of the autonomic ner
an "I can't wait to get out there and make music" process.
vous system, resulting in a post-hyperthermia relaxation
One of our challenges is to learn how to balance the energetic "gearing up" with a calming relaxation response
response.
E-endorphin blocks pain transmission and is
associated with pleasant and euphoric feeling-states.
so that concentration is focused on the expressive sharing.
During genuine laughter, the neural networks that use
The challenge for music educators and choral con
the neurotransmitters epinephrine, norepinephrine, and
ductors might be to help people develop the appreciation
dopamine are activated. These networks increase arousal,
that singing involves a community of people who share
attentional alertness, motor tuning, and pleasant feelings,
expressions about what it means to be a human being on
and are involved in memory formation and recall. Also,
this earth. It need not be an occasion to threaten one's self
networks are activated that trigger the release of transmitter
with the possibility of being an inadequate expresser.
molecule recipes into the circulatory system for bodywide distribution—the endorphins, for instance (Pert, et al., 1985;
S tre ss In o c u la tio n an d S tre ss B u ste rs
Book I, Chapter 4 has some details). Receptors for the en
Stress in o cu latio n prevents the debilitating
dorphins exist on cells of the immune system (Smith, et al.,
neuropsychobiological reactions that can occur in our
1985). The release of beta endorphin during genuine laughter
bodyminds (Meichenbaum, 1993). Activities such as plea
may enhance immunity (Klein, 1989).
sure walking, described in Chapters 13 and 14, and Book IV,
592
bodymind
&
voice
G en era l P sy ch o g e n ic V o ic e D iso rd e rs
regardless of extensive emotional trauma, and a perspective that support from others is a sign of weakness.
Psycho
logical assistance in a safe, confidential situation, can result According to Aronson (1990, p. 121), a psychogenic
in insight into a personal condition. The insight often pro
voice disorder results from "...one or more types of psycho
duces weeping and a beginning of personal and voice recovery.
logical disequilibrium, such as anxiety, depression, conver
Self-image bound disorders may occur because a
sion reaction, or personality disorder, that interfere with
particular voice quality is closely identified with self-iden
normal volitional control over phonation." The most com
tity, or because the psychological orientation of a person
mon vocal manifestation of a psychogenic voice disorder is
reduces overall nervous system vitality so that voice coor
a kind of steady-state hyper contraction of intrinsic and/or
dination is adversely affected. For example, a person who
extrinsic larynx muscles that results in dysphonic or aph
behaves in a strong, authoritative way, may produce a low-
onic voice (Aronson, 1990; Butcher, et al., 1993; Rosen &
pitched, pressed voice quality to produce psychological dis
Sataloff, 1997).
tance from "underlings".
Conversion disorder is a term devised by psychia
Puberphonia or mutational falsetto means that a
trists to refer to neuropsychobiological changes that dis
boy has continued to use his pure falsetto register coordi
rupt normal physical processes. A psychological problem
nation for speech even though his vocal anatomy has grown
is "converted" to a physical dysfunction, that is, an interfer
to enable changed-voice male voice qualities. This circum
ence with selected sensory or motor bodymind programs,
stance may occur, for instance, when a boy has received
usually the emotional motor system (Holstege, et al., 1996).
considerable praise for his pre-voice-change singing, and
A conversion disorder may occur when a highly distressful
he has so identified himself with that voice quality that he
environmental history triggers physio-chemical changes that
chooses to use his boy-like falsetto register for speech in
are evidenced in abnormal physiological behaviors.
stead of his emerging normal male voice.
For example, a person is torn between wanting and not wanting to express a serious family conflict. In a con
This habitual
coordination can be changed with voice therapy. Psychological orientation may contribute to voice
version disorder, the emotional motor system engages a
disorders.
physical function which is of importance to the person and
be addicted to abnormal amounts of interaction with and
reduces or eliminates its effective functioning. If the larynx
attention from others, and engage in frequent loud talking
Hyperactive or hyper-extroverted people may
is selected, then aphonic or dysphonic voice may result.
and unnecessary vocal effort. Some people may express a
Habitual bodymind programs may be formed during the
threat-prominent history with aggressive behavior patterns,
neuropsychobiological episode, and a course of voice
including a voice that is louder than necessary and possi
therapy and/or psychotherapy will likely help to restore
bly hoarse as a consequence.
normal function.
On the other end of the psychological spectrum, some
Globus symptom is a chronic or intermittently chronic
people may express a threat-prominent history with exces
feeling of a lump in the throat that does not go away after
sive silence and quietness. When they do talk they may be
swallowing or throat clearing. There are a multiplicity of
described as soft-spoken and present a voice quality that is
physical etiological factors that can bring it on (Greene &
breathy. People who are depressed will speak softly, often
Mathieson, 1989, p. 169-171), such as, benign or malignant
breathily, with a somewhat low-pitched voice, and in a
lesions in the larynx, trachea, or esophagus, hiatal hernia,
narrow pitch range. Normal expressiveness in their voices
laryngopharyngeal reflux disease, upper respiratory infec
is absent.
tion, enlarged lingual tonsil, disordered swallowing func tion, enlarged thyroid gland, and chronically hypertense larynx muscles. The psychogenic etiology of globus symp tom can be depression, emotions under control, reluctance to express feelings, stoic orientation to life, continuing on
D ru g s th a t C an P ro d u ce a C h em ical D ep e n d e n cy Alcohol and tobacco can contribute very seriously to reduction in optimum overall health, and certainly to a re
n eu r o p s y c h o b io lo g ic a l
in te rferen c es
593
duction of voice health and vocal ability. Alcohol is a cen tral nervous system depressant, and in sufficient amounts will interfere with optimum motor function, especially of the fine tuned variety.
Conscious and
other-than-con-
scious sensory reception also will be impaired.
Alcohol
also is a vasodilator (blood vessel expander) and will con tribute to a degree of swelling of the laryngeal mucosa. Vocal fold function will be affected, and the effects are approxi mately equal across 12 oz. of beer, 8 oz. of wine, and a shot of hard liquor.
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Stroudmire, A. (Ed.) (1995). Psychological Factors Affecting Medication Conditions. Washington, DC: American Psychiatric Press. Thurman, L., & Klitzke, C. (1994). Dealing with vocal distress on the day of a concert. Choral Journal, 35(5), 29-33. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles of Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon. Toohill, R.J. (1975). The psychosomatic aspects of children with vocal nod ules. Archives o f Otolaryngology Head and Neck Surgery, 101, 591-595.
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Weiner, H. (1977). Psychobiology and Human Disease. New York: Elsevier.
Hartman, D., Daily, W., & Morin, K. (1989). A case of superior laryngeal nerve paresis and psychogenicdysphonia. Journal of Speech and Hearing Disor
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n eu r o p s y c h o b io lo g ic a l
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chapter 9 diagnosis and medical treatment of diseases and disorders that affect voice Norman Hogikyan, Leon Thurman, Carol Klitzke
T
here are many health and medical circumstances
sis. A general health history is taken by the ENT physi
that can diminish the optimum function of voices.
cian, and a detailed voice health history may be taken by
The most crucial step in treating a disease or dis
the physician or a speech-voice therapist (Benninger, 1994b;
Gould, 1991; Sataloff, et al., 1993). Usually, a history ques order of voice is for the voice user to see an otolaryngolo
gist (Ear-Nose-Throat physician) for an examination. When
tionnaire form is completed in order to assemble pertinent
symptoms occur—especially if onset was sudden—or vo
information, followed by a followup interview to gather
cal ability has been diminished for 10 to 14 days or more,
even more details. The vocal health history that is used at The
help from a voice health professional is needed.
Often,
Voice Center of Fairview, Fairview Arts Medicine Center,
voice care is provided by interdisciplinary teams that in
Minneapolis, Minnesota, is presented at the end of this
clude an otolaryngologist, a speech pathologist, and a spe
chapter. Some questions may seem odd or even irrelevant
cialist voice educator.
to a patient's vocal symptoms, but they can turn out to
In one study, a large percentage of singers and singing
reveal key information related to diagnosis. Always pay
teachers attributed many voice symptoms to allergies, or a
close attention when providing or assessing health history
lingering cold, or a sinus condition, or another malady,
information!
and they delayed seeking professional help for as much as six months to one year. When finally diagnosed by a voiceexperienced ENT physician, a very different diagnosis was determined than the one that was assumed—often one that
The next phase of medical diagnosis is the physical examination (Gluckman & Waner, 1991). 1. Both ears are examined visually with an ear specu lum or otoscope.
was unfamiliar to the vocalist (Bastian, Keidar, Verdolini-
2. Both nasal cavities are examined visually by using
Marston, 1990). This tendency may be reflected in parents
a head mirror to reflect light into them while holding the
who may say of their chronically hoarse child, "But she's
nostrils open with a nasal speculum.
always sounded like that." Get help early!
3. The mouth, tongue, and oropharynx are examined visually with the aid of a head mirror and disposable
E x am in atio n , D ia g n o sis, an d T re a tm en t
wooden tongue depressors. 4.
The outer neck surfaces are examined visually and
by touch for any abnormally functioning or swollen struc Health history is a crucial part of the detective work that enables an accurate, comprehensive, medical diagno
598
bodymind
&
voice
tures—the temporomandibular joints, lymph nodes, and the thyroid gland, for instance.
5. The larynx and hypopharynx (the part of the throat
This examination is performed with a visualizing in
just above and around the larynx) are given a preliminary
strument called an endoscope (visualizing inside the body).
visual examination by using the head mirror for illumina
The endoscope is usually one of two types: (1) a flexible
tion and positioning a laryngeal mirror behind the patient's
scope which passes through the nose, or (2) a rigid scope
tongue (indirect laryngoscopy), and asking the patient to
which is introduced through the mouth. The rigid scope
sustain an /ee/ vowel several times.
generally gives a superior image, but requires holding the tongue out and immobile, while the flexible scope allows
State-of-the-art examination of voice patients, espe
for examination during running speech or singing. Topical
cially those who use their voices extensively or vigorously,
anesthetic desensitization to the back of the throat or the
then includes an
assessment of vocal capabilities, fol
nasal cavities is used to suppress the gag reflex (rigid scope),
lowed by a detailed examination of the vocal folds using
or for comfort during scope introduction (flexible scope) (Figure II-7-5, in Book II, Chapter 7, is a photo of a rigid-
laryngeal videostroboscopy. Many singers have had the unsatisfying experience of seeking help for a significant problem from a voice-inex perienced ENT physician. They have been examined with a laryngeal mirror
oral scope being used in an examination). Physicians and speech pathologists who are well trained
only
and experienced in the use of laryngeal videostroboscopy
and were told, "Your speaking voice
are able to communicate with patients in such a way as to
sounds fine and your cords look good."
Yet the singers
minimize the inevitable apprehension about the procedure.
know that "something is wrong with my voice".
While
For instance, when introducing the scope into the oral or
listening to habitual speaking may demonstrate
overt
vocal
nasal cavities, the patient will be asked to focus on breath
pathology, it is not a very sensitive way to define
subtle
ing in a rich supply of air. That usually reduces or "turns
vocal pathology.
off" the threat-oriented oral gag reflexes or pressure-sensi-
In some voice treatment centers, extensive acoustic and aerodynamic measurements are routinely performed for
tive nasal reactions. During the scoping, the patient is asked to sustain an /
vocal assessment, and detailed discussions of these can be
ee/ vowel (as closely as possible under the circumstances),
found in a variety of books (for instance, Jacobson, 1994).
without vibrato,
Other approaches to assessment of vocal capabilities in
registers (also falsetto in males). When certain conditions
clude fairly simple vocal tasks designed to uncover vocal
are observed by the treatment team, other tasks also may
pathology (Bastian, et al., 1990).
on several pitches in both lower and upper
assessment of vocal ca
be asked in order to assure a comprehensive diagnosis and
pabilities can be accomplished in many ways. The impor
voice function evaluation. Most of the vocal samples will
tant principle is that
be videotaped with the strobe light on so that a "slow
assessment of voice beyond simply listening
to a spoken history is necessary.
motion" view of vocal fold mucosal waving may be re
laryngeal videostroboscopy has proven to be of great
corded. The videotaped record, then, can be viewed by the
value in the diagnosis of laryngeal pathology, particularly
entire voice treatment team with the patient present, and,
with respect to the true vocal folds. This examination not
when necessary, can be reviewed several times to reassess
only allows for a magnified view of the vocal folds to study
initial impressions. The cognitive and emotional effect of
their appearance and gross movements, but also allows
viewing one's own larynx and vocal folds, usually galva
dynamic study of vocal fold mucosal waving (the up
nizes the patient's confidence in the diagnosis and motiva
coming section, For Those Who Want to Know More... has
tion for carrying out a treatment plan.
some details).
When performed by a voice-experienced
Following the history and examination, the physician-
clinician, an ENT physician or speech-language patholo
led treatment team arrives at a medical diagnosis, and de
gist, it usually is painless, of short duration, and is readily
termines a course of medical, therapeutic, and/or surgical
accomplished during the routine evaluation of a voice pa
treatment, depending on the circumstances. In many cases,
tient.
there are multiple possible treatment options, and final treat
diagnosis
and
medical
tre a t m e n t
599
ment decisions are made by the patient after the options
of illness or injurious voice use. The vocal health history
have been carefully explained.
is often the most valuable tool in determining the cause of swelling.
F or T h o se W h o W a n t to K n ow M o re,,,
The extent of swelling/stiffening directly impacts on the specifics of medical and therapeutic treatment. Usually, some degree of short-term limitation or change in vocal
The m ajor advantage th at laryngeal v id eo -
use patterns is necessary. Mild swelling usually requires
stroboendoscopy has over a simple high quality video
less restrictive regulation of total voice use, while more
image of the larynx is the ability to assess
severe swelling may require more regulation.
vocal fold
Patterns
mucosal waving during phonation. The flowing, ripple-
ofvoice abuse must be recognized and eliminated. Severity
wave movements of
vocal fold mucosa, seen during
of swelling and the relative urgency of personal voice use
stroboscopy, can be extremely helpful in the diagnosis of
will impact on such medical decisions as the use of corti
vocal fold pathologies. These flowing movements, though,
costeroids (Chapter 10 has details).
are actually an optical illusion based upon Talbot's law
The m agnification provided by the laryngeal
(Bless, 1991), which is also exploited in the creation of
videostroboendoscope provides more detailed visualiza
motion pictures.
tion of the vocal folds so that vocal fold nodules can be
During laryngeal videostroboendoscopy, a microphone
distinguished from other conditions (see Chapter 1).
In
is placed on the patient's neck. It senses the fundamental
order to make an accurate diagnosis and thus devise the
frequency (perceived pitch) of the waving vocal folds dur
most appropriate medical and therapeutic treatment plan,
ing phonation. Repeated firings of the strobe light can then
the diagnosing physician must (1) reliably distinguish be
be timed so that it is slightly out of phase with the fre
tween nodule, cyst, polyposis, or scar (voice-inexperienced
quency of vocal fold waving, and thus the sequential im
ENT physicians who have relied on mirror exams have
ages photographed through the endoscope are of different
mistaken tenacious accumulations of white, aerated mucus
stages of the vocal fold mucosal waves. Talbot's law says
for nodules); (2) assess the degree of vocal limitation due
that the human eye can see no more than five images per
to the nodules, and the amount of voice-related quality-
second due to the fact that an image will linger on the
of-life change; and (3) help identify and eliminate or modify
retina for 200 milliseconds (0.2 seconds). Therefore, when
behaviors which are contributing to nodule formation (usu
the recorded images are played back at a rate of 6 or more
ally with the help of other members of a voice treatment
images per second, the eye will fuse them and give the
team).
illusion of continuous ripple-waving motion.
The first-choice treatment for nodules is always behav ioral management, including voice therapy. Voice therapy,
D ia g n o sis an d M e d ica l T re a tm e n t o f C o m m o n V o ice D iso rd e rs R e la ted to V o ic e U se Unless it is severe, diagnosis of vocal fold swelling/ stiffening (Chapter 1 has details) cannot be made with the laryngeal m irror alone.
The laryngeal v id eo -
stroboendoscope is absolutely necessary to assess the ex tent of swelling/stiffening. Trained voice professionals are able to observe the extent to which the mucosal waving motion of the vocal folds is free-flowing or is inhibited by a swollen/stiffened condition.
This type of condition is
not really a primary disorder in and of itself, rather it rep resents how the vocal folds are responding to some type
600
bodymind
&
voice
under the guidance of a speech-language pathologist and/ or voice educator who are skilled in voice therapy, is abso lutely necessary.
Auxiliary members of the voice treat
ment team may include singing teachers, speech and the atre educators, choral directors, and music educators who are knowledgeable about methods of voice recovery. In most cases of vocal nodules, this type of management is highly effective. When nodules do not respond to several months of conservative behavioral management, then consideration of laryngeal microsurgery by an experienced laryngeal sur geon is an appropriate treatment option. Decisions about
surgical management can be made after careful consider
cal behaviors are identified, then these need to be addressed
ation of the degree of vocal limitation and the risks and
under the guidance of a voice-speech therapist and a voice
benefits of surgery. Contrary to one belief strand, the pros
educator. If an extensive hemorrhage leads to a bulging
pect of vocal fold surgery need no longer be automatically
vocal fold which has not flattened satisfactorily with sev
rejected (Hogikyan, et al., 1999). Current techniques and in
eral days of voice rest, then evacuation of the blood via a
strumentation allow for great precision in removal of vo
small incision on the superior surface of the vocal fold
cal fold lesions, with very low probability of vocal impair
may be considered. Surgery may also be considered if a
ment (Chapter 11 has details).
dilated capillary, called a varix., is identified as the possible
Polyps are generally one of two types, hemorrhagic
cause of recurrent hemorrhages. In such an instance, the
or non-hemorrhagic (see Chapter 1). Hemorrhagic pol
varix can be photo coagulated using the surgical laser. Most
yps are usually unilateral and tend to require surgical exci
cases of vocal fold hemorrhage resolve during therapy
sion. The carbon dioxide surgical laser is an excellent aid
without long-term consequences to voice function.
in this type of surgery (see Chapter 11). Voice therapy can
Formation of vocal process granulomas and ulcers
help decrease swelling around such lesions preoperatively.
may be influenced by and associated with: (1) laryngo
Some non-hem orrhagic
polyps also may be called
pharyngeal reflux disease (LPRD), (2) distress and eustress
"smoker's polyposis" or severe Reinke's edema. Non-hem-
(especially in a psychobiological state in which emotional
orrhagic polyps, particularly smaller ones, do respond to
expression is suppressed), (3) frequent throat clearing or
voice therapy (and smoking cessation by smokers).
other traumatic uses of voice, and (4) trauma from intuba
Smoker's polyposis is usually bilateral. With moderate or
tion or extubation during general anesthesia or airway
severe smoker's polyposis though, it is unusual to have
emergency. Sometimes, they can be sensed, either with a
complete resolution of the vocal fold changes with behav
persistent discomfort in the throat, or pain that is referred
ioral treatment alone. Surgery can be employed if signifi
to the ear. They tend to be stubborn lesions, and often take
cant voice and vocal fold pathology remain after voice
weeks to months to resolve. This condition may be treated
therapy.
by: (1) addressing LPRD (described later in this chapter)
Vocal fold hemorrhages result from rupture of blood
and other contributing factors, (2) antibiotics, (3) systemic
vessels within a vocal fold. They can be caused by exter
or local injection of corticosteroids, and (4) appropriate
nal laryngeal trauma (a severe blow to the neck), or as a
voice rest or voice therapy so that the patient can begin
result of demanding voice use such as vigorous yelling or
learning efficient voice use patterns. Surgery may be used
singing. The most common presenting symptom of vocal
to remove granulomas, but they often simply return after
fold hemorrhage is sudden change in vocal quality, although
the initial removal. It is better to allow true, albeit gradual,
a recent study noted that the progressive development
healing to occur.
ofhoarseness may also be associated with small hemor
Vocal fold cysts are either formed by blockage of
rhages (Spiegel, Sataloff, Hawkshaw, Rosen, 1996). Com
glandular ducts in the vocal fold mucosa (mucous reten
monly, vocalists can recall a specific event when "some
tion cysts), or by collection of sloughed skin tissue from
thing changed" abruptly or "snapped", and they may say,
the vocal fold mucosa in a submucosal pocket (epider
"My voice was not the same after that." Immediate medical
moid cyst). They are like tiny "skin bags" located under the
attention is indicated. The diagnosis of a vocal fold hem
mucosa of the vocal fold. They are sometimes very small,
orrhage is usually readily made with the rigid or flexible
but can grow to substantial size. Voice manifestations can
laryngoscope in the case of overt, acute hemorrhage, al
be as obvious as overthoarseness when speaking, to more
though diagnosis of more subtle or latter stage cases re
subtle loss of high singing pitch range, or diplophonia (mul
quires use of videostroboendoscopy.
tiple concurrent pitches) when attempting higher voice (see
Treatment is with complete voice rest initially, and
Chapter 1).
gradual increase in vocal activity thereafter. If abusive vo
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Cysts are sometimes misdiagnosed as a nodule when a
taining sound.
This term is generally used by
less vocally experienced ear-nose-throat physician only uses
otolaryngologists to refer to the condition where there is
a mirror or a flexible-nasal fiberoptic laryngoscope to ex
decreased mass and tone in the vocal folds leading to the
amine the vocal folds.
Use of a rigid-oral laryngeal
"bow legged" appearance.
It can occur in the "vocal
videostroboendoscope will provide sufficient magnifica
underdoer" of any age, that is, anyone whose larynx muscles
tion, still-frame viewing, and "slow motion" views of mu
and vocal fold tissues are somewhat underconditioned. It
cosal waving for a secure diagnosis. An accurate diagnosis
also occurs frequently with advancing age, and may also
is essential, because ultimate treatment for cysts is usually
be seen with a systemic debilitating illness such as diabetes
quite different than for nodules.
mellitis. A voice conditioning regimen during voice therapy
Cysts generally require surgical excision for complete
can be very helpful in treating this condition, while surgi
resolution (see Chapter 11). If there is a large amount of
cal addition of bulk to the vocal folds using injection laryn-
inflammation and swelling surrounding a cyst, then a course
goplasty or silastic medialization also can be used.
of voice therapy is indicated prior to surgical removal to help quell the inflammation and optimize the efficiency of vocal coordinations. Postsurgical voice therapy helps pa tients resume efficient vocal coordinations during every day speech (and singing for those who sing). A unilateral cyst can irritate the opposite vocal fold mucosa to form a nodular tissue reaction, and this reaction is treated during voice therapy. In cases where the diagnosis of cyst versus nodule versus polyp is uncertain, voice therapy can be used as both a diagnostic and therapeutic indicator. Vocal fold sulcus is a term which is used variably by different authors. The term is generally used to refer to a condition where a groove or furrow extends along the free edge of the vocal folds (see Chapter 1), and involves a de crease of submucosal and deeper tissue mass in the area of the furrow. This creates a mucosalized groove in the vocal fold edge, and abnormal vibratory dynamics.
Sulcus is
sometimes very difficult to diagnose with certainty except in the operating room, although it can often be diagnosed reliably by a voice-experienced ENT physician or speech pathologist who uses laryngeal videostroboendoscopy and the vocal tasks that reveal the sulcus. To date, treatment includes injection of collagen material into the affected area in an attempt to "fill out" the furrow (Ford, 1994), excision of the mucosa lining the sulcus, and a surgical-therapeutic treatment (Pontes & Behlau, 1993). Therapy is helpful in guiding the voice user toward physical and acoustic effi ciency in voice use and to preventive measures. Achieving normal voice function is very problematic with sulcus. Vocal fold bowing is the relatively concave appear ance of the vocal folds when they are adducted and sus
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D ia g n o sis an d M e d ica l T re a tm e n t o f C o m m o n V o ice D iso rd e rs R e la ted to Im m u n e F u n c tio n Bacterial, viral, and fungal infections. The diagno sis begins with taking the history and performing the ex amination. Only a throat culture can distinguish with some degree of certainty between bacterial, viral, and fungal infections, bacterial infections are responsive to antibiotic medications. The biogenetic process of natural selection is producing strains of bacteria that are increasingly resistant to the antibiotic medications that are now used to control infectious bacteria. Caution about frequency of antibiotic use is appropriate. Cooperation with the bodymind's immune system including rest, hydration, stress reduction, and regular re lease of the restoration response—is the most widely ac cepted way to "treat" routine viral infections, and is also a valuable adjunctive treatment for bacterial infections (read the "Tips List" in Chapter 14). Athletic voice users, particu larly those with an upcoming performance, are advised by some ear-nose-throat physicians to take a course of anti biotics during a viral infection in order to reduce the risk of a secondary bacterial infection following a viral infec tion. In addition to cooperation with the immune system, medical treatment for fungal infections is with topical, oral, or sometimes intravenous anti fungal medications. Allergies.
Skin testing, IgE screening test, the RAST
(radioallergosorbent test) of blood, and various enzyme test techniques are the current diagnostic procedures in conventional medicine. In food allergies, a common diag nostic procedure is to remove suspected foods from the
diet one at a time for periods of time while observing the
allergic. The immune system, then, may develop the means
body's reaction (Nalebuff, 1981; Rosenberg, 1987; Rubin,
of neutralizing the allergen(s) once the "desensitization" takes
1992; Spiegel, Hawkshaw & Sataloff, 1991).
effect.
Allergy treatment usually falls into three categories (Spiegel, Hawkshaw & Sataloff, 1991; Benninger, 1994).
Because the immune system is responsive to the limbic-hypothalamic-pituitary-adrenal axis, stressful life cir
1. Avoidance or removal of such allergen sources as
cumstances can increase the likelihood of allergic reaction
dust, mold, and animal dander can relieve symptoms, al
in many people. Regularly engaging the bodymind's self
though removal of a loved pet can be traumatic. Staying
restorative processes is a means of prevention and treat
away from geographical areas or locations where allergens
ment (Chapter 14 has details).
accumulate can help when pollens and grasses produce
complementary, or mind-body treatments may be effec
allergic reactions. The diagnostic procedure of eliminating
tive in the treatment of allergy, such as walking or other
suspected allergy producing foods from one's diet is also a
body movement, self- or other-guided imagery, massage,
common means of treatment.
biofeedback, self-hypnosis, homeopathic treatment, and
2. Medications, for the most part, are designed to tem
So-called non-specific,
acupuncture.
porarily alleviate inflammatory symptoms. The most com mon type of allergy medication is antihistamine which blocks the release of histamine mediator molecules that trigger inflammation,
antihistamines are easily available for pur
chase over-the-counter, but they have two side-effects that can seriously interfere with voice function: (1) drowsiness, and (2) dehydration of mucus membranes in the mouth and throat (including the vocal folds). More recent pre scription antihistamines have no sedating effects and re duced dehydration effects. Antihistamine medications can be combined with expectorant medication to "adjust" the dehydrating effects. Guaifenesin is the expectorant/mucolytic of choice for voice users (Chapter 10 has details). decongestants are usually combined with antihista mines in over-the-counter medications. Their effect is to temporarily reduce inflammatory swelling of mucosal tis sues. Over-the-counter nasal decongestant sprays also are available, however great caution is necessary when using
D ia g n o sis an d M e d ic a l T re a tm e n t o f V o ic e D iso rd e rs R ela ted to R e sp ira to ry an d D ig e stiv e D y sfu n ctio n ENT physicians are very conversant with diagnosis and treatment of the common diseases of the respiratory tract. When respiratory symptoms go beyond the com mon diseases, referral to or consultation with a pulmonary specialist will occur. ENT physicians also are very conver sant with diagnosis and treatment of swallowing disorders and gastroesophageal and laryngo-pharyngeal reflux dis eases. When treating digestive disease and dysfunction that go beyond the common ones, referral to and consultation with a gastroenterologist will occur. Diagnosis of gastroesophageal reflux disease (GERD) and laryngo-pharyngeal reflux disease (LPRD).
more of the following may be asked of you if GERD or LPRD are suspected: 1. keep a diary of symptoms with time of day;
these, because prolonged use of such sprays can lead to severe problems with "rebound" nasal congestion when the spray is stopped. Topical corticosteroid nasal sprays are safe, commonly prescribed treatments for nasal inflam mation, and should not be confused with the nasal decon gestant sprays. Balanced liquid saline solution can be used to relieve the dehydrating effects of medications for allergic (and nonallergic) rhinitis (and other symptoms as well). It is available as a nasal spray under a variety of names. 3. Immunotherapy is delivered by injecting gradually increasing amounts of the allergens to which people are
One or
2. 24-hour monitoring of acidity levels in the esopha gus; 3. laryngeal examination with videostroboendoscopy; 4. barium swallow test to assess for hiatal hernia. Treatment of LPRD. LPRD means that reflux of highacid stomach contents has reached the surface tissues of the larynx and pharynx, particularly the arytenoid mound area and often the vocal folds themselves. This disease can severely affect vocal function (Chapter 3 has details). Ag gressive treatment is highly recommended for people who
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use their voices athletically. Several of the following treat
1. Wean yourself completely away from eating within
ment modes may be prescribed (Behar & Ramsley, 1978;
2 to 3 hours before bedtime or naps, so that food has
Benninger, 1994a; Koufman, et al., 1995; Sataloff, 1991d):
passed from the stomach into intestines before lying down.
1. a change in diet and other behaviors that may be contributing (described later); 2. use of over-the-counter antacid products to neu tralize stomach acid;
During the weaning period, one low-acid fruit item can be eaten about one hour before sleep to satisfy appetite, but wean yourself away even from that. Most low-acid fruits (non-citrus, such as banana, cantaloupe, honey dew melon)
3. a type of medication that suppresses the acid pro
usually leave the stomach within about 45 minutes.
duction that is triggered by type 2 histamine receptors (H2)
2. Change some of your diet preferences.
in cells of the stomach lining (rather than simply neutraliz
a. During restoration to normal stomach function, eat
ing acid that is already produced). [The generic chemical names for two of the most common H2 blocking medica tions are cimetidine (Tagamet®) and ranitidine (Zantac®)].
a bland diet, divided into about six small meals per day. b. Highly seasoned, spicy food, can encourage stom ach acid and gas production.
Longer term use of cimetidine has been associated with
c. Excessive amounts of food at meals, with a "stuffed"
infertility in males and is not recommended in younger
feeling in your abdomen, means that the pressure in your
people with severe LPRD (Sataloff, et al., 1991c);
stomach is quite high. That induces reflux.
4. a type of medication that suppresses acid produc
d. After taking a bite of food, lay your utensil down
tion by inhibiting proton "pumps" in cells of the stomach
while you chew. Consider savoring the taste of the food
lining. [The generic chemical name for the most common
and chew the food until it has become nearly liquid. Fast
proton pump inhibitor is omeprazole (Prilosec®)]. It is com
eating usually means that you will swallow air into your
monly prescribed in a 20 mg dosage once per day. People
stomach and increase its internal pressure.
with severe LPRD require more aggressive medical treat
e. Alcohol, chocolate, tea, coffee, and other caffeinated
ment than those with esophageal symptoms only. Aggres
foods, can both irritate the gastrointestinal tract, and can
sive treatment with omeprazole may range from 20 to 40
promote reflux.
mg twice daily.
Taking the medication in the morning is
f. With severe GERD/LPRD, do not drink carbonated
likely to be more effective than taking it in the evening
beverages. After successful treatment, if you drink them,
(Chiverton, et al., 1992).
do so very sparingly. They are irritants to the esophagus
5. prescribe a medication that increases the strength of
and they interact with stomach contents to produce gasses
the sphincter muscle between the esophagus and stomach,
that increase internal stomach pressure and promote re
and promotes clearance of stomach contents into the in
flux.
testine. [The generic chemical name for this medication is
3.
For nighttime relief, and to stem the flow of reflux,
cisapride (Propulsid®)]. Noticeable dehydration is a com
sleep with the head of your bed elevated by about 4 to 6
mon side effect of this medication.].
inches. You may choose to place cinder blocks, bricks, or wood blocks under the head of your bed. If that is impos
Some physicians believe that changes in diet are im
sible, you may elevate the top 1/3 of your mattress by
portant in the treatment of GERD/LPRD, while others
placing pillows or rolled/folded blankets under the mat
downplay the importance of dietary changes. Neverthe
tress. Specially designed, adjustable beds may be purchased
less, the recommended changes in diet and other behav
to elevate the upper body. For waterbeds, a wedge pillow
iors listed below are designed to help minimize stomach
can be used, although that is less effective.
Sleeping on
acid production, maintain optimal stomach pressure, and
your right side also uses gravity to keep stomach contents
help prevent stomach contents from moving up the esopha
in your stomach. Gravity will increase stomach pressure
gus.
when you sleep on your back or left side.
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4. Take recommended doses of antacid two hours af
form of voice dysfunction may be the most noticed symp
ter meals, at bedtime, and any other time that you happen
tom, other co-occurring symptoms that form typical clus
to notice symptoms of reflux.
ters can point a physician toward the kinds of endocrine
Gaviscon®, M aalox® ,
Mylanta®, and Turns® are well known products.
If they
system tests that document a diagnosis.
For example, a
happen to result in diarrhea, try Gelusil® or Amphojel®,
hoarse voice and reduction of pitch range compass, along
alternating with one of the others.
with lethargy, muscle weakness or cramps, dry skin, cold
5. If your weight is above a recommended amount for
intolerance, numbness, tingling "pins and needles" sensa
your overall body size, then weight loss will remove exter
tions, constipation, or unusually heavy or long menstrual
nal pressure on your stomach.
periods in women, can point the physician in the direction
6 . Clothing that fits tightly across your midsection will
of hypothyroidism (Benninger, 1994). When any endo
create external pressure on your stomach, especially dur
crine dysfunction is suspected, blood samples may be or
ing breathing. Tight belts and form-shaping apparel will
dered to determine the relative levels of hormonal imbal
contribute. Men may consider wearing suspenders (trou
ance, or other tests may be ordered that will document
ser braces) until symptoms subside.
such dysfunctions as excessive carbohydrate metabolism
7.
Bending, stooping, and shoulder slumping, espe
(Chapter 4 has some details).
cially following meals, produces external stomach pres
Treatments may involve (1) medications such as syn
sure. Gardening, exercises that require lifting or bending,
thetic thyroid hormone for hypothyroidism, or estrogen
and shoulder slumping while working at a desk are activi
replacement for symptoms related to menopause; and (2)
ties that apply.
changes in any habits of living that may help reverse a
8. Resolve relationship conflicts, and manage excess
dysfunction and maintain health, such as diet in the case of
personal commitments as soon as possible and as much
hypoglycemia and diabetes, or regular sleep-wake and food
as possible.
intake times, or relatively brisk or vigorous body move
9. Release your innate relaxation-restoration response
ment.
1 or 2 times every day. That brings many health benefits including reduction of acid production and internal pres sure in your stomach. Biofeedback, progressive relaxation, massage, meditation, guided imagery, and self-hypnosis are well known ways to engage your restoration processes. 10. Enjoyable, pleasant body movement, such as brisk walking for about 30 minutes 3 to 6 days per week, is one of the most effective ways to induce restorative processes. Pleasure walking benefits every cell, organ, and system in your whole body (Chapter 13 has details). 11. Laugh. Be around people who make you laugh. Seek funny entertainment. Genuine laughter also has many health benefits, including GERD/LPRD benefits (Chapter 14 has details).
D ia g n o sis an d M e d ica l T re a tm e n t o f V o ice D iso rd e rs R ela ted to E n d o c rin e D y sfu n ctio n
D ia g n o sis an d M e d ic a l T re a tm e n t o f A u d ito r y S y ste m D ise a se s an d D iso rd e rs Diagnosis of hearing disorders involves a history, physical examination of the ear and associated structures, and an assessment of hearing. The hearing assessment usu ally includes an audiogram (commonly called a hearing test). As discussed in Chapter 5, hearing losses are broadly divided into conductive, sensorineural, or mixed types. Treatment of hearing disorders depends on the nature and severity of the diagnosis, of course, conductive hear ing losses are often due to infections in the ear canal (the part where people place a "Q-tip"), or the middle ear (be hind the eardrum), and are treated with antibiotic drops, antibiotic pills, or both. Persistent or recurrent middle ear infections such as otitis media with effusion are often treated with tympanostomy tubes placed in the eardrum. More extensive infections in and around the middle ear can re
Diagnosing and treating endocrine system dysfunction
quire larger operations to eradicate the disease, conduc
requires serious detective work that begins with a thor
tive hearing losses can also be due to problems of the hear
ough health history—both general and voice. While some
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605
ing bones or the eardrum, and reconstruction or "loosen
be involved. Patient questions will be answered, and phy
ing" of stiff hearing bones can be performed.
sician and patient together will choose the course of treat
Prevention of middle ear disorders may be aided by
ment. A few specific conditions which primarily affect the
teaching a patient how to equalize the middle ear pressure
voice and/or other laryngeal functions are discussed be
with atmospheric pressure—the Valsalva test, named after
low (Chapter 6 has more details).
the late 17th to early 18th century Italian surgeon, Antonio
In spasmodic dysphonia (Chapter 6 has details), or
Valsalva. One opens the Eustachian tube by pinching the
laryngeal dystonia, the laryngeal muscles are contracting
nose closed, closing the mouth, and raising the respiratory
inappropriately. SD is treated with injections of botulinum
air pressure—very gently at first—as though attempting to
toxin into the muscles that are causing the vocal symp
"blow" air out of the closed nose and mouth.
toms. This medication temporarily weakens the connec
Temporary
noise-induced hearing loss and other
tion between the motor nerves and the muscles, and helps
symptoms resulting from acoustic trauma [such as tinnitus
alleviate thedysphonia. Injections need to be repeated, on
(continual "ringing" in the ear) or discomfort at certain sound
average, about 3 to 4 times per year. Voice therapy can be
intensity levels], are treated by avoidance of noise, hearing
a useful adjunct in some cases. A minority of clinicians
protection, and by careful control of the auditory environ
treat this condition with voice therapy alone.
ment to allow healing to occur (Benninger, 1994). Permanent sensorineural hearing loss is usually treated
Vocal tremor is usually treated with medications called beta-blockers under the direction of a neurologist or an
by the use of hearing aids that are custom made, in some
internal medicine physician.
cases, to enhance a patient's particular auditory character
tremor is quite variable. Voice therapy can be helpful in
istics. Most hearing aids are made to enhance the frequency
optimizing vocal function.
Effectiveness in reducing
and intensity ranges in normal speech. Hearing aids are
Vocal fold paralysis can have very serious effects on
now made that enhance the wider and more selective fre
voices, and sometimes other laryngeal functions as well.
quency ranges of music (Benninger, 1994). The cochlear
The most common complaint from patients with a unilat
implant (electronic stimulation of the inner ear) is employed
eral paralysis (one vocal fold), is a noticeable change in
in some cases of profound hearing loss.
voice function and quality.
Protect your ears fro m high intensity sounds , including ampli fied music , to avoid noise-induced sensorineural hearing loss
Usually the voice is weak,
breathy, and is easily fatigued.
Initial treatment is often
with voice therapy to try and improve vocal quality. If the paralysis and significantdysphonia persist, then multiple
D ia g n o sis an d M e d ic a l T re a tm e n t o f V o ic e D iso rd e rs R ela ted to D ise a se s o f th e N e rv o u s an d M u scu lo sk e le ta l S y stem s
surgical options for vocal rehabilitation exist (Hoff & Hogikyan, 1996). A shared principle of many of the surgical options for
Diagnosis of various disorders of nervous and mus
treating unilateral vocal fold paralysis is that voice strength
culoskeletal functions is based on detailed history, physi
and quality can be improved by bringing the paralyzed
cal examination, and functional assessment. Consultation
vocal fold closer to the center of the larynx, so that the
with a neurologist is common to assure the highest quality
non-paralyzed vocal fold can make better contact with it
of care in disorders of kinesthetic (somatosensory) func
during phonation. This can be done in variety of ways
tion, and the various neural and neuromuscular diseases
(Hoff & Hogikyan, 1996). Injection of substances such as
(Benninger, 1996; Schapiro, 1991).
teflon paste, body fat, collagen, or other materials into the
The treatment of neurological disorders and disorders
paralyzed side can "fatten it up" so that the vocal folds
of musculoskeletal functions are very broad topics, and go
make better contact. Synthetic implants can also be placed
well beyond the scope of this book. The treating physician
into the vocal fold through the cartilaginous shell of the
will explain alternative and recommended treatments and
larynx to accomplish the same goal (called a Type-I
their intended effects, side-effects, and any risks that may
thyroplasty procedure). A variety of reinnervation proce
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dures also exist for vocal fold paralysis, although experi
can severely limit the nasal airway. In other people, the
ence with these is not yet widespread. Note that if both
palatine or lingual tonsils are so enlarged that they prevent
vocal folds are paralyzed, then breathing is usually very
normal sound wave progression through the vocal tract.
difficult, and a tracheotomy is frequently necessary.
Some degree of acoustic overloading of the vocal folds then may induce excess effort in the larynx muscles and a pre
D ia g n o sis an d M e d ic a l T re a tm e n t o f V o ic e D iso rd e rs R ela ted to A n a to m ic a l A b n o rm a litie s an d B o d ily In ju rie s Diagnosis of genetic/epigenetic abnormalities begins with a description of symptoms and history taking, but is based mostly on the visual examination of the nasal, oral, pharynx, and larynx areas. Assessment following a trau matic injury is also based upon an understanding of the circumstance of the injury, and the resultant anatomical and functional deficits. As discussed in Chapter 7, the air flow source (lungs and other chest structures), the sound source (vocal folds), and the resonators (vocal tract), can each potentially be affected by these types of abnormalities and injuries. Treatment of some of these conditions are discussed below. Laryngeal web and microweb. Vocal fold webs can be congenital or acquired, and very small (microweb), or large. They generally occur in the anterior portion of the larynx,
microwebs usually do not affect voices signifi
cantly, while large webs can be severely limiting, laryngeal webs can be surgically corrected (Sataloff, 1991c, pp. 288289; Meyer & Cotton, 1991). Both endoscopic surgical pro cedures and open surgical procedures are used to treat this condition. The treating surgeon must understand that webs will reform if raw vocal fold edges are left in contact after web division has occurred. Various steps can be taken to avoid this problem. Enlarged adenoids and palatine or lingual tonsils. All of these structures are composed of the same type of tissue (lymphoid), and are located in the pharynx. They tend to be proportionately larger in children than in adults, although some adults retain largeadenoids and tonsils. In fection in and around these structures can enlarge them even more, and can cause them to become quite painful. Usually, enlargement of these structures without recurring infections is not a problem. In some people, the adenoids are large enough that they interfere with normal eustachian tube, soft palate, and vocal resonance functions, and
disposition to voice disorders, enlarged adenoids and pa latine or lingual tonsils can be surgically removed (Benninger, 1994; Kornblut, 1991; Spiegel, Sataloff, et al., 1991). The usual indication for surgical removal is recur rent or chronic infections despite medical treatment. Enlarged soft palate, uvula.
An enlarged, unwieldy
soft palate or uvula can make articulation of nasal conso nants challenging if not impossible. Denasality commonly occurs in the speaking and singing of these patients. Loud snoring also is a symptom. More severe manifestations of this condition can result in obstructive sleep apneasyndrome (OSAS). The soft palate, tongue, and pharyngeal structures totally block the upper airway—particularly when sleeping in the supine position—while the pulmonary sys tem attempts continued breathing (Chapter 3 has details). Oxygen levels in the blood decline and heart arrhythmias can occur (Benninger, 1994; Millman, 1988; Patow & Kaliner, 1986). This condition can be assessed in a sleep disorders clinic. In milder cases, it can be treated with weight loss or sleep position changes.
In more severe cases, a special
type of breathing mask called CPAP (continuous positive airway pressure) is worn at night, or surgery is performed. Short soft palate or cleft palate.
A congenitally
short soft palate or a cleft palate means that the soft palate cannot close the nasal port when making language sounds (Bernstein, 1991a). Hypernasality results during all vowel production and the three nasal consonants must be sub stituted for all the other consonants. Children with cleft palate also have eustachian tube dysfunction and almost always have frequent ear infections. They are at risk for conductive hearing loss and delay of language skills if this is not addressed (Chapter 5 has details),
short soft palate
and cleft palate can be moderated or corrected with sur gery in the affected areas (Benninger, 1994; Bernstein, 1991b). Enlarged turbinates.
Some or all of the three turbi
nates in each nasal cavity can be enlarged and thus impede normal, easy nasal airflow during breathing. The enlarge
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607
ment can be due to prominence of the bones themselves, or the overlying mucosa and other soft tissues. This con dition commonly occurs in both nasal cavities and may predispose the patient to chronic mouth breathing. That results in chronically dry and irritated mucosal tissues in the mouth, throat, larynx, and trachea (xerostomia and xerophonia).
It also can obstruct normal sinus outflow,
and lead to frequent or chronic sinus infections. Soft tissue enlargement of the turbinates is often caused by allergic or other inflammatory conditions, and usually responds to medical management. True boney enlargement can only be treated with surgical reduction (Gluckman & Stegmoyer, 1991), but conservative surgical alteration of the inferior turbinate is recommended for people who sing (Spiegel, Sataloff, et al., 1991). Septal deviation.
The nasal cavity is divided into
right and left sides by a bone-cartilage partition—the sep tum.
No septum is perfectly straight, so everyone has
adeviated septum to some extent. The patient and the ex amining ENT physician must assess whether or not the degree of deviation inhibits the free flow of air through the nasal airway enough to merit attention. Chronic or recur rent rhinitis or sinusitis also can result from this anatomic condition
D ia g n o sis an d M e d ic a l T re a tm e n t o f V o ic e D iso r d e r s R e la te d to N eu ro p sy ch o b io lo g ica l D y sfu n ctio n Diagnosis and treatment of the more serious neurop sychological disorders, such as depression or schizophre nia, will involve a referral to and consultation with a psy chiatrist (Chapter 8 has some details). There are identifi able speech-voice patterns in patients who have certain neuropsychobiological disorders (Williams & Stevens, 1981). People with voice disorders that are said to be psychogenic also will require referral to a speech-voice therapist for the voice function help they need. In those who need their voice for their career work, recovery of voice function is likely to be an important factor in resolving their neuropsychobiological dysfunction.
Those who experi
ence performance anxiety are capable of learning how to convert the anxiety into constructive, confident, performance energy (Chapters 8, 13, and 14). Beta-blocker medication is not a recommended option. Referral to a speech patholo gist or a voice educator with specialist training and exper tise in such skills will be necessary.
R eferen ces and S elected B ib lio g ra p h y
Septal deviation can be surgically modified
(Benninger, 1994; Gluckman & Stegmoyer, 1991; Spiegel, Sataloff, et al., 1991).
Bastian, R.W. (1988). Factors leading to successful evaluation and man agement of patients with voice disorders. Ear, Nose and Throat Journal, 61, 411-420.
Bodily injuries. Diagnosis of most bodily injuries takes place in a hospital emergency room. In some cases this will be performed solely by the emergency room physi cian, or, specialists may be called in for more in-depth evalu ation or treatment. The outpatient office of an otolaryn gologist may also be the place where a laryngeal injury is being evaluated.
Laryngeal or other voice-related injuries in a
Bastian, R.W., Keidar A., Verdolini-Marston, K. (1990). Simple vocal tasks for detecting vocal fold swelling. Journal o f Voice, 4(2), 172-183. Benninger, M.S. (1996). dysphonia secondary to neurological disorders. Journal o f Singing, 52(5), 29-32, 36.
Benninger, M.S. (1994a). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publishers.
vocalist require assessment and treatment by a voice-experienced oto laryngologist.
A guiding principle in the treatment of all
traumatic injuries is to try and reconstitute normal ana tomic integrity of the injured structures, and in that way preserve normal function or as near to normal as possible. Detailed discussion of specific treatments for traumatic in juries is a complex medical and surgical topic and will not be pursued in this chapter.
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Benninger, M.S. (1994b). The medical examination. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 86-96). New York: Thieme Medical Pub lishers. Benninger, M.S., Jaco b so n , B.H., & Jo h n so n , A.F. (1994). The multidisciplinary voice clinic. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 79-85). New York: Thieme Medical Publishers. Bernstein, L. (1991a). Congenital defects of the oral cavity. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngol ogy (Vol. Ill: Head and Neck, pp. 1977-1982). Philadelphia: W.B. Saunders.
Bernstein, L. (1991b). Maxillofacial clefts. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 1983-1994). Philadelphia: W.B. Saunders. Bless, D (1991). Assessment of laryngeal function. In Ford, C.N., Bless, D.M. (Eds.), Phonosurgery: Assessment and Surgical Management o f Voice Disorders, (p. 103). New York: Raven Press. Bough, I.D., Sataloff, R.T., Castell, D.O., Hills, J.R., Gideon, R.M., & Spiegel, J.R. (1995). Gastroesophageal reflux laryngitis resistant to omeprazole therapy. Journal o f Voice, 9(2), 205-211. Brodnitz, F. (1978). Medical care preventive therapy (panel). In VL. Lawrence (Ed.), Transcripts o f the Seventh Symposium, Care o f the Professional Voice. New York: The Voice Foundation. Chiverton, S.G., Howeden, C.W., Bürget, D.W., & Hunt, R.H. (1992). Omeprazole (20 mg) daily given in the morning or evening: A compaison of effects on gastric acidity, and plasma gastrin and omeprazole concen tration. Alimentary and Pharmacological Therapy, 6, 103 -111. Fadal, R.G., & Nalebuff, D.J. (1980). A study of optimum dose immuno therapy in pharmocological treatment failures. Archives o f Otolaryngology, 106, 38-43. Gluckman, J.L., & Waner, M. (1991). physical examination of the head and neck. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. Ill: Head and Neck, pp. 1811-1819). Phila delphia: W.B. Saunders. Gluckman, J.L., & Stegmoyer, R.J. (1991). Nonallergic rhinitis. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngol ogy (Vol. Ill: Head and Neck, pp. 1889-1898). Philadelphia: W.B. Saunders.
Millman, R.P (1988). Sleep apnea and nasal patency. American Journal o f Rhinology, 2, 177-182.
Nalebuff, D.J. (1981). An enthusiastic view of the use of RAST in clinical allergy. Immunology and Allergy Practice, 3, 77-87. Nursing Drug Handbook (1989). Springhouse, PA: Springhouse Corpora tion. Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.) (1991). Otolaryngology (3rd Ed., Vol. Ill: Head and Neck). Philadelphia: W.B. Saunders. Pascarelli, E.F., & Bishop, C.J. (1994). Performing arts medicine: The status of the specialty within the evolving health care system. Medical Problems of Performing Artists, 9, 63-66. Patow, C.A., & Kaliner, M. (1984). Nasal and cardiopulmonary reflexes. Ear Nose and Throat, 63, 22-28. Prugh, D.G., & Thompson, D.L. (1990). Illness as a source of stress: Acute illness, chronic illness and surgical procedures. In J. Nospitz & R. Coppington (Eds.), Stressors and the Adjustment Disorders. New York: John Wiley & Sons. Rosenberg, P. (1987). Allergy and immunology. In K.J. Lee (Ed.), Essential Otolaryngology Head and Neck Surgery (pp. 759-773). New York: Medical Ex aminations Publishing. Rubin, J.S., Sataloff, R.T., Korovin, G.S., & Gould, W.J. (Eds.) (1995). Diagno sis and Treatment o f Voice Disorders. New York: Igaku-Shoin. Rubin, W. (1991). Vocal effects of allergy and nutrition. The National Asso ciation o f Teachers o f Singing Journal, 48(1), 21-22, 41.
Greene, M.C.L., & Mathieson, L. (1989). The Voice and Its Disorders (5th Ed.). London: Whurr Publishers, 1989. Hirano, M., & Bless, D.M. (1993). Videostroboscopic Examination o f the Larynx. San Diego: Singular. Hoff, PR., & Hogikyan, N.D. (1996). Unilateral vocal fold paralysis. Current Opinion in Otolaryngology & Head and Neck Surgery, 4, 176-181. Hogikyan, N.D., Appel, S., Guinn, L.W., & Haxer, M.J. (1999). Vocal fold nodules in adult singers: Regional opinions about etiologic factors, career impact, and treatment. A survey of otolaryngologists, speech pathologists, and teachers of singing. Journal o f Voice, 13(1), 128-139. Jacobson, B.H., & White, J-P. (1994). Multidisciplinary approach to treat ment. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medi cine: The Care and Prevention o f Professional Voice Disorders (pp. 3 18-343). New York: Thieme Medical Publishers. Jacobson, B.H. (1994). Objective voice analysis: The clinical voice labora tory. In Benninger, M.S., Jacobson, B.H., Johnson, A.F. (Eds.). Vocal Arts Medi cine: The Care and Prevention o f Professional Voice Disorders, New York: Thieme Medical Publishers, pp 135-152. Levine, H.L. (1994). Disorders of singing. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 3 18-343). New York: Thieme Medical Publishers. Meyer, C.M., & Cotton, R.T. (1991). Congenital abnormalities of the larynx and trachea and management of congenital malformations. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngol ogy (Vol. Ill: Head and Neck, pp. 2215-2229). Philadelphia: W.B. Saunders.
Sataloff, R.T. (Ed.) (1991a). Professional Voice: The Science and Art o f Clinical Care. New York: Raven Press. Sataloff, R.T. (1991b). Reflux and other gastroenterologic conditions that may affect voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 179-183). New York: Raven Press. Sataloff, R.T. (1991c). Voice rest. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 247-251). New York: Raven Press. Sataloff, R.T. (Ed.) (1997). Professional Voice: The Science and Art o f Clinical Care (2nd Ed.). San Diego: Singular. Sataloff, R.T., Baron, B.C., Brodnitz, F.S., Lawrence, V.L., Rubin, W., Spiegel, J., & Woodson, G. (1988). Discussion: Acute medical problems of the voice. Journal o f Voice, 2(4), 345-353. Sataloff, R.T., Brandfonbrenner, A.G., & Lederman, R.J. (1991). Textbook o f Performing Arts Medicine. San Diego: Singular. Sataloff, R.T., Spiegel, J.R., Carroll, L.M. (1988). Strobovideolaryngoscopy in professional voice users: Results and clinical value. Journal o f Voice, 1(4), 359-364. Sataloff, R.T., Spiegel, J.R., & Hawkshaw, M. (1993). The history. In W.J. Gould, R.T. Sataloff, & J.R. Spiegel, Voice Surgery (pp. 173-188). St. Louis: Mosby-Year Book. Sataloff, R.T., Spiegel, J.R., & Hawkshaw, M. (1993). physical examination. In W.J. Gould, R.T. Sataloff, & J.R. Spiegel, Voice Surgery (pp. 189-202). St. Louis: Mosby-Year Book.
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Sataloff, R.T., Spiegel, J.R., Hawkshaw, M., & Heuer, R.J. (1994). Profes sional voice users: Obtaining the history. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 72-78). New York: Thieme Medical Publishers.
. 2. Talking or singing feels more effortful now than before . 3. Hoarse/breathy/airy/raspy voice after vigorous or lengthy use . 4. Whispery gaps within speaking/singing pitch range
Schapiro, R.T. (1991). Clinical neurology for the otolaryngologist. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. IV: Plastic and Reconstructive Surgery and Interrelated Disciplines, pp. 22971-2982). Philadelphia: W.B. Saunders. Shaw, G.Y., Searl, J.P, Young, J.L., & Miner, PB. (1996). Subjective, laryngoscopic, and acoustic measurements of laryngeal reflux before and after treatment with omeprazole. Journal o f Voice, 10(4), 410-418. Simmons, R.C. (Ed.) (1981). Understanding Human Behavior in Health and Dis ease (3rd Ed.). Baltimore, MD: Williams & Wilkins. Spiegel, J.R., Hawkshaw, M. & Sataloff, R.T. (1991). Allergy. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 153-157). New York: Raven Press. Spiegel, J.R., Sataloff, R.T., Cohn, J.R., & Hawkshaw, M. (1991). respiratory dysfunction. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 159-177). New York: Raven Press.
. 5. Reduced vocal pitch range or volume range . 6. Complete loss of voice [whispering only] . 7. Any surgery in your chest/neck/throat/head areas 8. Physician diagnosis and/or treatment of: vocal fold nodules vocal fold polyp vocal fold hemorrhage (bruise) chronic laryngitis other conditions that interfered with normal voice . 9. Neck-throat area feels fatigued/tired after 10 to 30 minutes of voice use .10. Throat feels irritated, "raw", or sore after voice use .11. Sensation of a lump in your throat or choking sensations
Spiegel, J.R., Sataloff, R.T., & Hawkshaw, M.J. (1990). sinusitis: Update on diagnosis and treatment. The National Association o f Teachers o f Singing Journal 47(5), 24, 25.
.12. Throat or upper chest sore after vigorous/lengthy voice use .13. Throat or upper chest sensitive or sore when touched
Spiegel, J.R., Sataloff, R.T., Hawkshaw, M.J., & Rosen, D.C. (1996). vocal fold hemorrhage. Ear Nose and Throat Journal, 75 (12), 784-789. Stringer, S.P, & Schaefer, S.D. (1991). Disorders of laryngeal function. In Paparella, M.M., Shumrick, D.A., Gluckman, J.L., & Meyerhoff, W.L. (Eds.), Otolaryngology (Vol. III: Head and Neck, pp. 2257-2272). Philadelphia: W.B. Saunders.
.14. Jaw joint stiffness, tension, clicking, or locking; teeth-clenching, teeth-grinding, nail biting .15. Intense or debilitating stiffness, discomfort, or pain in your head/ neck/shoulder .16. Frequent colds or flu
Thurman, L., & Klitzke, C.A. (1994). Voice education and health care for young voices. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 226-268). New York: Thieme Medical Publishers.
.17. Frequent sore throats .18. Cold, flu, sore throat or bronchitis that lasted for a long time
Toogood, J.H., Jennings, B., Greenway, R.W., & Chuang, L. (1980). Candidi asis anddysphonia complicating beclomethasone treatment of asthma. Journal o f Allergy and Clinical Immunology, 65(2), 145-153.
.19. Persistently congested nasal area; concentrated post-nasal drip
Williams, C.E., & Stevens, K.N. (1981). Vocal correlates of emotional states. In J.K. Darby (Ed.), Speech Evaluation in Psychiatry (pp. 221-240). New York: Grune & Stratton.
.21. allergies [hay fever, sneezing, itchy/watery eyes or nose]
V o c a l H ea lth H isto ry 1. Briefly describe the circumstances that led you to contact The Voice Center.
.20. Sinus condition
.22. Family history of allergies .23. Persistent cough; throat "tickles" .24. Thick phlegm/mucus/"gunk" in your throat; frequent throat clearing .25. Symptoms, diagnosis, or treatment for indigestion or heartburn
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-------- 26. Irritation that is a mild acid-like burning sensation in throat or back of mouth
2. When and how did you first notice the circumstances?
_____ 27 Noticeable breath odor [haiitosis]
S y m p to m s an d M e d ic a tio n s Have you ever experienced the following health-related cirumstances? [Please check if "Yes".]
_____ 28. Persistent dry throat or mouth _____ 29. Outer, middle, or inner ear disease; or hearing difficulties _____ 30. Breathing difficulties; asthma
_____ 1. Chronic breathy, scratchy, hoarse, husky, or raspy voice
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_____ 3 1. Endocrine/glandular/hormonal conditions of any kind [thyroid?]
_____ 33. Numbness in face, arms/hands, or legs/feet
_____ k. How do you hold a telephone when you use it? [circle one] with your hand with a prop with a headset with your shoulder and chin
_____ 34. Problematic change in skin or hair
Personal
_____ 35. Noticeable, unintended change in body weight
[When applicable, please check if "Yes".] 1. Please list your hobbies or recreational activities.
_____ 32. Family history of endocrine/glandular/hormonal conditions
_____ 36. Hypersensitivity to heat or cold, e.g., hands, feet, teeth _____ 37. Noticeable mood swings or other emotional circumstances _____ 38. Persistent sleep-related irregularities such as strong snoring, restless sleep, morning fatigue
2. How well do you maintain a nutritious, balanced diet? [circle one] very strictly firmly moderately pay no attention poorly 3. How regular are your go-to-sleep/wake-up times? Same nearly all days same M - F, different on weekends other _____________________________
_____ 39. Swallowing difficulties _____ 4. Do you eat food within 2 to 3 hours of sleep? If so, how often?
For Women Only _____ 40. Are you presently using birth control pills?
5. Do you exercise regularly? Describe briefly:
_____ 41. Have you ever taken birth control pills? _____ 42. Do you usually retain water to a noticeable degree during your menstrual cycle? _____ 43. Have you ever noticed any changes in your vocal ability or sound quality during your menstrual cycle? _____ 44. If you have experienced menopausal changes, have you also noticed any changes in your vocal sound quality or any other vocal ability?
Medications 1. Are you presently using any (a) prescription medications or (b) non prescription medications (such as aspirin, ibuprofen, antihistamines, nasal spray decongestants)? If so, please list them.
2. Have you ever used prescription or non-prescription medications or drugs in a b o u t the p ast tw o years? If so, please list them .
_____ 6. Are you, or is anyone you live or work with, "hard of hearing?" _____ 7. Were you ever, or are you, a sports team cheerleader? _____ 8. Do you attend sports events and shout or yell as a "fan?" How frequently?_________ _____ 9. Do you feel that you have been under any particular stress in the past six months to one year? _____ 10. If you speak or sing for groups of people, do you experience "stage fright" beforehand that interferes with successful com munication? _____ 11. Do you smoke? If so, what do you smoke and how much? a. cigarettes__________________ b. cigars_____________________ c. pip e________________________ d. oth er______________________ _____ 12. Are you in the presence of smokers very much?
3. Have you ever taken the type of steroids that enhance muscle bulk and/or athletic performance?
G en e ra l L ifesty le H isto ry R e la ted to V o ice Occupation 1. W hat is your occupation, employment, and/or student status?
2. In your work or student environment [Please check if "Yes".]: _____ a. Do you use your voice frequently in your occupation, employ ment, or studies? _____ b. Do you like what you are doing? _____ c. Do you spend a fair amount of time in a motor vehicle? _____ d. Are you required to lift heavy objects? _____ e. Are you exposed to fumes, odors, paints, or other chemicals? _____ f. Are loud sounds common in your work/student experience? _____ g. Are you alone most of the time? _____ h. Are you with other people much of the time? _____ i. Is your work stressful to you? _____ j. Do you spend much time talking on a telephone in your job?
____13.
Do you chew tobacco? How much? __________________
14. About how much of the following do you drink per day/month? [circle all that apply and estimate how much you consume daily or weekly] caffeinated p o p ________ caffeinated te a ________ coffee________ carbonated beverages (no caffeine)________ alcohol content drinks________ non-carbonated w ater________ m ilk________ ice cream ________ For Those Who Use Their Voices Extensively/Strenuously During Work, School, or Leisure Time [For example: business presentations, singing, acting, public speaking, teach ing, cheerleading, leading groups, and so forth.] 1. How many days per week do you use your voice "athletically"? How many average hours per day?__________ Any day or days more than others? [circle] Su M T W Th F Sa
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2. use?
How often do you use "warm-up" vocalizing before athletic voice [circle] always frequently infrequently never
_____ 3. Do you regularly sing along with the radio or CDs/tapes/records? How many days per week, on average?_______ How much time per day?________ _____ 4. Do you try to sound like a favorite singer, speaker, or person? _____ 5. Do you try to speak or sing with a particular "tone of voice" ? _____ 6. Do you create "character voices" as an actor or in everyday speech? _____ 7. Do you try to speak at a particular pitch level? 8. Have you ever: [circle] _____ taken speech training? _____ taken singing lessons? _____ received any advice about how to use your voice? _____ 9. Do you drink alcoholic beverages before or during athletic voice use? If yes, how frequently? [circle] never occasionally always 1-2 drinks 3-6 drinks _____ 10. Have you had any particularly distressing experiences within the past six months to one year?
V o c a l O v erd o er S cre e n in g On a one-to-seven scale, how would you describe the amount o f voice use that is necessary to complete your job requirements? I ------------- 2------------- 3--------------- 4---------------5---------------- 6--------------- 7 Nearly silent Nearly constant
On a one-to-seven scale, how would you describe the intensity, strenuous ness, and vigor with which you use your voice in your job? I ------------- 2------------- 3--------------- 4---------------5---------------- 6--------------- 7 Very soft and light Very loud and vigorous
On a one-to-seven scale, how would you describe the extent of your non work talking that is typical of your innate personality? I ------------- 2------------- 3--------------- 4---------------5---------------- 6--------------- 7 Very quiet Extremely talkative
On a one-to-seven scale, how would you describe the intensity, strenuous ness, and vigor of your non-work talking that is typical of your innate personality? I ------------- 2------------- 3--------------- 4---------------5---------------- 6--------------- 7 Soft and light Loud and vigorous
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chapter 10 medications and the voice Norman Hogikyan, Carol Klitzke, Leon Thurman
M
any commonly used medications have effects
the importance of using these drugs appropriately, and not
on voice anatomy and function. Such effects
indiscriminately.
can produce desired, therapeutic changes, or
A physician may base the decision to use antibiotics
undesired side-effects that create new or worsened vocal
upon a vocalist's health history and physical examination
woes. Both prescription and the seemingly harmless over-
alone, or a throat culture may be performed to determine if
the-counter (OTC) drugs must be used in an informed way
bacterial infection definitely exists. Taking all of the antibi
to help avoid problematic, but usually predictable, side ef
otic capsules in the prescription is necessary to completely
fects. Carefully read the labels of all over-the-counter medi
eradicate all sites of bacterial infection. If an important per
cations. The following brief summary description of com
formance is approaching, many physicians will initiate an
mon prescription and OTC medications can help teachers,
tibiotic treatment even if a culture result is pending. Some
singers, and speakers make informed decisions about their
times, a viral infection creates respiratory conditions that
use, based on how they benefit or diminish voice function.
increase a vocalist's susceptibility to a bacterial infection.
Antibiotics are used to treat bacterial infections. All bodies
So, even if an infection is viral, when important perfor
are hosts to thousands of bacteria types that participate in
mances are coming up, a physician sometimes may pre
an ecological "food chain" of microorganisms.
scribe a course of antibiotics in order to prevent a possible
The vast
majority of them are "friendly". Some of them participate in
"piggy-back" bacterial infection.
food digestion and some help prevent any one part of the
A common complication of antibiotic use in women
food chain from overwhelming the host organism—you.
is increased susceptibility to vaginal candidiasis (a fungus
Relatively few of them are capable of producing an infec
infection), commonly referred to as a yeast infection (Chap
tive illness. If a physician believes that an upper respira
ter 2 has details).
tory infection (sore throat, runny nose, cough) is solely or
bacteria that keep in check the naturally occurring yeasts
partially due to bacterial infection, then an otherwise healthy
that normally inhabit the vagina. A discharge, itching or
vocalist will be treated with antibiotics over a course of 7 to
burning are typical symptoms. Anti- fungal creams such as
10 days.
miconazole (Monistat®) can help restore the balance while
That is the most common situation in which
General antibiotic medications kill the
antibiotics are prescribed. Many different types of antibi
antibiotics are in use. Anti- fungal medications which are
otics are available. In order to dispense them, a physician
taken orally, such as fluconazole (Diflucan®), have been more
prescription is required by law. This regulation underscores
recently introduced and offer convenient one-dose treat ment of most vaginal yeast infections. m edication
and
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Anti-viral medications are used to treat viral infections.
Mucolytics or expectorants are used to produce abun
Antibiotics only affect bacterial pathogens, and are of no
dant, thin mucus flow, and to help clear out thick mucus (phlegm).
benefit in treating viral infections. Most cases of laryngitis
When "post-nasal drip", frequent throat-clearing, or dry
associated with "the common cold" are due to viral infec
mouth-throat-vocal folds occur, or when a viral or bacte
tions. Treatment for such viral infections is almost always
rial infection is subsiding, thick, glue-like mucus will likely
carried out by the vocalist who supports the immune sys
adhere tenaciously to the respiratory tract mucosa (Chapter
tem by resting, hydrating, limiting voice use, and by taking
12 has details). These problems can be alleviated by medi
medications to reduce specific symptoms.
cations which increase production of thin mucus.
Anti-viral medications do exist, but are rarely em
G uaifenesin (H um ibid® , L iqu ibid® , Duratuss®,
ployed in the "common-cold" viral infections. Acyclovir
Robitussin®) is by far the most highly prescribed drug for
(Zovirax®) is an anti-viral medication that is used to treat
this purpose. It is also available in combination prepara
some types of herpes virus infections or several other vi
tions with decongestants (Entex®, Robitussin-PE®), and in
ruses. It is available in oral, topical, or intravenous forms.
many other cold and cough remedies. It is a very safe and
Amantadine (Symmetrel®) is another anti-viral drug
well tolerated medication.
Iodinated glycerol is an older
which is effective against influenza type A virus, both to
expectorant medication which occasionally produced an
prevent infection (prophylaxis) and to treat the disease once
allergic reaction and is rarely in use today. At one time,
it occurs. Early annual flu vaccination remains the recom
Organidin® was such a medication, but it has been refor
mended flu prophylaxis. Use of this drug could be consid
mulated as a guaifenesin product.
ered if a vocalist must perform in a location where a sig
Salivart® and Mouth-Kote® are two over-the-counter
nificant flu outbreak has occurred. This medication, how
liquid preparations that can be sprayed into the mouth and
ever, can produce strong side-effects in some people, such
throat. They are chemically similar to natural mucus. They
as neuropsychological abnormalities, nausea, dizziness, and
can be very helpful and effective for those whose mucus
dry mouth-throat-vocal folds.
production has been reduced by various disease states, or
Antihistamines are used to treat symptoms of mucosal inflammation such as sneezing, itchy eyes, runny nose. These medi
by necessary medications, or by aging of the mucosal tis sues.
cations are very effective in treating allergic symptoms, how
Decongestants are used to shrink swollen nasal pas
ever the common side-effect of dry mouth and throat can be
sages.
very troublesome for a vocalist. They must be used with
pressure in the face due to obstructed sinus drainage, are
great caution.
antihistamines, such as
common annoying symptoms associated with upper res
chlorpheniramine or diphenhydramine (Benadryl®), are
piratory infections or allergic conditions. Altered vocal reso-
highly effective for treating allergy symptoms, but commonly
nance-usually increased nasality and its associated sensa-
cause mouth-throat-vocal fold dryness as well as general
tions-is also an effect of swelling within the nose. Medica
drowsiness (sedation). Vocal performance is impaired by
tions used to treat this problem are available in pill form, or
both, and these drugs are part of many OTC cold remedies.
as
Traditional
Newer generation antihistamines such as fexofenadine
Difficulty breathing through the nose, and pain or
nasal sprays (read the later discussion of problems
associated with nasal sprays).
(Allegra®), astemizole (Hismanal®), or loratadine (Claritin®),
These medications, such as pseudoephedrine, constrict
are non-sedating. These antihistamines are very effective
dilated blood vessels that deliver the fluids that swell up
in controlling allergic symptoms in some patients, but not
and congest or block the nasal passages. Pseudoephedrine
in others. Some patients feel that dryness side-effects still
is the decongestant in many prescription and OTC cold rem
occur, but tend to be less than the dryness produced by
edies, including Sudafed®, Actifed® Allergy Daytime, and many
traditional antihistamines. Also, combining the new anti
others. It also is combined with guaifenesin in some formu
histamines with a "wetting agent" (a mucolyitc medication,
las (Entex PSE®, Sinutab®, and others), which often are la
described below) can help minimize the dryness.
beled "Non-Drying". Phenylephrine and phenylpropano lamine are combined with guaifenesin in Entex®, and Entex-
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LA®. Because these medications are taken orally, they have
tissues.
Simply allowing restful sleep is another obvious
the effect of "tightening up" blood vessels all over the body,
benefit of cough medicine. While anti-cough medications
and can cause elevations in blood pressure. For this rea
themselves are generally well tolerated, they are often com
son, they must be taken with great caution or not at all by
bined with other potentially bothersome drugs, such as
persons with high blood pressure or heart disease. Some
antihistamines, in cough and cold remedies. Read the la
people experience bothersome oral and nasal dryness after
bels well, or better yet, consult a physician to understand
taking these medications, although the degree of dehydra
what exactly is in any medication that is being considered.
tion is not as extensive as with antihistamines. The prepa
Dextromethorphan (many brand names contain this)
rations that are combined with guaifenesin have a particu
is almost uniformly the anti-tussive ingredient in OTC cough
larly low incidence of dryness side effects.
remedies, and also is used in some prescription medica
Nasal sprays are used to shrink swollen nasal passages,
tions. When taken at recommended doses, it is a safe and
to decrease nasal inflammation and allergic changes, or to cleanse the
well-tolerated drug.
nose. The various available nasal sprays are used for differ
are present in the particular preparation that is being con
Carefully read what other ingredients
ent purposes. They generally fall into one of three catego
sidered, in order to avoid bothersom e side-effects.
ries. Decongestant nasal sprays are the first category, and they
Dextromethorphan combined with guaifenesin (Robitussin-
have been available for many years in OTC form. Phenyle
DM® and many others) is probably the safest combination
phrine (Neo-Synephrine®) and oxymetazoline (Afrin®, Neo-
for a vocalist if cough suppression is the desired effect.
Synephrine Maximum Strength 12 Hour®) are the most com
Prescription anti-tussive medications usually contain
mon active ingredients in these sprays. While they can be
a narcotic cough suppressant such as hydrocodone (com
very effective in decreasing swelling in the nose, they must
bined with guaifenesin in Vicodin Tuss® Expectorant, Hycotuss®
only be used for short periods of time (not more than 3
Expectorant and others). Hydrocodone is related to codeine,
days, usually), because prolonged use can lead to severe
a narcotic drug that produces a numbing effect. Narcotics
"rebound" nasal congestion when the spray is discontin
can be habit forming, and can have side-effects such as
ued. The helpful effect of the sprays will gradually decrease
constipation or drowsiness when used at prescribed doses.
with continued use, and users can become "nasal cripples".
Very serious side-effects such as suppression of respiratory
Corticosteroid nasal sprays, the second major category,
function can occur with an overdose. As always, be aware
act to control inflammation and allergic changes in the na
of other medications that may be combined with an anti-
sal cavity. They are generally very well tolerated except for
tussive drug, such as antihistamines or decongestants.
minor nasal irritation in some people.
Beclomethasone
Analgesics and non-steroidal antiinflammatory
(Beconase®, Beconase AQ®, Vancmase®, Vancenase AQ®), triam
drugs (NSAIDs) are used to reduce pain , and decrease inflam
cinolone (Nasacort®), and budesonide (Rhinocort®) are some
mation. Pain is a vital means by which your body signals
of the commonly used sprays of this type. Unlike the de
you that something is a threat to your well being. There
congestant sprays, these can be used over long time periods
fore, pain in your larynx and vocal tract areas provides
with no rebound effect.
deeply significant cautionary information that must be
Saline nasal sprays, the third category, are used to cleanse
heeded. Dangerous consequences for future voice use can
the nose of irritants. They are helpful in providing mois
occur if just the pain symptom is treated without treating
ture to the nasal mucosa in people who are bothered by
the cause of pain. When the primary cause of the pain is
nasal dryness. They are well tolerated. There are many
being addressed, then treating pain is appropriate. Appro
such preparations available OTC, such as Ocean Mist®, Afrin
priate "resting" of the larynx is absolutely necessary. Any
Saline Mist®, Ayr Saline Nasal Mist®, or Salinex Nasal Mist®.
persistent or severe laryngeal pain needs to be evaluated by
Anti-tussives are used to suppress coughing. Cough
a voice-ear-nose-throat physician. Narcotic analgesics are
medicines are available OTC and by prescription. When
many and varied, and will not be discussed here. They are
severe, persistent coughing occurs, they can relieve the likely
always used under physician supervision. Always discuss
injurious effects of impact and shearing forces on vocal fold
potential side-effects with the prescribing physician. m edication
and
voice
615
ALWAYS AVOID any over-the-counter medications that have the word anesthetic on the label.
sium-containing products have a tendency to cause diar rhea, while the aluminum and calcium products can be constipating.
Common NSAIDs include aspirin (many brand names), ibuprofen (Advil®, Nuprin®, Motrin®, and others),
Ordinarily, the combination products pro
duce those side-effects less. Antacids are not adequate treat ment for laryngo-pharyngeal reflux disease.
naproxen (Naprosyn®, Anaprox®, Aleve®, and others), and
Many physicians would consider the class of drugs
ketoprofen (Orudis® and others). They can reduce inflam
known as the H2 blockers to be the next step in medical
mation, lower fever, and provide analgesia (pain relief). For
treatment of GERD and LPRD.
athletic voice users, however, NSAIDs may not be a good
famotidine (Pepcid®), cimetidine (Tagamet®), and ranitidine
idea. To some degree, they reduce the ability of blood to
(Zantac®) are in this category. Rather than neutralizing ex
coagulate and may increase capillary fragility. A possible
isting stomach acid, these drugs block the Type 2 histamine
Medications such as
consequence of athletic voicing while taking NSAIDs, there
receptors in the stomach to decrease acid production in the
fore, can be a greater susceptibility to vocal fold hemor
first place. Prescription doses of the Hi blockers are higher
rhage. This is particularly so during the premenstrual pe
than OTC strength, and they are generally well tolerated.
riod of the female menstrual cycle. Some people have irri
A third and extremely effective class of medication for
tative stomach reactions to NSAIDs. Aspirin has been im
fighting gastric acid problems is the proton pump inhibi
plicated in the incidence of Reyes Syndrome in children.
tors, such as omeprazole (Prilosec®), or lansoprazole
Acetaminophen (Tylenol® products and many others)
(Prevacid®). These drugs tend to be used for aggressive treat
is another very common analgesic which is available OTC.
ment of acid problems (see Chapter 9), and are also well
It is a safe drug at appropriate doses, and is recommended
tolerated by most people. They are available by prescrip
for the relief of mild to moderate pain. It does not have the
tion only.
anti-inflammatory effects of NSAIDs, however, but is an
The U.S. Federal Drug Administration has issued a
excellent pain killer and fever reducer. It also does not have
strong warning about the anti-reflux Propulsid®. It can cause
any effect on the clotting of blood, nor does it have the high
irregular heartbeat and constitutes a grave risk to anyone
incidence of gastric upset seen with NSAIDs.
with any form of heart disease. It is no longer recommended.
Antacids and anti-reflux medications are used to
Corticosteroids are used to decrease vocal fold and other
decrease stomach acid and the effects of gastroesophageal reflux disease
swelling. Most experienced vocalists have noticed the hoarse
(GERD) and laryngo-pharyngeal reflux disease (LPRD). Reflux of
ness and reduced vocal ability that occurs with laryngitis-
stomach acid can have many effects on voices and a person's
swollen and stiffened vocal folds.
general sense of well-being (Chapters 3 and 9 have details).
that results from laryngitis onset prior to an important per
Probably the most commonly employed medications for
formance motivates a visit to a voice health professional
Typically, the anxiety
stomach acid problems are the OTC antacids such as cal
for help. A well-known treatment modality-by prescrip
cium carbonate (Turns®, Titralac®, Rolaids®, Maalox Antacid
tion only-is the use of corticosteroids. Some corticoster
Caplets®, and others), aluminum hydroxide (Amphojel® and
oids are naturally synthesized and released from the cortex
others), magnesium hydroxide (Phillips'® Milk of Magnesia;
of the adrenal glands, while other synthetic derivatives have
also a laxative), and combination products (Gaviscon®, Alka-
been developed for medicinal use. This class of medications
Seltzer®, Maalox Heartburn Relief Suspension®, Mylanta® Gelcaps,
has extremely potent anti-inflammatory properties and can
and others).
be performance-saving for a vocalist, but possible side-
Antacids do not decrease production of acid in the stomach, but act by neutralizing acid that has already been
effects dictate prudent use which is only under the guidance of a physician.
produced. They are safe when taken according to direc
Note carefully that corticosteroids do not resolve the condi
tions, and typically provide prompt, temporary relief of
tion that brought on the swelling in the first place; they only re
heartburn, and other mild acid reflux symptoms. Magne
duce the inflammatory symptoms temporarily. [Authors' Note: The term steroid is the name for a class of
616
bodymind
&
voice
biochemicals that are made within the body. Anabolic steroids are
(6) osteoporosis. Screening out patients with these issues
the ones that some athletes have used to enhance their athletic perfor
can dramatically reduce the incidence of corticosteroid side-
mance and can create very unpleasant and possibly life-threatening
effects.
side effects. Corticosteroids are not the same as anabolic steroids and
Blockers of beta adrenergic receptors are used to reduce performance anxiety or stage fright reactions. Beta blockers
can be used safely under a physician's care.]
When corticosteroids are prescribed for vocal fold
are most commonly used to treat high blood pressure or
swelling, it is usually a short course of treatment, and some
rapid heart beat. They also are used to treat tremors of
times only one dose.
various types, including vocal tremor.
The initial dose may be taken by
intramuscular injection or oral tablet, and subsequent doses
Several studies looking at the effect of such medica
are almost always by oral tablet. When more than one
tions on alleviation of performance anxiety in instrumental
dose is prescribed, it is typically in the form of a "taper",
musicians did show some degree of benefit (Liden, et al.,
which means that the highest dosage is taken on the first
1974; James, et al., 1977; Brantigan, et al., 1982). Research
day, and the amount is gradually decreased over the dura
investigating the effect of beta blockers on singing perfor
tion of treatment.
corticosteroids
mance did not clearly demonstrate any performance en
include hydrocortisone (Hydrocortone®, Solu-Cortef®, and oth
hancement, and in fact noted that the higher doses of medi
Commonly employed
ers), prednisone (Deltasone® and others), methylpredniso-
cation were "energy-sapping" and had an adverse effect upon
lone (Medrol®, Medrol Dosepak®, and others), and dexam-
performance (Gates, et al., 1985). Because of effects through
ethasone (Decadron® and others).
out the body, this class of drug also can decrease heart rate
Probably the most important larynx-specific side-ef-
and blood pressure, or worsen conditions such as diabetes
fect of corticosteroids, is that the rapid sense of voice im
mellitus or asthma. They are not recommended for perfor
provement which can result from corticosteroid use may
mance anxiety of singers. There are non-medical ways to
lead vocalists to the illusion that their voices are normal
convert stage fright reactions into expressive energy (Chap
and healthy again, when the vocal fold tissues are actually
ters 8, 13, and 14 have details).
in a compromised state. In other words, this medication
Anti-asthmatic medications are used to reduce con
circumvents an important natural protection mechanism
striction of respiratory airway passages. There are several classes
(not using your voice), and may increase the potential for
of anti-asthmatic medication, and several modes of medi
vocal fold injury-a vocal fold hemorrhage, for instance. If
cation delivery that are available to physicians when they
no absolute contraindication to corticosteroid use is identi
treat asthma and other "reactive airway diseases". Sodium
fied, then the decision to prescribe is based on the degree of
cromolyn (Intal®) is prescribed for allergic asthma and is
importance that a vocalist attaches to a particular voice use
the anti-asthmatic medication that appears to have the least
event.
topical adverse effect on the vocal folds and other laryngeal Other potential side-effects of corticosteroids are many
and varied. A review of their use by otolaryngologists noted
structures (Cohn, et al., 1995). It also is effective in treating exercise-induced asthma (Cohn, et al., 1991).
that the complications associated with short-term use are
Only one other class—the corticosteroid inhalers—will
few, but can be quite serious (Deschler & Lee, 1995). These
be mentioned here because they can induce a fairly com
complications included a worsening of preexisting condi
mon adverse effect upon the larynx. Inhaled corticoster
tions such as peptic ulcer disease, diabetes mellitus, and
oids include such preparations as flunisolide (Aerobid®), tri
psychiatric disorders, among others. Long-term use of ste
amcinolone (Azmacort®), beclomethasone (Beclovent®), or
roids can suppress a bodymind's natural production of
fluticasone (Flovent®). When these inhalers are used fre
corticosteroids, resulting in many other possible problems.
quently, a yeast infection (candidiasis) can develop in the
The following factors are related to a greater likelihood of
pharynx and larynx (Chapter 2 has details). Hoarseness,
complications from corticosteroid use: (1) diabetes mellitus,
sometimes severe, as well as nagging throat discomfort are
(2) peptic ulcer disease, (3) history of acute psychoses, (4)
the usual signs and symptoms of such an infection. These
history of tuberculosis, (5) first trimester of pregnancy, or
infections often go undectected until a clinician familiar with m edication
and
voice
617
this type of problem takes a careful medication history and
ment for hypothyroid function is warranted in athletic voice
performs a detailed laryngeal examination. Contact inflam
users-especially singers.
mation can result from allergic sensitivity to propellants or
Psychobiological medications are used to treat so-
other ingredients that may be used in some oral inhalers,
called mental-emotional disorders. Almost all so-called psycho
and they also can cause dehydration.
active medications have some degree of effect on vocal func
Hormone medications are used for correction of hor
tion, the most common being a noticeable drying of the
monal imbalances, birth control and treatment of some diseases. Hor
mouth-throat-vocal folds. Some people develop more no
mone medications of many types will increase fluid reten
ticeable side-effects. The three most researched psychobio
tion in the body, including the amount of fluid contained in
logical dysfunctions, including their pharmacological treat
the vocal folds. This will effect changes in pitch range and
ment, are (1) depression, (2) anxiety, and (3) schizophrenia
voice quality as long as the medication is in use, but the
(Chapter 8 has details). In athletic voice users, medications
changes will resolve when fluid balance is normalized.
for these physio-chemical dysfunctions of the nervous sys
Steroids of the androgen class (anabolic or body build
tem must be followed closely by a team that may include a
ing steroids) can cause changes in the physical structure of
primary care physician, a voice-informed ENT physician, a
the larynx. These steroids are very different from corticos
psychiatrist or psychologist, and a trained and experienced
teroids that are described earlier in this chapter. Androgen
specialist voice educator. Adjustments in the choice of medi
steroids are used in the treatment of endometriosis and as
cations and their dosages can optimize their psychobio
one element in chemotherapy for breast cancer patients.
logical and voice function benefits.
These steroids sometimes are taken by people who wish to
symptoms can be remarkable when the "right" medication
Relief of debilitating
increase muscle mass and strength to increase certain ath
and dosage is used. In order to preserve optimum vocal
letic capabilities. They cause a chain of biochemical events
capabilities during treatment with psychobiological medi
that trigger the physical growth of the larynx and its vocal
cations, athletic voice users need to become informed about
folds. The results can include permanent lowering of mean
potential side-effects and report them if they occur. In some
speaking fundamental frequency and of pitch range in sing
cases, the side-effects can be severe and debilitating (Rosen
ing, and a "thickening" of voice quality, especially in females
& Sataloff, 1995; Sataloff & Rosen, 1995; Vogel & Carter,
(Sataloff, Rosen, & Hawkshaw, 1995).
1995).
Since about 1985, birth control medications have con
Antidiarrhea medications are used to treat the symp
tained an appropriate balance of the female hormones es
tom of excessively loose or watery stool. Singers or speakers who
trogen and progesterone (Sataloff, Rosen, & Hawkshaw,
travel may develop a need for antidiarrheal medication.
1995).
Earlier versions included a higher percentage of
Loperamide (Imodium ® A-D) is an effective OTC antidiarrhea
progesterone, and adverse effects on vocal function were
drug, and diphenoxylate plus atropine (Lomotil®) is avail
frequent (Brodnitz, 1978). There still may be such adverse
able by prescription. Dryness of the mouth has been re
effects in only about 5% of females (Sataloff, et al., 1994, p.
ported with Lomotil®. Other preparations also exist.
222). During menopause, when estrogen production gradu
Antidizziness medications are used to treat abnormal
ally ceases, estrogen replacement therapy can restore nor
vestibular function.
mal vocal function in those women whom it affects. Close
react with symptoms of motion sickness or dizziness. Three
medical assessment prior to and during the process is es
medications are probably the most commonly used to treat
sential (Chapter 4 has details).
or prevent motion sickness: meclizene (Antivert®), dimen-
Such medications as Synthroid® restore normal levels
Some people who travel by air or sea
hydrinate (Dramamine®), or transdermal scopolamine
of thyroid horm one when the thyroid gland is
patches (Transderm Scop®). The first two medications are
underfunctioning (Chapter 4 has details) or has been par
antihistamines, and have a dehydrating side-effect on the
tially or completely removed surgically. Even when thy
mouth, throat, and vocal folds. Scopolamine is not an anti
roid tests show levels that are only marginally low, treat
histamine, but does also frequently lead to objectionable dry mouth.
618
bodymind
&
voice
Before traveling, athletic voice users need to
know how their bodies will react to these medications. A trial treatment prior to departure is recommended. Sleep medications are used to treat insomnia. Healthy people who keep their circadian and ultradian cycles in balance and know how to induce their own restoration response rarely need sleep medications, if ever (Chapters 4, 8, and 14 have details). People who live with irregular sleepwake cycles or travel across two or more time zones, or both, may be aided occasionally by mild sleep medication. Many options for sleep aids exist, and your primary care physician should be consulted. Note that diphenhydramine (Benadryl®) is commonly prescribed as a mild sleep aid, but
should be avoided in singers because it is an antihistamine which often causes dry mouth and throat. Other common prescription medications and OTC preparations can have unfortunate effects on voices. For instance, medications for hypertension typically produce
Brantigan, C.O., Brantigan, T.A., & Joseph, N. (1982). Effect of beta blockade and beta stimulation on stage fright. American Journal o f Medicine, 72, 88-94. Cohn, J.R., Sataloff, R.T., Spiegel, J.R., Fish, J.E., & Kennedy, K.M. (1991). Air way reactivity induced asthma in singers (ARIAS). Journal o f Voice, 5(4), 332337. Cohn, J.R., Spiegel, J.R., & Sataloff, R.T., (1995). Vocal disorders and the professional voice user: The allergist's role. Annals o f Allergy Asthma, and Im munology, 74(5), 363- 373. Deschler, D.G., & Lee, K.L. (1995). Steroids in otolaryngology. Current Opinion in Otolaryngology & Head and Neck Surgery 3, 201-206. Gates, G.A., Saegert, J., Wilson, N., Johnson, L., Sheperd, A., & Hearnd, E.M. (1985). Effects of beta-blockade on singing performance. Annals o f Otolaryn gology Rhinology and Laryngology, 94, 570-574. Lawrence, V.L. (1987). Common medications with laryngeal effects. EarNose-Throat Journal, 66, 3 18-322.
Liden, S., Gottfries, C. (1974). Beta-blocking agents in the treatment of cat echolamine-induced symptoms in musicians. Lancet, 2, 529. Martin, F.G. (1988). Tutorial: Drugs and vocal function. Journal of Voice, 2(4), 338-344.
dry mouth, throat and vocal folds. They are commonly
Sataloff, R.T. (1991a). Drugs for vocal dysfunction. In R.T. Sataloff (Ed.),
used with diuretic agents that also contribute to dehydra
Professional Voice: The Science and Art of Clinical Care (pp. 253-257). New York:
Raven Press.
tion. The mucosal tissues can become so sensitive in re sponse to the dehydration caused by some of these medi cations that dry coughing can occur with some frequency, and speaking and singing can be significantly inhibited. Al ternative medications for hypertension can then be pre scribed that do not result in the coughing. Diuretics and stimulants for weight loss should be avoided totally.
Diuretics cause significant loss of body
fluids that produce a short-term weight loss of a few pounds in 1 to 3 days, and central nervous system stimulants (usu ally caffeine) can suppress appetite. The immediate fluid weight loss and appetite suppression may lead to the im
Sataloff, R.T. (1991b). Medications for traveling performers. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 259-266). New York: Raven Press. Sataloff, R.T., Lawrence, VL., Hawkshaw, M., & Rosen, D.C. (1994). Medica tions and their effects on the voice. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 216-225). New York: Thieme Medical Publishers. Sataloff, R.T., & Rosen, D.C. (1995). Psychoactive medications and their ef fects on the voice. Journal o f Singing, 52(2), 49-53. Sataloff, R.T., Rosen, D.C., & Hawkshaw, M. (1995). Medications and their effects on voice. Journal o f Singing, 52(1), 47-52. Vogel, D., & Carter, J.E. (1994). Effects o f Drugs on Communication Disorders. San Diego: Singular Publishing Group.
pression that continued use of the ingredients will result in continued weight loss with no health effects. For athletic voice users, the dehydration alone will reduce vocal abili ties. Over time, the cumulative effect of reduced nutrition can result in more serious health consequences.
R efe re n ce s an d S ele cte d B ib lio g ra p h y Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers.
m edication
and
voice
619
chapter 11 vocal fold and laryngeal surgery Robert Bastion, Carol Klitzke, Leon Thurman
T
o any human being who has spoken an elegant story
3. loss of high soft singing;
for fellow human beings, or has created the expres
4. delayed voice onsets;
sive ebb and flow of a familiar song, the subject of
5. air escape, harshness, hoarseness;
voice surgery is unsettling, to say the least As much as we
6. a sense of increased "work" to produce voice.
would like to protest against such an event for anyone, the reality is that, sometimes, microsurgery on the vocal folds becomes the only option available to restore or optimize the sound quality or capabilities of a person's voice.
S tep O ne In some people, some of these symptoms might be explained by inefficiencies in their vocal skills.
Susan is,
Phonosurgery (Greek: phone = sound; cheirourgos =
however, a highly trained and experienced singer. This in
surgery) is a current term for voice-restorative surgery. The
formation, along with the fact that symptoms such as hers
most common mucosal disorders for which such surgery
arise more commonly from vibratory injury to the mu
may be appropriate are:
polyps, cysts, capillary ectasia,
cosal covering of the vocal folds than from inefficient vocal
and nodules that have been treated therapeutically for a
skills, leads to suspicion that Susan's symptoms have an
considerable time, with complete patient cooperation, and
anatomical source.
they have not resolved. Treatment for these disorders will
the voice specialists that Susan is seeing will undertake step
be dealt with first. Other kinds of phonosurgery, such as
one a detailed voice health history related to her lifestyle
vocal fold injections or laryngeal framework surgery, are
voice use. For example, questions may be asked to deter
discussed later.
mine if she is a "vocal overdoeri."
E sta b lish in g a M u co sa l D iso rd e r D ia g n o sis
of innate talkativeness. They have a "drive from within" to
So, to gain additional understanding,
Vocal overdoers are people who have a high degree talk, and typically, they have a vocally demanding occupa tion and lifestyle. A vocally demanding occupation and Susan, a musical theater actress, may see a team of
lifestyle can similarly be termed the "pull from without" to
voice health professionals because of troublesome vocal
talk a lot.
symptoms that limit her vocal capability. For example:
within" is to ask a patient the following question: "Where
620
The simplest way to address the "drive from
1. reduced pitch range;
would you place yourself on a 7-point scale of innate (not
2. reduced vocal endurance;
externally imposed) talkativeness?
bodymind
&
voice
One represents an
untalkative, even reclusive person, four represents a moder
S tep T h ree Laryngeal examination follows as step three of the
ately talkative person, and seven represents an extremely talk ative, highly sociable individual." Persons who answer six or seven are considered candi
consultation.
The examining instrument that is essential
for a thorough, accurate examination of a vocal performer's
dates for the vocal overdoer "syndrome". Assessment of
larynx and vocal folds is laryngeal videostroboscopy.
the "pull from without" is done by asking about vocal com
has the following considerable advantages. 1. The vocal folds are magnified and mucosal vibra
mitments arising from occupation, rehearsal and perfor mance demands, child care responsibilities, use of voice for
It
tion can be seen so that a precise diagnosis is possible.
religion, sports, and so forth. In persons with a high "drive
2. Patient, clinician, family, singing teacher, and other
from within" combined with a high "pull from without," the
interested observers can gather around the videotape si
vocal overdoer syndrome is verified.
multaneously after the examination, or even at a later date.
The vocal overdoer syndrome is virtually always a primary source of chronic mucosal injuries. The voice cli
Explanations, plans, and patient motivation are thereby enriched and enhanced.
nician will always look, of course, for other important risk
3 . The taped examination can be compared to later
factors for a disordered vocal fold mucosa such as stom
ones to assess progress in voice therapy or results of sur
ach acid reflux, drying medications, smoking, insufficient
gery.
fluid intake, and allergies. In Susan's case, she "confesses" to her own version of
Unfortunately, so-called objective measures of pho-
the vocal overdoer syndrome, and that, along with the symp
n atory
fu nction
(acoustic,
aerodynam ic,
and
toms she is experiencing, leads the voice specialists to sus
electroglottographic analysis, Hirano, 1981a,b, for example)
pect that her vocal symptoms are the result of a mucosal
do not yet have a proven role for diagnosis. Primary rea
disturbance such as swelling, nodules, a polyp, a cyst, sulci,
sons include their lack of specificity and consequent lack of
or capillary ectasia.
diagnostic power, the variability of the measures depend ing on vocal task or variability of production of the same task, and their failure to provide significant additional diag
S tep T w o Ideally, step two in establishing Susan's diagnosis is
nostic information to that supplied by the above three as
for the laryngologist, speech pathologist, or voice educator
sessment steps. Thus, although these measures continue to
to make a preliminary
assessment of vocal capabilities
hold great interest to some voice clinicians, especially for
and limitations through a series of simple vocal tasks which
feedback training and research purposes, they cannot be
detect mucosal disturbances (see Figure III-11-12 from
recommended as a necessary part of the diagnostic process.
Bastian, et al, 1990). These tasks focus primarily on very high frequency, low intensity phonations which will reveal
For Susan, videostroboscopy confirms the presence of a physical mucosal disturbance.
some or all of the findings of air escape, harshness, diplophonia, loss of high range, and onset delays (Chapter 1 has more details). If these vocal limitations cannot be
A fte r a D ia g n o sis, B u t B efo re S u rg e ry is C o n sid ere d
"coaxed away" without performing the task more loudly, then they are preliminarily judged to be physical limita
Upon diagnosing a mucosal injury, initial treatment
tions, not skill limitations. As Susan performs the tasks,
consists of optimizing medical support and behavioral is
these findings are clearly audible, which of course, substan
sues in order to allow the mucosa to heal. This initial non-
tiate her own description of her voice's impairment. At this
surgical part of each patient's management is generally su
point, Susan's vocal overdo er profile, taken together with
pervised by the speech-voice therapist and voice educator
her voice's disturbed response to the tasks, make the prelimi
with medical assistance from the laryngologist. Three cat
nary diagnosis of a mucosal injury quite probable.
egories of this initial rehabilitation are as follows:
vocal
fold
and
la ry n ge al
surgery
621
1.
includes common elements of voice care
tance ever consider vocal fold surgery, or if you are a mem
such as adequate hydration; reduction or elimination of
ber of a cooperative voice treatment team that is contem
smoking, alcohol, caffeine; treatment (when appropriate) of
plating the prospect of surgery with a patient. They also
Voice hygiene
acid reflux and other contributing medical conditions; and
can be used as a basis for questions for the surgeon (ear-
attention to other personal issues that promote general health
nose-throat physician). For additional in-depth information, you may con
and well-being.
2. Living a
involves an appropriate,
sult the following sources in this chapter's references:
usually mild reduction of voice use that begins with a com
Kleinsasser, 1979; Hirano, 1981a,b; Bouchayer, et al., 1985,
mon sense analysis and management of voice-related per
1988; Cornut & Bouchayer, 1989; Isshiki, 1989; Gray, 1991;
sonality along with a degree of pre-planning of social life.
Ford & Bless, 1991; Gray, et al., 1994; Bastian, 1996, 1997;
Often, vocal performing can continue in the context of the
Sataloff, 1997.
relatively quiet life
relatively quiet life. Strict Vocal dieting" is rarely necessary when dealing with a chronic mucosal injury, although it can be used for very brief time periods (about 72 hours) to help vocal overdoers focus their attention on voice use re duction. Total voice rest is never recommended except in rare circumstances, such as onset of a severe vocal fold hemorrhage. 3. Speech-voice therapists and specialist voice educa tors work together to help voice patients learn tively inexpensive voice production,
efficient, rela
especially during a mucosal
healing process. The goal is to optimize both speaking and singing (if the patient is a singer) with respect to loudness, registration, breath management, resonance, and so forth. Again, continued voice use is necessary (except in rare cases as noted above) in order to maintain at least a degree of gentle conditioning.
disturbance often will continue for 3 to 6 months before a surgical option begins to be considered. Some patients and their voice treatment team members continue to defer sur gery for a period of many more months to even years be fore considering surgery. In other cases, as when a cyst or other problem is detected for which surgery is the sole so lution, only a preparatory session or two of speech-voice therapy may precede surgery, with additional voice therapy planned postoperatively to optimize the result.
In fo rm a tio n ab o u t V o c a l F o ld M ic ro su rg e ry The following questions and comments may be help ful should you, a student, a colleague, a friend, or acquain bodymind
Consider surgery only when the following conditions apply: 1. visible lesions such as nodules, polyps, cysts, cap illary ectasia, or sulcus are diagnosed using the three step process outlined above; 2. the lesions fail to respond sufficiently to an appro priate trial of
expert
voice therapy;
3 . the degree of long-term, post-therapy vocal im pairment is unacceptable to the singer-patient, for example, when symptoms continue such as hoarseness in upper reg ister pitch range, vocal onset delays, reduced vocal endur ance, a sense of increased effort, voice quality and vocal ability continually vary day-to-day, and so forth;
4. a surgeon is available who is well-versed in the
The attempt at nonsurgical resolution of a mucosal
622
W h e n is it a p p ro p ria te to co n sid e r su rgery?
&
voice
layer structure of the vocal folds, mucosal vibratory physi ology, and who is experienced in microsurgery; and 5. the patient will be able to review the results of the surgery videostroboscopically with the surgeon.
H ow is su rg e ry p e rfo rm e d ? As a rule, it is performed under general anesthesia in an outpatient operating room. After the patient is anesthe tized, the surgeon places a hollow, lighted tube over the base of the tongue and moves it toward the vocal folds. This allows him or her to see the vocal folds directly, rather than around the "corner" of the vocal tract. A microscope with a light affixed is positioned so that the vocal folds are brightly illuminated and the surgeon can see them under high magnification.
Either micro-instruments (very tiny
forceps, scissors, and so forth, or the microspot carbon di
oxide laser (the most advanced available), or both, are then used to accomplish the surgery (see Color Photo Figures for Book III, Chapter 11 that are located on the glossy pages just prior to the Book III title page; also see the biblio graphical references at the end of this chapter).
In the practical sense, no. Here's why: For the most common kinds of surgery, the removal of offending tissue is
extremely superficial
and encompasses an area of only, for
example, 1 by 3 millimeters! The effect on the vocal fold tissue is like a tiny abrasion, just like the scraped knuckles
W h a t is th e goa l o f su rg ery ? Removal of the mucosal or submucosal abnormality is the obvious goal of vocal fold surgery. But the crucial goal is to do so with as little disturbance to the remainder
and knees one accumulates over a lifetime without detect able scarring. Such "wounds"
do not
leave detectable scars.
On the other hand, surgery done poorly can easily leave a scar. Scarring only occurs when the intermediate-
of the vocal fold as possible, so that:
1.
Isn ’t it tru e th a t su rg e ry a lw a y s le a v es a scar?
the vibratory capability of the mucosa is normalized;
2. mucosal endurance is increased (in the case of capillary
to-deep layers of the vocal fold cover tissues are penetrated (Book II, Chapter 6 describes the body-cover structure of the vocal folds and their tissue layers). Surgery for cysts or
ectasia); and 3. the edge match of the two folds is improved so that when
sulci (see Figures III-l 1-4 & 5), however, is performed
they come together to vibrate the myoelastic and aerodynamic
through a superficial incision, and a stiffening of the vocal
characteristics are optimized (Book II, Chapter 7 has details).
folds can be expected, especially in the first six postopera tive months. Fortunately, even a degree of permanent stiff
The attention of the surgeon is highly focused on sur gical precision, in order to disturb possible.
as little of the vocal fold as is
For an appreciation of technical details, see the Color
ness generally impairs vocal capability less than did the cyst or sulcus. Keep in mind that the improvement to voice function
is generally greater than what might be predicted
from visual observation of the vocal folds. Often, the folds
Photo Figures cited above.
manifest small visible irregularities after surgery, some of which "smooth out" with time.
I’ve h e a rd th a t th e la ser sh o u ld n ’t be u sed . Is th a t tru e? This statement was more commonly made a few years
W h a t, th e n , are th e risk s?
ago, because older lasers had a spot size of about 1-mm
There are three potential risks.
and were therefore not very precise. Newer,
1. For generally healthy persons there is a remote risk
microspot
lasers
are far more useful because the diameter of the beam of light has decreased to approximately 0.2 mm! (see Figure
associated with
general anesthesia.
2. There is a small chance of a
dental injury
because
III-ll-3 d & e). When possible, it is probably still better to
there is some pressure placed on the teeth during the op
use the laser sparingly; however, it is worth emphasizing
eration; a chipped, scratched, broken, or even dislodged tooth
that the knowledge, skill, experience, and care of the sur
is possible. This risk increases when the teeth are unsound,
geon are paramount. The exact tool being used is of less
or if the neck is extremely short and the chin very small.
importance.
Obviously, great care is taken to avoid this complication, and dental injury occurs in a very small percentage of cases.
W h a t if I ch o o se n ot to h ave su rg ery ?
3.
A better voice cannot be 1 0 0 % guaranteed,
though a bet
For some vocalists, "living in a smaller vocal house"
ter voice is virtually always the result when the five condi
may be preferred to facing the anxiety and small risk of
tions for considering surgery are met (see the first question
vocal fold surgery. In many cases, no further harm comes
in this section).
to a person's voice and a stable and workable, but not en tirely acceptable, set of vocal capabilities may be achieved. In the case of cysts in particular, however, even with excel
H ow is g e n e ra l a n e sth e sia p e rfo rm e d ? An anesthesiologist is a physician who specializes in
lent care of the voice, a slow increase in size may occur and
anesthesiology. At the present time, anesthesiologists are
vocal limitations may increase as time passes.
fortunate to have at their disposal a wide variety of medi vocal
fold
and
la ry n ge al
surgery
623
cations and techniques. Thus, the details for any given op
extreme gentleness will be employed.
Of course, a very
erative procedure will vary. A common approach, how
small tube is used routinely for this kind of surgery so that
ever, is as follows.
it is not in the surgeon's way.
It may be comforting to
Before surgery, the surgeon and the anesthesiologist
know that one of us (Dr. Bastian) has performed many hun
or nurse-anesthetist meet with each patient to answer ques
dreds of microsurgical procedures on vocal folds without
tions and obtain the necessary consents to proceed. The
yet experiencing a long-term intubation-related problem.
first step in patient pre-surgical preparation is placement of
That is a common result among voice-experienced ear-nose-
an intravenous line into an arm so that fluids and medi
throat surgeons.
cines can be given directly into the bloodstream. At this time, a small amount of medicine can be given to relieve the normal anxiety the patient is experiencing, and the patient is then transported into the operating room. Monitoring devices are placed. Small sticky pads are placed on the chest to monitor heart function. A blood pressure cuff is placed on the upper arm and a small "bandaid" is applied to the tip of one finger to monitor oxygen level. A plastic mask is placed on the patient's face deliver ing a high concentration of oxygen. Medications are given through the intravenous line to bring on a deep sleep. An other medication is given to cause muscle relaxation so that there will be no movement during the procedure. A minute or two later, a tube is placed through the mouth, between the vocal folds, and into the upper part of the trachea (intu bation). For the remainder of the procedure, general anes thesia can be maintained either by continuous infusion of intravenous medications or through the use of anesthetic gases (inhalable medication).
Of course, patient status is
monitored continuously by the anesthesiologist or nurseanesthetist. When the surgical procedure is completed, the patient is awakened by withdrawing the intravenous and/or in
W h a t is th e risk o f oth e r serio u s co m p lica tio n s fro m a n e sth e sia ? The overall risk of serious harm from general anes thesia has diminished even further in the last decade.
Be
fore then, the rate of complication was already low. These improvement are the result of better medications and better equipment with which to monitor oxygen and anesthetic drug levels, heart and respiratory function, and so forth.
W ill I be in p a in ? W h a t a b o u t eatin g? Rarely if ever does pain originate from the larynx area itself after surgery. Instead, the tongue, mouth, and throat may be sore for a few days. This is usually modest pain, although if the procedure was particularly long or difficult, discomfort can be greater. Occasionally, the tip of the tongue can be numb for a period of a few days to weeks. About eating: you will be given liquids first, and then gradually advance your diet such that by approximately six hours after your surgery you may have whatever you wish.
H ow lo n g w ill I rest m y vo ice a fter su rg ery ? W h e n do I re su m e sin gin g? A conservative program of return to voice use is nec
haled medications. When full strength returns for cough
essary. In summary, typically only a few days of rest are
ing, swallowing, and breathing, the breathing tube is re
required, followed by gradual resumption of speaking (and
moved (extubation) and the patient is moved into the post
singing). For singers, return to public performance is indi
anesthesia room.
vidualized, but can sometimes occur as early as 4 weeks
I h ave h e a rd th a t th e b re a th in g tu b e is a b ig risk for sin gers. C an th e su rg e ry be p e rfo rm e d w ith o u t th is? Although there are some exceptions, the basic answer here is no. The high magnification and surgical precision required mean that the vocal folds must be very still. This necessitates general anesthesia. With respect to the breath ing tube, your anesthesiologist should be made aware by both you and your surgeon of your level of concern so that
624
bodymind
&
voice
postop eratively.
A s su m in g su rg e ry is su cce ssfu l, w h at b e n e fits w ill I n otice? Some common benefits: 1.
Singers often regain high notes they had lost. Some
times they gain these notes for the first time in their lives, suggesting that the mucosal disorder may have been present during all or part of their earliest singing experiences.
2.
Singers also may notice an increased ability to sing cosa. Fortunately, even in the worst cases of chronic recur
softly in their upper register pitch range. 3 . The sense of overall vocal work in speaking and
rence, voices typically remain considerably better than be fore the surgery.
singing is likely to be reduced.
4. Voice onset delays cease.
H ow can re cu rre n c e be av o id e d ? Performance of the same vocal tasks which allowed
5. Vocal endurance is increased as conditioning or reconditioning proceed.
patient and clinicians to "hear" the mucosal injury during step two of the diagnostic sequence (explained earlier), should
The degree of improvement depends partly on the
now allow them to hear markedly improved vocal fold
specific mucosal disorder and its severity, but in general,
mucosa function as a result of the surgery. Careful daily
the possibility of a return to normal or near-normal voice
performance of those same vocal tasks can now be used to
is greatest for nodules, capillary ectasia, and hemorrhagic
detect any acute mucosal swelling which may occur occa
polyps.
sionally because the patient has "overdone it".
The possibility of a return to normal or near-normal
If patients focus intensely on their ability to perform
voice is less for epidermoid cysts, and less again for vocal
"boy soprano" singing tasks very quietly in the upper regis
fold sulcus. Reduction in the size of smoker's polyps (see
ter pitch range (females) or falsetto register (males), they then
Figure III-l1-6) in a female actress will tend to make the
have a reference which can help them to detect even the
voice more feminine and clear, but will not restore a so
most subtle of mucosal swellings. The first phrase of "Happy
prano singing voice. Even so, those who undergo surgery
Birthday" and a major-scale, staccato 5-4-3-2-1 pitch pat
for large smoker's polyps may describe the improvement
tern were validated as tasks that detect swelling informally,
as dramatic. For a given patient, the experienced surgeon
without electronic measuring instruments (see Figure III-
may be able to outline the degree of improvement that has
11-12). For women, the C 5to C6 octave is most sensitive,
been noted routinely for others undergoing such surgery.
using their upper and flute registers. For men, the C4 to C5
Of course, the exact result of any individual's surgery can
octave is most sensitive but in their falsetto register. Per
not be guaranteed.
forming these tasks at a pianissimo dynamic is important to their success, as even a slight increase in loudness reduces
H ow lo n g d o es it ta k e u n til I a ch ie v e the co m p le te b e n e fit o f su rgery?
the diagnostic sensitivity of the tasks. People who are threat ened by a singing task can be asked to (1) imitate the soft
For nodules, polyps, and capillary ectasia, generally
whimpering sounds of a little newborn puppy who is dis
only 4 to 6 weeks brings the singer to complete healing so
tressed, and then (2) convert the puppy cry sounds into
that the mucosa vibrates normally. After surgery for cysts
continuous sound spirals that "float to the sky".
and sulci, however, the "final result" may take six or more
PPP
months.
W h a t is th e risk o f re cu rre n t m u co sa l injury? It is important to remember that the mix of patient factors which caused him or her to develop a mucosal in jury are not changed by the surgical procedure, especially the innate personality trait toward talkativeness (the "drive
oo
A
j - [_fir r r i r PPP
Ha-ppy bir-thday to
from within") and the external demands to use voice (the "pull from without"). These attributes are rarely changed permanently by voice therapy either, although they can be managed much better. A small percentage of such vocal overdoers redevelop acute or chronic re-injury of the mu
you
Figure III-11-12: Two vocal tasks that have been validated for informal detection of the extent of vocal fold swelling. Males would sing them one octave lower than written, but in pure falsetto register. The phrases would be repeated several times, and the key would be raised by one-half step with each repetition. [Adapted from Bastian, Keldar, VerdoliniMarston (1990) Journal of Voice, 4(2), 174.]
vocal
fold
and
la ry n ge al
surgery
625
I f I am co n sid e rin g su rg e ry , h ow do I co n firm m y su rg e o n ’s ca p a b ility ? 1. Ask enough questions to gain a sense of the surgeon's understanding of vocal fold layer structure and vibratory physiology. Observe whether or not the findings of your videostroboscopy examination were explained clearly. 2. Inquire about the surgeon's experience, particularly with surgery in singers and other vocal athletes. 3 . Confirm that videostroboscopy will be performed both before and after surgery and that your surgeon will review this with you.
With smoking cessation in particular, the degenera tion stops progressing and the vocal folds remain stable in size. They may even become a little less turgid, with corre sponding mild improvement of the voice. One does not usually need to biopsy typical smoker's polyps for a diag nosis. Visual criteria alone, along with periodic examina tion, are generally sufficient.
If, on the other hand, vocal
characteristics are unsatisfactory to the patient, surgery can be performed to improve voice quality, and other capabili ties as well, by reducing the size of the polypoid tissue (see Color Photo Figure III-ll-6b). One does not expect a re
turn to normal capabilities or appearance, but rather an Consider asking to speak to other(s) who have gone upward shift in average pitch area for speech and overall through the surgery that has been suggested for you. pitch range, along with an increase in the ease of voice pro 4.
W h a t is th e b est w ay to p re p a re m y s e lf for su rgery?
duction. Should smoking resume, the polyps may again slowly increase in size. Note that with early postoperative
In the days preceding the procedure it is particularly
voice use and preservation of mucosa to cover the free
important not to "overdo" so that there is no acute mucosal
margin of the folds, there is very little risk of web forma
swelling which might increase the magnitude of the surgical
tion. With use of this approach, both vocal folds can be
procedure. Contact a member of your voice treatment team
addressed during the same surgical procedure.
preoperatively if you have any remaining questions. For ideas concerning nonsurgical issues to consider, see the ap propriate section below.
V o c a l F o ld B o w in g Treatment for vocal fold bowing always begins with voice building and conditioning under the supervision of a speech pathologist and specialist voice educator. A degree
O th er L a ry n g e a l P ro b le m s for w h ich S u rg e ry M a y B e an O p tio n
of vigor in voice use is required, but it must not overwhelm a voice's current level of strength. A set of spoken sound patterns, but mostly sung pitch patterns, seems to be the most beneficial therapy, in that they will address the entire
S m o k e r’s P oly p s (Reinke’s edem a or polypoid degeneration)
pitch range of a voice. For those who are uncomfortable
Vocal overdoers who are also smokers and also
with their current skill in singing pitch patterns, spontane
have an individual susceptibility, may develop smoker's
ous speaking or reading aloud for two or three 5 to 10
polyps (see Color Photo Figure III-l 1-6; Chapter 3 has more
minute sessions per day, followed by a series of siren sounds
details)). This represents gradual buildup of gelatinous ma
that go to the upper and lower limits of pitch range. The
terial in the submucosa (superficial layer of the lamina pro
emphasis is on doing the sound and/or pitch patterns every
pria). Over many years, the vocal pitch range lowers gradu
day rather than on immediate improvement. Under atro
ally and the voice quality thickens. Typically, women begin
phic conditions, voices that are being reconditioned may
to be called "sir" on the telephone because of the virilization
appear to transiently deteriorate in volume and quality af
of average speaking pitch and overall range (voices become
ter each practice session, especially at the beginning of the
male-like in sound). Men tend to present much less fre
process. Of course, this also would happen to arms after
quently (unless they are singers) because a "hyper-mascu
lifting weight, until the muscles in the arms had time to
line" voice in a male draws little attention from others. On
adapt and build up strength.
occasion, smoker's polyps become large enough to cause restricted airway symptoms.
626
bodymind
&
voice
Surgical options have been proposed for this condi tion.
The one which makes the best theoretical sense is
bilateral implants between the thyroid cartilage and the vocal
rest, believing the rest to be prudent), voice building (condi
fold muscle itself It should be stressed, however, that this
tioning) must precede any other approach to this problem.
option should be exercised rarely, and only in severely af
Even in the face of impairment, the physical capabili
flicted individuals who have gone through a sophisticated
ties of most body parts generally adapt to meet the de
program of therapy and voice conditioning. (Book II, Chapter
mands that are placed upon them. For example, a heavy
15 explains conditioning).
smoker's limited cardiovascular capacities may still improve after a program of daily jogging is instituted. So, thefirst goal
S c a rrin g o f th e V o c a l F o ld M u co sa The most common source of vocal fold scarring is
of voice building is to increase the respiratory and laryngeal strength available for phonation. Increased strength in those muscles,
surgery which has been injudicious or poorly performed.
plus increased mass in the body of the vocal folds (the
Keep in mind that, even after well-executed surgery for cysts
thyrovocalis muscle), allow a patient to increase the de
and sulci, a degree of stiffness or adherence of mucosa to
mand on the stiff mucosa for more compliance in the vi
the underlying vocal ligament is expected unless a cyst is
bratory movement. Over time, the mucosa may adapt in
very small. The patient with scarred vocal folds may com
such a way that the use of "phonatory massage" will enable
plain of chronic hoarseness, double pitch in the upper singing
mucosal vibration at frequencies that were not previously
pitch range, and limitations of vocal capabilities.
possible. The result is that an aphonic or impaired larynx
Under videostroboscopic illumination, when the pa tient is sustaining a pitch, one vocal fold's mucosa does not wave, particularly if the patient is sustaining a pitch in the
restores some of its lost capabilities. Key features that are required to establish a successful "voice building" regimen include:
higher reaches of their capable range. Two or more areas of
1. At the beginning of the process, one or more mem
a single fold which vibrate independently, as is often seen
bers of the voice treatment team intensely elicit from the
with a small cyst or sulcus, can also suggest that the mu
patient all of the frequencies that are then possible.
cosa has adhered to the ligament. Sometimes "pseudo-bow
2. Frequencies found to function are used at the be
ing" of the vocal folds is seen along with a reorientation of
ginning. The patient is asked to produce sounds that are
capillaries from anteroposterior to mediolateral (see Color
robust, given the "resistance" of the scarred vocal fold tis
Photo Figure III-l l-7a) within the area of tissue loss. These
sue. Clinical experience has been that the /u / vowel facili
conditions result in:
tates vocal response. The patient is to engage in robust voice
1. phonatory gaps and air wastage;
use for 5-minute to 10-minute sessions twice daily or three
2. irregularly shaped vocal fold margins that do not
times daily, depending on the state of conditioning at the
match evenly, leading to 3 . turbulence in the transglottal airstream and per ception of a hoarse or breathy voice quality.
beginning of the process. During each session, the patient attempts to "stretch" both lower and upper pitch range boundaries in semi-tone increments, until, over time, the overall range is increased to the maximum extent possible.
The loss of pitch range, laryngeal muscle strength, pre
3 . If scarring has resulted from surgery that was per
cision of neuromuscular coordination, and voice quality
formed to remove mucosal lesions which arose because of
associated with the scarred, impaired larynx can often be
voice overuse, misuse, or abuse, then patient reluctance or
reversed to some degree via voice building and condition
confusion about the vocal robustness being asked of them
ing.
In this circumstance voice building will not restore
must be dealt with. Besides explaining the rationale above,
normal mucosal vibration but it may improve vocal out
patients are reassured that it is very difficult to injure the
put well beyond the output that was present when the con
mucosa with the tasks employed within the brevity of train
dition first occurred. This improvement occurs even when
ing sessions.
a patient is past the point of scar maturation, generally after
4.
Patients are asked to comply with the regimen for a
about nine months from the injury. In every case, but espe
minimum of 4 weeks before they abandon it, and then
cially if a patient has engaged in extensive silence (voice
only when there has been absolutely no response. vocal
fold
and
la ry n ge al
surgery
The
627
regimen continues indefinitely until a stable plateau lasting
cartilage, but it doesn't know when to quit.
several weeks has been reached.
sponse can occur after a severe intubation injury during
5.
surgical anesthesia, for instance. When scarring is identified early in the postopera
Such a re
Chronic irritation from
tive period, voice building should begin immediately with
longer-term throat clearing or coughing and stomach acid
out waiting for "healing," even when "redness" is described
reflux into the larynx are two particular circumstances that
from the physical examination.
can provoke an irritative granuloma.
The goal is to prevent
mucosal adhesion to ligament tissue as much as possible
Initial treatment includes a formal anti-reflux regimen
by inducing appropriately strong mucosal vibration. The
and watchful waiting for several months. The latter ap
strenuousness of laryngeal muscle involvement and the
proach is appropriate because a large percentage of these
impact and shearing forces on the vocal folds would be
lesions will eventually mature and heal. Sometimes a granu
matched to the degree of tissue healing time and to the effi
loma will actually get bigger before it pedunculates (be
ciency of current vocal skills.
comes attached by a stalk) and finally spontaneously de
Whenever possible, a speech-voice therapist or a
taches. For granulomas that are symptomatic, indirect in
trained specialist voice educator should initiate the voice
jection of a depot form of a corticosteroid into the granu
building program, teach vocal efficiency skills, and con
loma can cause shrinkage and in some cases, complete re
tinually evaluate the patient's task performance.
gression.
If the patient's voice has not improved to the level of
Surgery should be a last option and is not generally
patient acceptance after a lengthy trial of voice building,
considered until 4 to 6 months have passed to allow for
alternative (surgical) treatments may still be considered, but
granuloma maturation and healing (unless the patient is
not before at least 9 months have passed from the time of
very symptomatic). Surgery is deferred both because it can
injury. This amount of time allows maturation of the scar
often be avoided, and also because prompt recurrence is
ring process. As one example of a surgical approach, see
extremely common.
Color Photo Figure III-11-7.
wounded in the first place is simply re-wounded by the
C o n ta ct G ra n u lo m a or U lce r and In tu b a tio n G ra n u lom a(s)
very unusual circumstance that surgery is performed for
In other words, the area that was
surgery and typically granulates again in response. In the
This is a mostly nonsurgical lesion. The posterior part of
each vocal fold is comprised of the vocal process of the arytenoid cartilage, the connective tissue covering of the cartilage (the perichondrium), and then the overlying mu
this lesion, the surgeon should at least wait for pedunculation and then should take care to leave the stalk with the patient (see Color Photo Figure III-ll-9b).
R e cu rre n t R e sp ira to ry P ap illo m a to sis
cosa. Sometimes, a vocal fold injury that is difficult to view
The human papilloma virus can infect the mucosa
occurs to this area of the folds. Some believe this injury to
that lines the larynx and sometimes the trachea. The virus
result from reflux of stomach acid into the larynx (laryn
provokes proliferation of the surface tissue into papillomas,
gopharyngeal reflux disease). On occasion, the patient can
which appear similar to warts (see Color Photo Figure III-
remember a bout of bronchitis; it may be that the clapping
ll-10a).
together of the cartilages during coughing has broken the
and bulk until vocal fold function becomes severely im
mucosa, exposing the underlying perichondrium, and start
paired. In some cases of laryngeal papillomatosis, lesions
ing the formation of granulation tissue (see Color Photo
progress rapidly; in others, growth may be slow. Standard
Figure III-l 1-8 a & b). When an endotracheal tube is left in
of care is periodic laser vaporization (see Color Photo Fig
position for some time, as for a comatose patient, intuba
ure III-l l-10b). Voice function, and less commonly, airway
tion granuloma(s) occur in a small percentage of cases (see
concerns, dictate the timing of each subsequent surgical pro
Color Photo Figure III-ll-9 a & b).
cedure. An individual with this disease may undergo nu
Untreated, these lesions tend to increase in size
One simple way to think of this disorder is that an
merous surgical procedures over a lifetime. A high stan
excessive healing response is occurring because of exposed
dard of surgical skill is crucial in order to avoid scarring.
628
bodymind
&
voice
Some experts who work with large papillomatosis patient
If voice building results in insufficient improvement,
groups are studying medical approaches to this chronic in
and the paralysis is thought to be temporary, and the pa
fection, with the hope that surgery may eventually become
tient must have a more functional voice while awaiting re
unnecessary
covery, then the simplest option is to perform gelfoam in jection into the paralyzed fold. This can be done indirectly
V o c a l F old P a ra ly sis an d P aresis The right and left recurrent laryngeal nerves innervate
in a video endoscopy laboratory using topical anesthesia, or alternatively, during a brief general anesthetic.
After
all of the vocal fold muscles except the cricothyroid (length-
gelfoam injection the voice and cough will be stronger for 6
ener) muscles. They course down through the base of the
to 10 weeks, by which time most of the gelfoam will have
skull into the neck, travel the full length of the neck into the
dissipated. Interestingly, a percentage of the benefit to voice
upper chest, and then recur or loop back up into the neck
is almost always retained even though the material is tem
and connect with the vocal fold musculature. The unusual
porary. If this degree of permanent benefit is insufficient
length and course of these nerves, then, makes it possible
(an unusual outcome), the gelfoam injection can be repeated.
that vocal fold paralysis or paresis can occur for a variety
If the paralysis is known from the outset to be perma
of reasons. Some of these include trauma to the neck dur
nent, or if 9 to 12 months have elapsed from onset, proving
ing surgery (for example, thyroidectomy, cervical spine disc
permanence, one of several methods can be used for reha
surgery, carotid endarterectomy) and other forms of trauma;
bilitation.
tumors of the thyroid gland, esophagus, and lung; and an
plant (Isshiki 1989) has become the most common method
aortic aneurysm. Another large group is designated idio
in the hands of most experts, because of the precision of
pathic, meaning that the cause cannot be proven.
Medialization thyroplasty using a silastic im
implant placement and the possibility of revision if a less
Vocal fold paralysis is complete loss of function, while
than ideal result is achieved. Despite recent expert com
paresis is partial loss of function (Chapter 6 has details). In
ment to the contrary, teflon injection, performed as for
two different persons, vocal fold paralysis may have dis
gelfoam above, remains an excellent option in selected cases.
similar effects on voice function. This relates to differences in the exact degree of neural injury, but also to individual
L a ry n x C an cer
differences in the anatomy and biomechanics of the larynx.
A detailed discussion of larynx cancer is beyond the
In general the symptoms include a tendency to waste air
scope of this book; the following discussion is intended
during voicing with corresponding weakness of vocal vol
only to orient the reader to the subject.
ume, inability to be heard in loud environments, pitch dis
The most common cancer affecting the larynx is termed
turbance, and inability to sustain a tone for more than a
squamous cell carcinoma, meaning that it arises from the
few seconds. Some persons experience a tendency to aspi
surface cells of the mucosa which lines the larynx. It is not
rate liquids, and coughing also will be weak.
a common cancer, compared to those arising in lung, breast,
If there is no obvious explanation for the vocal fold
colon, and prostate. Squamous cell carcinoma of the lar
paralysis or paresis, the first step is to search for one. Gen
ynx occurs predominately in smokers, with alcohol con
erally, this is done by examining the course of the recurrent
sumption being a cofactor in some cases.
nerves for visible masses using computerized axial tomog raphy (CAT scan). Various options are available for treatment. First of all, voice building (see above) can be very helpful in some
Depending upon location in the larynx, presenting symptoms may include voice change, chronic sore throatwith or without swallowing difficulty-and occasionally, a sense of breathing restriction.
cases. The idea is to exercise the voice in a robust fashion
Examination of the larynx reveals a rough surface
for ten minutes or so twice a day. In this way, some pa
swelling which is (1) above the vocal folds (supraglottic), (2)
tients can strengthen the vocal fold that is functioning so
on the folds (see Color Photo Figure III-l 1-11) or (3) below
that it compensates for the paralyzed one by "overadducting".
them (subglottic). Tumors that involve more than one level
vocal
fold
and
la ry n ge al
surgery
629
are termed transglottic.
Diagnosis depends upon micro
scope analysis of a biopsy of the abnormal growth.
R efe re n ce s and S ele cte d B ib lio g ra p h y
Treatment which is chosen for a particular place de Bastian, R.W, Keidar, A., & Verdolini-Marston, K. (1990). Simple vocal tasks for detecting vocal fold swelling. Journal o f Voice, 4(2), 172-183.
pends upon: 1. size of the tumor;
Bastian, R.W. (1996). Vocal fold microsurgery in singers. Journal of Voice, 10, 389-404.
2. its location; 3.
whether or not the tumor has metastasized (ini
tially this would almost always be to one or more lymph nodes in the neck); 4. patient factors of general health, age, motivation, and attitudes concerning voice and swallowing; 5. available expertise, in particular, surgeon training in laser and conservation (partial) surgery. General treatment options include: (1) surgery or ra diation alone for small tumors; (2) surgery plus radiotherapy for more advanced tumors; and (3) newer, still controver sial approaches such as using chemotherapy combined with radiotherapy.
N o n su rg ic a l Issu es It is important to maintain a positive outlook on how your voice will be healthier and more capable after healing and reconditioning. Social support from significant others can help reduce stress reaction (Ray & Fitzgibbon, 1979).
Bastian, R.W. (1997). Benign mucosal disorders, saccular disorders, neo plasms. In C. Cummings, & J.M. Fredrickson (Eds.), Otolaryngology-Head and Neck Surgery (2nd Ed., Vol. 3). St. Louis: CV Mosby. Bouchayer, M., et al., (1985). Epidermoid cysts, sulci, and mucosal bridges of the true vocal cord: A report of 157 cases. Laryngoscope, 95, 1087. Bouchayer, M., & Cornut, G. (1991). Instrumental microsurgery of benign vocal fold lesions. In C.N. Ford & D.M. Bless, (Eds.), Phonosurgery. New York: Raven Press. Bouchayer, M., Cornut, G., Witzig, E., & Bastian, R. (1988). Microsurgery for benign lesions of the vocal folds. Ear Nose Throat Journal, 67, 446. Chetta, H.D. (1981). The effect of music and desensitization on preoperative anxiety in children. Journal o f Music Therapy, 18, 74-87. Cornut, G., & Bouchayer, M. (1989). Phonosurgery for singers. Journal of Voice, 3, 269-276. Daub, D., & Kirschner-Hermanns, R. (1988). Reduction of preoperative anxi ety: A study comparing music, Thalomonal and no premedication. Anaes thetist, 37, 594-597. Davis, W.B., & Thaut, M.H. (1989). The influence of preferred relaxing music on measures of state anxiety, relaxation, and physiological responses. Jour nal o f Music Therapy, 26, 168-187. Ford, C.N, & Bless, D.M. (1991). Phonosurgery: Assessment and Surgical Manage ment. New York: Raven Press.
Review with your surgeon and staff any information which can prepare you emotionally (Sime, 1976; Strain & Grossman, 1975). Consider asking if music (that you supply) can be played before, during, and after your surgery. Perioperative music may: 1. reduce levels of stress hormones such as cortisol (Halpaap, et al., 1987; Oyama, 1983; Oyama, et al., 1988; Tanioka et al., 1983, Davis & Thaut, 1989); 2. reduce preoperative anxiety (Chetta, 1981; Moss, 1988; Tanioka et al, 1983) and perhaps moderate the amount of anesthesia needed for surgery (Spingte, 1983); 3.
Gray, S. (1991). Basement membrane zone injury in vocal nodules. In J. Gauffin & B. Hammarberg (Eds.), Vocal Fold Physiology: Acoustic, Perceptual and Physiological Aspects o f Voice Mechanisms. San Diego: Singular. Gray, S.D., Pignatari, S.S.N, & Harding, P. (1994). Morphologic ultrastruc ture of anchoring fibers in normal vocal fold basement membrane zone. Journal o f Voice, 8(1), 48-52. Halpaap, B.B., (1987). Angstloesende musiz in der geburtshilfe [Anxiolytic music in obstetrics]. In R. Spingte & R. Droh (Eds.), Muzik in der Medzin [Music in Medicine] (pp. 232-242). Berlin: Springer-Verlag. Hirano, M. (1981a). Clinical Examination o f Voice. New York: Springer-Verlag. Hirano, M. (1981b). Structure of the vocal fold in normal and disease states: Anatomical and physical studies. In Proceedings o f the Conference on the assess ment o f vocal Pathology (ASHA REPORTS 11). Rockville, MD: The American Speech-Language-Hearing Association.
reduce the perception of postoperative pain and
the need for pain medication (Locsin 1981; Shapiro & Cohen 1983).
Hoff, PR., & Hogikyan, ND. (1996). Unilateral vocal fold paralysis. Current Opinion in Otolaryngology & Head and Neck Surgery, 4, 176-181. Isshiki, N. (1989). Phonosurgery: Theory and Practice. New York: Springer-Verlag. Kleinsasser, O. (1979). Microlaryngoscopy and Endolaryngeal Microsurgery: Tech nique and Typical Findings (2nd Ed.). Baltimore: University Park Press.
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Korunka, C., Guttman, G., Schleinitz, D., Hilpert, M., Haas, R., & Fitzal, S. (1992). Music and positive suggestions presented during general anaesthesia-effects on analgesic consumption and postoperative well-being. Paper, Second International Symposium on Memory and Awareness during Ana esthesia, Atlanta, GA. Locsin, R. (1981). The effect of music on the pain of selected post-operative patients. Journal o f Advanced Nursing, 6, 19-25. Moss, V.A. (1988). Music and the surgical patient. AORN Journal, 43(1), 6469. Oyama, T. (1983). Endocrinology and the Anesthetist. Amsterdam: Elsevier. Oyama, T., Sato, Y, Kudo, T., Spingte, R., & Droh, R. (1983). Effect of anxiolytic music on endocrine function in surgical patients. In R. Spingte & R. Droh (Eds.), Angst, Schmerz, Muzik in der Anesthesie (pp. 147-152). Grenzach: Editiones Roche. Ray, C.J., & Fitzgibbon, G. (1979). The socially mediated reduction of stress in surgical patients. In D.J. Osborne, M. Grunberg, & J.R. Eiser (Eds.), Research and Psychology in Medidne (Vol. 2, pp. 521-527). Oxford, United Kingdom: Pergamon Press. Shapiro, A.G., & Cohen, H. (1983). Auxiliary pain relief during suction curet tage. In R. Spingte & R. Droh (Eds.), Angst, Schmerz, Muzik in der Anesthesie (pp. 89-93). Grenzach: Editiones Roche. Sime, AM. (1976). Relationship of preoperative fear, type of coping and information received about surgery to recovery from surgery. Journal o f Per sonality and Social Psychology, 34, 716-724. Spingte, R. (1983). Psychophysiological surgery preparation with and with out anxiolytic music. In R.Droh & R. Spingte (Eds.), Angst, Schmerz, Muzik in der Anesthesie (pp. 77-88). Grenzach: Editiones Roche. Strain, J.J., & Grossman, S. (Eds.) (1975). Psychological Care of the Medically III: A Primer in Liaison Psychiatry. New York: Appleton-Century-Crofts.Sataloff, R.T. (Ed.) (1997). Professional Voice: The Science and Art of Clinical Care (2nd Ed.). San Diego: Singular. Tanioka, F., Takazawa, T., Kamata, S., Kudo, M., Matsuki, A., & Oyama, T. (1983). Hormonal effects of anxiolytic music in patients during surgical operations under epidural anesthesia. In R. Spingte & R. Droh (Eds.), Angst, Schmerz, Muzik in der Anesthesie (pp. 285-290). Grenzach: Editiones Roche.
vocal
fold
and
la ry n ge al
surgery
631
chapter 12 sermon on hydration (or, "the evils of dry") Van Lawrence
ditors' Note: In 1989, before his untimely passing, Dr.
E
which look and feel like wallpaper paste or glue, or a com
Lawrence graciously granted permission to reproduce this es
bination of the two, you are seeing and feeling a good ex
say in this book. The "Do this" sidebars are Dr. Lawrence's
ample of dehydration. You may have been calling it "post
original text placed in the format used in this book. A For Those
nasal drip" This thick and tenacious mucoid secretion pro
Who Want to Know More... section, written by the editors, provides
duces a sizzling sound when it gets between the vocal cords
current research information.
during speech or singing and it will certainly make you aware of it each time you swallow. Chances are also good that you will frequently clear your throat to rid yourself of
Do this: Stand in front of a mirror with your mouth open and
your tongue relaxed. Look at the pink, wet membrane which covers the
the annoying secretion and irritate and inflame your larynx in the process.
inside of your mouth, the side walls of your cheek, and near your lips. Next, take a deep breath or say /ah / and look at the back wall of your throat, behind the tongue.
Do this: Rub your hands together with soap and water. Rinse
and dry your hands. Now rub them vigorously together while they are dry for about 15 seconds. Notice a difference in the "feel" of the two
The inside of your mouth should be a healthy pink in
rubbing actions? Do the words friction and lubrication come to mind?
color, smooth, covered with a thin, watery secretion and shiny It should, quite simply, demonstrate the "wet look" Normally, the surface of your throat's back wall is irregular
Your vocal cords vibrate and rub against each other
and dotted with small bits of orange/pink lymphoid (tonsil
approximately 260 times per second on middle C. To keep
type) tissue. There will be small blood vessels visible on
one mucous membrane surface from becoming irritated and
the surface between some of the bits of lymphoid tissue.
causing friction against the other, a quantity of thin lubri
Overlying all of this, however, should be the same shiny
cant is necessary.
"wet look" from normal, thin, watery saliva. If this is the
lubricant required is composed almost entirely of water.
case, you don't need to read any further, and can stop here. On the other hand, instead of seeing clear watery, thin mucus on the throat wall, you see blobs of white, thick goo
632
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voice
Approximately 99.9% of the time, the
G en era l H y d ra tio n
walking across a wool rug will not provoke a static electri cal discharge from your outstretched hand to the light switch.
The normal nose alone will manufacture anywhere
In short, make your environment moist. Every time you
from a quart to a quart-and-a-half of watery thin mucus
have a chance to take a hot shower, do. Spend as long as
per 24-hour period. Of this enormous volume, the major
possible inside, breathing steam. It will make your larynx
ity is evaporated into the air which one breathes in through
happy.
the nose. In this way, dry room air is moistened and fil tered and warmed by the time it arrives at the vocal tract. This fluid must be replaced. In addition, there is further fluid loss each day from exhalation of that moistened air and in the waste products of the body. If the standard size/ weight adult were to be placed on absolute bedrest in the
In d u ced S a livation — A r tificia lly P rod u ced “ S p it” Many of you know about the "tongue trick". For those of you who don't, the tongue normally lies flat on the floor of the mouth.
hospital and totally forbidden oral intake, a replacement of probably 2 1/2 liters of liquid will be necessary to keep up with this so-called "insensible loss" of water. For all of these reasons, water is of extreme importance in the normal func tioning of the respiratory tract and of the vocal tract in particular. What to do about all this? There are three main
Do this: Twist your tongue around as far as you can to the side of your mouth and, if possible, stick the tip of your tongue out at the angle of the lips. While the tongue is in this side ways position, bite down hard enough to hurt, but not hard enough to tear the tissues.
issues. In approximately 10 seconds there should be a reflex
E n v iro n m en ta l W a te r During the initial space flights, NASA found that su
flow of saliva beneath one's tongue, good enough for about
perbly healthy astronauts put into space invariably caught
half of an aria on stage. The salient point is that neurologi-
"colds" while they were in the capsules.
They had been
cally, anything which provokes salivation will also provide
examined by competent physicians and evaluated by every
laryngeal mucus secretion as well. With many stage per
test known and had been certified as healthy. Yet they caught
formers this explains the popularity of such things as hot
colds. Ultimately it was found that when the cabin humid
tea with honey and lemon, menthol and eucalyptus loz
ity was increased to a minimum of 40% several things hap
enges, bitter lemon or sour cherry lozenges, cough drops,
pened. Initially it was found that virus propagation was
etc., etc., etc. Again, the point is, those things which make
interfered with. Most of the common respiratory tract vi
you salivate will also provoke increased laryngeal mucus
ruses (which are now probably living in a state of uneasy
secretion (I have often wondered why more people don't
alliance in your own nose and throat passages, in a so called
eat dill pickles or Chinese mustard before going on stage).
"commensal" state), don't like moisture and don't propagate
One can obtain without prescription and across-the-counter,
as well in its presence. In the presence of a 40% humidity,
another good producer of saliva, guaifenesin, which is found
nasal membranes did not dry out and the astronauts caught
in such preparations as Robitussin© Expectorant.
no more "colds" from each other while in space flight. Since that time, 40% humidity has usually been maintained and
[Editors' Note: Since the late Dr. Lawrence wrote this manu
the incidence of respiratory tract difficulties, including dry
script, studies have been completed that confirm the benefits of prescrip
ness of membranes, has been reduced to a minimum.
tion and non-prescription medications for induced salivation (Petty,
How does this affect you? Get a steamer, a vaporizer,
1990; Ziment, 1991). Guaifenesin has become available by prescrip
a humidifier, or a kettle of water on a hot plate in your
tion in caplet or capsule form under several brand names, among them
bedroom and run it at night. Once the room humidity has
Humibid andLiquibid. There are no known side-effects to guaifenesin,
reached 40%, your larynx will be happier. So will plants
a plant extract. Other information about medications that assist sali
be, for that matter, and will grow better. In the wintertime,
vation can be found in Chapter 10.1
sermon
on
h ydration
633
M a in ta in B od y H y d ra tio n
some degree, the vital organs that keep us alive get all they
Most of us are busy through the day It is a nuisance
need, and the others get proportionately less.
to leave one's desk, one's rehearsal, one's job and get a drink
The respiratory tract (from nasal/oral cavities to the
of water. Supervisors frown on frequent trips to the john
lungs) is covered by tissues called the mucosa. The mu
[toilet, WC, the loo]. As a consequence of those factors and
cosa is coated with an organic liquid called mucus; the
also as a consequence of our artificial interior climates (dry
adjective form of the word is spelled m-u-c-o-u-s. Mucus
and cold with air conditioning or even drier with steam
is mixed with water and secreted into the respiratory tract
heat in the north in the winter) water is effectively removed
from various production-storage exocrine glands located
from the environment. An even more drastic example oc
in the respiratory tract mucosa.
curs when one flies in a modern airplane. Pressure is added
With less-than-optimum water intake, the upper air
to the cabin interior, but not moisture. The only humidity
way, including the vocal folds, will be coated with relatively
which one gets on the standard airplane flight is that mois
thick mucus-a sign of relative dehydration (Stone, 1994, pp.
ture which is exhaled by one's cabin mates. The end result?
295-299). Two chemicals that are popular in the Western
Dehydration of the first order.
diet contribute to dehydration-caffeine and alcohol. They
How to monitor this? Under conditions of dehydra
create a diuretic-like action in the renal system that causes
tion the kidney will function to its utmost to conserve wa
more water to be passed out of the body than usual (Stone,
ter for the essential body fluids (blood for instance). That
1994, p. 298). High salt intake also results in dehydration.
which the kidney releases in the form of urine will be as
Milk and dairy products do not actually dehydrate, but
concentrated in waste salts as can be made. It will be odor
casein, a dairy product enzyme, contributes to a thickening
ous, and it will certainly be colored.
of digestive tract mucus (Sataloff, 1991, p. 81).
Contrast this urine
with that produced when one is well hydrated: such urine
The hypothalamus-pituitary area of the brain and its
is very dilute, nonodorous and almost invariably the color
transmitter molecules regulate many bodily processes. Its
of tap water. Monitor your body water levels by paying
regulation of body temperature includes regulation of wa
close attention to urine color. As long as what your kidney
ter distribution in the body. It "computes" an average of the
produces is tap water in color, you can be certain that you
amount of water made available to the body and distribu
are adequately hydrated. Take in enough wet - a pitcher on
tion is made accordingly. Cells of the vital organs are top
your desk, a thermos or whatever - anything will do pro
priority, and the other cells receive water proportionate to
vided that it's wet and provided that you can swallow it -
vital contribution.
so that the urine you produce resembles tap water. The
airway is not a top priority.
Mucus flow in the upper respiratory
catch phrase is, of course, "pee pale". If you do so, you will
If the long-term average of water availability is less
not need to worry about your liquid intake adequacy. Add
than optimum, as it is in most people, then a change in the
to that catch phrase another one from Dr. Leon Thurman in
computed average with increased distribution to the upper
Minneapolis: "Sing wet" and you should be right on.
airway will take time. The re-computation takes about 30 days. During much of that time, the brain will interpret the
F or T h o se W h o W a n t to K n o w M o re,,,
"extra" water as excess and pass it through the urinary sys tem. In other words, there will be more frequent trips to relieve a full bladder. Even after 30 days, the trips will be
Human bodies are about 65% to 70% water when
more frequent than they were before the re-computation
adequately hydrated. In order for living cells, tissues, and
began. Other signs of dehydration are a yellow coloring of
organs to function at peak, they continually must be bathed
urine with increased odor.
in copious amounts of fluid. Body water is distributed on
Abundant thin mucus flow provides three major
a prioritized basis, controlled by transmitter molecule se
benefits to people who use their voices extensively and
cretions in the pituitary gland. When we are dehydrated to
vigorously.
634
bodymind
&
voice
Vocal fold and vocal tract surface
an interesting explication of a nasty disease. His reply: "De
lubrication is comparable to the effect of oil in a motor:
hydration" A number of faces took on an expression of
decrease the oil and you increase the friction on the contact
slack-jawed surprise.
1. Lubrication.
abrasive "wear and tear" on those parts
A dry mouth and throat can occur even though you
An abundant, thin mucus flow in the larynx
drink 7-10 8oz. glasses of water a day and breathe 40% to
reduces vocal fold and vocal tract shear forces and is vital
50% humid air. The diagnostic term for dry mouth is xe
to voice protection (Stone, 1994, pp. 295-299).
rostomia; xerophonia (dry voice) is the term for dry throat
parts, thus the increases.
2. Defense against upper Respiratory Infection. The
and larynx. They can occur in several circumstances. If
mucus inside the respiratory tract contains some of the white
your bodymind interprets your surroundings as threaten
blood cells that are an important part of our immune sys
ing, you will most likely experience "cotton mouth." Other
tem. T- lymphocytes and B- lymphocytes are two types of
causes of xerostomia and xerophonia can include: viral or
white blood cells that cooperate with each other to seek out
bacterial infection, frequent smoking of any substance, high-
and destroy microorganisms that have invaded us or may
salt or hot-spice diet, diet that is low in water-containing
invade us. When our mucus flow is abundant and thin, it
carbohydrates (pizza, potato chips, for instance), chronic
provides a barrier that prevents colonization of bacteria
stress, anxiety, chronic mouth breathing, debilitation, ad
and tissue infection by viruses. The respiratory tract envi
vanced aging; certain systemic diseases such as anemia, dia
ronment, then, is conducive to the viability and effective
betes mellitus, and Sjogren syndrome; and most prescrip
action of the immune system's cells and antibodies.
tion and over-the-counter medications including antihista
3.
Laryngeal tissue compliance and physical effimines, antidepressants, and atropine (Benninger, 1994, pp.
ciency. When the cells that constitute living tissue are op
187-188; Sataloff, et al., 1994); also isotretinoin (generic name
timally moist, the tissue is less viscous. The tissue is, there
for a severe acne medication, sold under brand names such
fore, optimally compliant. The more dehydrated tissue be
as Acutane® and Retin-A®; Collins, et al., 1993).
comes, the more viscous or "stiff" it becomes. The tissue
Respiratory tracts appear to like humidity levels near
that forms the outer layer of the vocal folds typically ripple-
60%. Noses are filled with very moist tissue, and air breathed
wave hundreds of times per second to produce pitched
through the nose is humidified to about 60% by the time it
sounds. As vocal fold tissue becomes dehydrated and stiffer,
reaches the level of the larynx. (It also is warmed to about
the more we must "drive" our larynx muscles to "work
97 degrees Fahrenheit, and about 95% of particles in the air
harder" to achieve accustomed vocal output (Finkelhor, et
have been filtered out and left in the nose.) Air outside the
al., 1988; Jiang, et al., 1999; Verdolini-Marston, et al., 1990;
lungs is usually drier than the moisture content of pulmo
Verdolini, et al., 1994). When we then use our voices exten
nary air. When we breathe in relatively dry air, it becomes
sively and vigorously, vocal fold impact and shearing forces
moisturized (humidified) in our respiratory tract. When we
increase, and laryngeal muscles fatigue faster than neces
then breathe out, microscopic-sized droplets of moisture
sary. Vocal health and vocal ability then become increas
leave us. A reasonable average number of breaths per minute
ingly compromised. Regularly singing and speaking with
during quiet breathing would be 15. At that rate, we take
comparatively dehydrated laryngeal tissues results in the
2,700 breaths in three hours, and 21,600 breaths in 24 hours.
development—to some degree—of habitually overworked
The drier the air we breathe, the more moisture is breathed
voicing. Optimum body water levels help make vocal effi
out. If the temperature of the room we are in is controlled
ciency and vocal health possible.
by a heating or air conditioning system, then our moistur ized air will eventually be recirculated through the system
In a presentation at the 1979 convention of the Na
and its relative humidity will be reduced in the process. We
tional Association of Teachers of Singing, a singing teacher
then would be continually breathing dry air. (Some sys
asked Dr. Lawrence, "What is the most common problem
tems include a relative humidity adjustment mechanism,
you see in singers?" The listeners seemed to be anticipating
but that is rare.) Habitual mouth breathing results in dehy
sermon
on
h ydration
635
dration of the lips and the mucosal tissues of the mouth, throat, and vocal folds. In-flight surveys have observed aircraft cabin humid ity levels from 11-19%, depending on the length of the flight, the number of passengers, and size of the aircraft (Feder, 1984). Those percentages of humidity are supplied by the breathing of passengers and crew.
R efe re n ce s and S ele cte d B ib lio g ra p h y Benninger, M. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, & A.F. Johnson, Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers. Collins, M., McDonald, R., Stanley, R., Donoval, T., & Bonebrake, C.F. (1993). Severe paradoxical dysphonia in two young women. American Journal ofSpeechLanguage Pathology, 2(3), 52-55. Dulfano, M.J., & Phillippoff, W (1973). Physical properties. In M.J. Dulfano (Ed.), Sputum: Fundamentals and Clinical Pathology (pp. 201-242). Springfield, IL: Charles C. Thomas. Feder, R. (1984). The professional voice and airline flight. Otolaryngology Head and Neck Surgery, 92, 251-254.
Feder, R.J. (1989). Gargling: Its efficacy for laryngeal, inflammatory, or edema tous changes. Medical Problems o f Performing Artists, 4, 97-98. Finkelhor, B.K., Titze, I.R., & Durham, PL. (1988). The effect of viscosity changes in the vocal folds on the range of oscillation. Journal o f Voice, 1(4), 320-325. Holmes, J.H. (1964). Changes in salivary flow produced by changes in fluid and electrolyte balance. In L.M. Sreebny & J. Meyer (Eds.), Salivary Glands and Their Secretions (pp. 177-195). New York: Macmillan. Jiang, J., Ng, J., & Hanson, D. (1999). The effects of rehydration on phonation in excised canine larynges. Journal o f Voice, 13(1), 51-59. Petty, T.L. (1990). The national mucolytic study: Results of randomized, double-blind, placebo-controlled study of iodinated glycerol in chronic obstructive bronchitis. Chest, 91, 75-83. Sataloff, R.T. (1991). Professional Voice: The Science and Art o f Clinical Care. New York: Raven Press. Sataloff, R.T., Lawrence, VL., Hawkshaw, M.J., & Rosen, D.C. (1994). Medica tions and their effects on the voice. In M.S. Benninger, B.H. Jacobson, & A.F. Johnson, Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 216-225). New York: Thieme Medical Publishers. Stone, R.E. (1994). The speech-language pathologist's role in the manage ment of the professional voice. In M.S. Benninger, B.H. Jacobson, & A.F. Johnson, Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders. New York: Thieme Medical Publishers. Titze, I.R. (1994). Voice disorders. In I.R. Titze, Principles o f Voice Production (pp. 307-329). Needham Heights, MA: Allyn & Bacon.
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&
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Verdolini, K., Titze, I.R., & Fennell, A. (1994). Dependence of phonatory effort on hydration level. Journal o f Speech and Hearing Research, 37(5), 10011007. Verdolini-Marston, K., Sandage, M, & Titze, I.R. (1994). Effect of hydration treatments on laryngeal nodules and polyps and related measures. Journal o f Voice, 8(1), 30-47. Verdolini-Marston, K., Titze, I.R., & Druker, D.G. (1990). Changes in oscilla tion threshold pressure with induced conditions of hydration. Journal o f Voice, 4(2), 142-151. Ziment, I. (1991). Help for an overtaxed mucociliary system: Managing ab normal mucus. Journal of Respiratory Disorders, 12, 21-33.
chapter 13 how vocal abilities can be enhanced by nutrition and body movement Leon Thurman, Carol Klitzke
L
ight bulbs transform electricity into light and heat
enable the maintenance, restoration, and functional enhance
Your body transforms air, water, and food into heat
ment of a body's organs and systems.
and a vast array of molecular compounds that are
then used to: 1. repair and replace all of the cells of all the organs and systems in your body; and
Over time, inadequate nutrition and minimal body movement increase your vulnerability to bodymind devitalization and disease, and interference with self-ex pression. Eating and moving well, in fact, support and en
2. produce all of the physical and chemical processes
hance the physio-chemical realities that make you feel good
that make possible a relatively balanced physio-chemical
and energetic, support the optimum function of your im
ecology within you, as you interact with the people, places,
mune system, and underlie your production of skilled, ex
things, and events of your life.
pressive speaking and singing.
To remain alive over a lifespan, we human beings must
N u tritio n
do a lot of breathing, drinking, and eating. The transformation of air, water, and food into the
You are what you digest.
physio-chemical substances of life is called metabolism
What you eat and drink can influence the relative com
(from Greek: substance change). Metabolism refers to all of
pliance and elasticity of your larynx tissues and the degree
the body's physical and chemical processes that either build
of viscosity in your vocal folds (Titze, 1994, p. 195). Tissue
up molecule-cell-organ-system structures (anabolism) or
compliance, elasticity, and viscosity impact on:
break them down (catabolism). Air is catabolized in lungs to extract oxygen and nitric oxide molecules, which are then transported by the circu
1. the speed of larynx muscle movement [closing-opening and shortening-lengthening of your vocal folds]; and 2. the frequency range of mucosal waving.
latory system to the body's cells where they are used in both anabolic and catabolic processes. The catabolic pro cess of food digestion breaks food down into the mol
That means that your diet can affect rhythmic agility, pitch accuracy, and voice quality in speech and song.
ecules that enable the anabolic building up of your body,
Full realization of singing and speaking skills can be
and the production of energy resources for everything you
hindered by bodies that are heavier than an optimum weight
do. Bodily movement activates metabolic processes that
range. For example, there can be a reduction in the strength,
nutrition
and
body
m o v em en t
637
endurance, and range of mobility in respiratory, laryngeal, and vocal tract coordinations (Sataloff & Sataloff, 1991). Bodies need macronutrients (carbohydrates, proteins, fats), micronutrients (vitamins, minerals), and water for cell replacement and repair, energy, and general health. Ac cording to The New Wellness Encyclopedia (1995) [published by the Wellness Letter of the University of California at Ber keley, edited by physicians and other health specialists] there are three general principles of optimum nutrition: 1. eat a wide variety of foods, rather than emphasize one category;
1. Drink the equivalent of 7 to 10 8oz. glasses of water per day to support all of your body's organs and systems. When your body is well watered, about 70% of its volume and 50% of its weight is water. 2. Keep your total daily fat intake at or below 30% of your total daily calories. 3.
Limit your daily intake of saturated fat to less than
10% of your total fat calories. 4. Optimum carbohydrate intake is about 55-58% of total daily calories (mostly complex carbohydrates—the starches in grains, legumes, vegetables and some fruits). Eat
2. eat a diet in which at least 55% of consumed calo
five or more servings of a combination of green, orange,
ries are from fruits, vegetables, grains, and legumes (beans,
and yellow vegetables and fruits, and six or more servings
mostly), with low-fat dairy products, lean meats, poultry,
of whole grains or legumes daily. These portions will pro
and fish making up the rest—a diet that is low in fat and
vide you with 20-30 grams of daily fiber intake.
high in carbohydrates and fiber; 3.
5. Optimum protein intake is 12-15% of daily calories.
maintain a relative balance between energy intake Extra protein is stored as fat.
and energy "burning" (Margen, 1995, p. 77).
6 . Moderate your refined sugar intake. It provides only glucose energy but no other nutrients, is usually in
The digestive process begins when food is turned to
cluded in high-fat foods, contributes to tooth decay, and
relative mush by chewing it. Digestive enzymes also are
excessive amounts over time may play a role in vulner
mixed into the food to begin its chemical breakdown. The
ability to some diseases;
process really gets serious when food reaches your stom ach. Not only is the food churned by stomach muscles, it
7. Limit sodium intake to no more than 2,400 milli grams (mg) per day;
is broken down into absorbent liquid and non-digestible
8 . Eat foods that give you a minimum of 800 mg of
fiber by powerful stomach acids, including hydrochloric
calcium per day, but note that women, through about the
acid—one of the most powerful acids on earth. More en
age of 24 and during pregnancy and breast feeding at any
zymes in your stomach and intestines break the carbohy
age, need 1,200 mg of calcium per day. Post-menopausal
drate, fat, and protein down into glucose, fatty acids, amino
women need a minimum of 1,200 to 1,500 mg per day.
acids, and all the micronutrients. In the intestines, these
Survey statistics indicate, however, that the "average female"
building blocks of "you" are absorbed into the circulatory
only consumes about 600 mg per day. Skim milk, yogurt,
system and—along with the oxygen put there by your res
cheese, turnip greens, broccoli, and salmon are calcium
piratory system— are distributed to the cells that make up
sources.
the organs and systems of your whole body. When they
9. Drink alcohol minimally, if at all. It can have many
arrive at those cells, they are taken inside and used to build
detrimental effects on your overall health and vocal capa
the molecular replacement parts for all of you—physical
bilities;
and chemical. All the cells of each organ and system par
10. Vitamin and mineral supplementation can aid nu
ticipate in the processes that contribute to an ecological
trition in most people (Combs, 1991), but can never replace
balance in your whole body.
the need for nutritious food. Water-soluble vitamins are
The New Wellness Encyclopedia and the Wellness Encyclope
passed from the body in three days or less (C and B-com-
dia of Food and Nutrition (1992) offers specific dietary guide
plex). Fat-soluble, antioxidant vitamins (A, D, E, and K)
lines.
can become toxic in megadose amounts (Meyers, et al.,
They are based on guidelines established by the
National Academy of Sciences, the National Institutes of Health, and the American Heart Association.
638
bodymind
&
voice
1996). Vitamins A and E appear to have particularly ben
perform coordinated movements, some of your muscles
eficial effects on key aspects of immune function (Gershwin,
have to contract, of course. Those muscles have a supply
et al., 1985; Prasad, 1980). Calcium, zinc, magnesium, and
of energy stored inside them, but if that energy supply is
iron are four important minerals for various body func
not renewed, those muscles eventually will slow down and
tions.
become exhausted.
Use vitam ins and m inerals wisely, avoiding
megadoses unless prescribed by a physician. Organically
When you use your larger muscles to move with rela
grown and minimally processed foods are by far the rich
tive briskness (described later), those muscles (and the nerves
est sources of nutrients.
that operate them) begin to use your body's energy re sources at a faster rate (higher metabolic rate). All of your
You are what you digest.
body's organs and systems become activated during en
B ody M ovem ent
ergy use and resupply processes. 1. Your respiratory and circulatory systems activate
Some people want to exercise vigorously and "burn a
more to deliver oxygen and glucose to the muscles and to
lot of calories" to improve their physical appearance. Other
remove carbon dioxide [in the process, your brain receives
people lift heavy objects to firm up or build up some of
more glucose, oxygen, and other molecules that enable cog
their muscles. Some people passionately hate to exercise.
nitive sharpness].
If we use muscles too much, too soon, for our level of
2. Metabolism in your digestive and filtering systems
conditioning, then we say that we are tired, exhausted, or
(gastrointestinal tract, pancreas, liver, kidneys, lymph sys
fatigued because we are "out of shape" and have "burned
tem, and other organs) increases to supply all of the cells of
up our energy!' Over the next few days, muscles become
your body with the glucose-lipid-amino acid compounds
sore, and we become discouraged and stop exercising.
that are necessary for life.
Sometimes we get sick soon after we do too much, too
3.
To support those processes, and to protect you, all
soon. In our memory, the unpleasant physical sensations
of the glands of your endocrine and immune systems are
are connected with an unpleasant feeling state. That re
activated.
duces the chances that we will exercise again.
The word
exercise itself can trigger the unpleasant feeling state. If exercise is associated with pleasant feelings in you,
Body movement is about feeling good, having lots of energy, and bang healthy nearly all the time.
then do it and enjoy. If that word calls up unpleasant feelings, then you are forbidden to exercise ever again, for the rest of your life!!
If, however, you would like to: 1. feel good nearly all the time; 2. have lots of personal energy to accomplish many goals well nearly every day; and 3.
be healthy nearly all the time; then you might con
sider the pleasures of moving your body with a briskness
With consistent body movement over time: 1.
your body's 24-hour continual metabolic rate in
creases; 2. each organ and system in your body increases and refines its contribution to the physio-chemical ecology of your whole body; 3.
all of your energy input and output capacities in
crease.
that matches your level of body conditioning. That even means that your perceptual, value-emotive,
Body movement is about feeling good, having lots of energy, and being healthy nearly all the time.
conceptual, and immune processes gradually becom e sharper and more capable. Specifically, appropriate and consistent body move
The function of every organ and system in your body
ment can result in:
is enhanced by appropriate body movement. When you
n u t r i t i o n
a n d
b o d y
m o v e m e n t
639
1. continued normalization of blood pressure, heart
Some people go on a good restorative vacation inside
rate, oxygen and carbon dioxide exchange, blood glucose
their heads while they walk. They go wherever they w ant-
processing, and body weight (Margen, et al., 1995, pp. 232-
-a familiar or an unfamiliar place—Hawaii, Paris, skiing,
236);
swimming, alone or with their family or with a "significant
2. increased strength and growth of circulatory sys tem [including capillaries in the brain] (Margen, et al., 1991,
other." If you choose to, you can deepen the enjoyment of your visual, auditory, and kinesthetic senses. During one
pp. 214-215;);
increased "good" HDL blood cholesterol levels whole walk, just focus on what you see, taking in more
3.
and more details of your surroundings. If outdoors, take
(Margen, et al., 1995, p. 234); 4. optimized immune system function (Hedfors, et al.,
in everything in the sky, the foliage, the roads, other people.
1983; Jemmott & Locke, 1984; Wildmann, et al., 1986; Brown,
Examine the subtle shadings in a cloud or a group of trees.
1991; Smith, et al., 1992; Nieman, 1995; Hoffman-Goetz,
If indoors, be curious with your eyes. Look! During another walk, just focus on more and more
1996); 5. reduction in overall muscle tension and "lessened anxiety" (Margen, et al., 1991, pp. 214-215); 6.
increased capability for coping with stressful life
circumstances (Sinyor, et al., 1983; Roth & Holmes, 1985, 1987; Norris, et al., 1990; Brown, et al., 1992; Knapp, 1992); 7.
increased cognitive capacity and sense of self-es-
details of what you hear.
You may hear many different
bird calls, automobile sounds, wind and foliage sounds, children playing, your feet or hands making rhythms. Be curious with your ears. Listen! On another walk, just focus on more and more details of what you sense in your body.
You may feel the air
teem (Tomporowski & Ellis, 1986; Sonstroem, 1984; Gruber,
flowing by your face, the swing of your arms, the different
1986;);
amounts of pressure that your left and right feet exert as
8. improvement of psychological health, mood, and
you step, how your body changes through the span of
relief of depression (McCann & Holmes, 1984; Farrell, et
your walk such as the blossoming of your body's energy
al., 1987; Wildmann, et al., 1986; Morgan & Goldston, 1987;
somewhere between minute 8 and minute 12, and the light
Steptoe & Cox, 1988; Roth, 1989; North, et al., 1990; Harte,
sheen of perspiration that accompanies it. Be curious with
1992).
your body. Feel!
How often, how long, and how fast? Walk a mini Body movement is about feeling good, having lots of energy, and bang healthy nearly all the time.
mum of three different days per week. Even more benefit with more days. Walk a minimum of 20 to 30 minutes each time.
How do we get to the feeling-good and lots-of-energy
time, you may find yourself walking longer than 30 min utes—more benefit to you.
part.
Pleasure-walking is a good place to start. What is the pleasure part?
Some people walk after
their days work is over, and choose to go blank in their heads, just relax and allow their bodies to go into restora tion mode and finish reinvigorated for the rest of their day. Some people walk after a long restful sleep, and choose to focus on the work that is ahead of them and point them selves toward doing what they will do well, planning how they will accomplish the day s tasks. [They risk being ar rested by The Voice Police if they slip into a worry binge.]
640
As your body acclimates to that amount of
b o d y m i n d
&
voice
Walk at a pace that is very easy and comfortable to you. This is pleasure-walking. Actually, parts of your body that operate outside your conscious awareness will pick up your pace when your body is ready to do so. No fair predetermining a pace that you should walk at. If you are underconditioned, the pace increase will be minimal. As your conditioning increases, so will the briskness of your pace.
If you get to a point where a rapid walking pace
doesn't seem to be as satisfying as it once was, then your body may be telling you that it would like to do light jog ging after a warm-up walk.
When?
Place this time in your schedule
with just as much
cardiovascular fitness level.
Everyone also has a maxi
importance as an appointment with a very important per
mum heart rate. That's a rate that hearts can never exceed
son.
The appointment is with you, so it is. If someone
no matter how hard a body works. It decreases with age.
asks for that time, you can truthfully say that you have an
Average maximum heart rates have been calculated, based
important prior commitment. Restoring and replenishing
on research with large human populations (see Table III-
your bodymind is.
10-1; the maximum heart rates in the table may not apply
Some people prefer to walk in the morning before go ing to work because it energizes them for the day ahead
to people who have been highly conditioned for several years).
and gives them a pleasant outlook. Others prefer to walk
With increasing muscle use during body movement,
in the early evening after work because it relieves them of
muscles need to be resupplied with energy sources. Glu
the day s stresses before they enjoy the evening and a good
cose is the prime source of energy in complex muscle me
night's restorative sleep.
tabolism processes. When energy demand in muscles in
In the morning, some people wake up very slowly with
creases beyond a certain level, oxygen must be added to
a drag on their body. After work, some people are very
the metabolic mix in order to metabolize a sufficient amount
tired and stressed out. No way do they feel like brisk walk
of glucose to keep up with the demand.
When there is
The people who have walked remember how they
greater demand for oxygen, the respirocardiovascular sys
started to feel between minutes 8 to 12, and the "high" they
tem goes into "higher gear" to get more oxygen to the
felt when they finished, and the energy they had the rest of
muscles. That results in respiratory and heart rate increases.
the day. [Anyone who expects or wants pleasure-walking
Based on extensive research, physiologists have deter
ing.
to be dismal-walking will get what they expect, of course.]
Where? When the weather and other circumstances
mined that when body movement keeps the heart rate be low 65% of maximum heart rate, only
readily available
permit, walk outdoors, perhaps near your residence. Fresh
glucose is used as the energy supply for muscle metabo
air is loaded with oxygen and the sunshine (even on cloudy
lism.
When increased body movement brings the heart
days) triggers many restorative processes in your body
rate into the range between 65% and 80% of maximum,
(production of vitamin D, increased epinephrine and nore
that is a sign that oxygen is being used in muscle metabo
pinephrine levels for higher alertness). If you must walk
lism. If that level of demand continues for a sufficient pe
indoors, shopping malls are popular places where people
riod of time, the readily available glucose stores will begin
walk. School gyms or health clubs, if available to you, are
to deplete, and lipid molecules (fatty acids) will be trans
good places.
ported to the operating muscles from various storage ar
Will it be time wasted—time that I could spend do ing the million things I have to do? Pleasure-walking is
eas. When body movement increases even more, and the h e a rt
rate
exceed s
80%
of
m axim u m ,
the
for your nervous system and the rest of
respirocardiovascular system can no longer provide enough
you. It gives you more energy and cognitive sharpness so
oxygen for that level of demand, no matter how hard it
that you can get more things done in less time. It is not a
tries. In fact, gasping and exhaustion are happening.
active restoration
"waste of time" that you could spend doing the million
The level of muscle energy demand that keeps the heart
things you have to get done. It helps you get them done
rate in the 65% to 80% of maximum range is called aerobic
faster and with sharper skill. Can you afford not to do it?
movement (from Greek:
air-life).
The level of muscle me
Do I have to move my body fast and work it hard
tabolism that keeps the heart rate below 65% or above
to feel good, have energy, and be well? The short an
80% of maximum range is called anaerobic movement
swer is a definite, strong, emphatic, resounding—NO and
(from Greek: without air-life).
YES!! Puzzling answers deserve explanations. The number of times your heart beats per minute is your heartbeat rate (heart rate).
A 4 0 -y e a r
old p e rso n
w ho
is
co n sid e ra b ly
underconditioned commonly has noticeably more than a
Everyone has a resting
necessary amount of fat stored in his muscles and under
heart rate. It varies with each person and with each person's
neath his skin. When that person walks fairly fast for about n u t r i t i o n
a n d
b o d y
m o v e m e n t
641
one minute, those bodywide conditions will create meta
3 . find the pulse in that carotid artery;
bolic demand on muscles that will drive the heart rate up
4. count the number of pulses over ten seconds (use your watch if necessary);
to near 80% of maximum. A 40-year old person who is in reasonable condition,
5. multiply by 6 to get your per minute heart rate.
with less body fat than the previous person, might have to jog to get the heart rate up to near 80% of maximum. A 40-year old person who is lean and in very good condition might have to run at a relatively fast pace to get
Then see if you are within the 65% to 80% of maxi mum range for your age group.
Recent news. Four 10-minute periods of aerobic move ment, spread through a day, are just as effective at increas
the heart rate up to near 80% of maximum.
ing aerobic capacity as one 40-minute period of continu ous movement (Manson, et al., 1999).
More vigorous and/or extensive body movement.
Table III-13-1 Age, Maximum Heart Rate, and the
As your fitness increases, moving more vigorously and extensively will become easier and more comfortable, and
Aerobic Heart Rate Range
the benefits to your health will increase. There are many Maximum Heart Rate
Age 20 25 30 35 40 45 50 55 60 65+
200 195 190 185 180 175 170 165 160 150
65% to 80% of Maximum 130-160 127-156 124-152 120-148 117-144 114-140 111-136 107-132 104-128 98-120
forms of body movement that are more vigorous or ex tensive than pleasure-walking.
You can consider hiking,
jogging, running, bicycling, swimming, jumping rope, cross country or downhill skiing, ice skating, rowing, lifting weights, and playing various sports such as tennis and basketball. Health clubs offer aerobic exercise classes and personal trainers for increasing or maintaining physical fit ness. All forms of body movement have risks. Consult ex perts in exercise physiology if you have even the slightest concern about risks. The standard recommendation is that
W hat does all of that mean? To get the feel-good, lots-of-energy benefits of body movement, all you need to do is get your heart rate into the aerobic range of 65% to 80% of maximum heart rate. For some people, that will be moderate-speed walking. For others it may be very brisk walking, light jogging, slow swimming or bicycle riding, or running.
Exertion to the
point of being out of breath and gasping is a sign that you are in an anaerobic phase of energy burning. Benefits to you are then minimal, if any.
You also may be heavily
fatigued for a day or two and remember an unpleasant experience. If you want to know for sure about your heart rate: 1. find the aerobic heart rate range for your age group
all men over 40 years of age, or anyone with a history of heart problems, who wish to begin some kind of vigorous exercise, should have a stress electrocardiogram test first, and proceed according to a doctor's advice. An excellent basic publication is The Wellness Encyclopedia: The Comprehen sive Family Resource fo r Safeguarding Health and Preventing Illness
(see references). With increased vigor in body movement and more time, your metabolic processes will keep getting stronger and more extensive.
That brings increasing physical fit
ness and wellness to you. Four prime elements of physical fitness are:
1.
respirocardiovascular fitness (respiratory, heart,
and blood vessel endurance), that is, the body's ability to
in Table I II - 13-1; 2. when you are moving your body, periodically place
efficiently deliver nutrients and oxygen to all of your body's
one of your index fingers on one side of your neck, in the
cells including working muscles and the brain's neuronal
crevice alongside your larynx;
networks;
642
b o d y m i n d
&
voice
2.
muscular fitness including both strength—the in
tensity with which muscles contract to exert force—and endurance—continual muscle contractions over time before
Body movement is about feeling good, having lots of energy, and being healthy nearly all the time.
Are these processes and activities related to efficient, healthy vocal self-expression? "In order to maintain nor
fatigue begins; 3 . flexibility/agility including the ability of muscles
mal mucosal secretions, a strong immune system to fight
to move skeletal joints through their full range of motion
infection, and the ability of muscles to recover from heavy
and with varying degrees of speed and accuracy;
use, one needs rest, proper nutrition and hydration, and
4.
body composition, that is, how much of your
body's weight is lean mass (muscle, bone, vital organs)
appropriate exercise and muscular conditioning." (Sataloff, 1991, pp. 195-196).
and how much is fat (Margen, et al., 1995, pp. 232-233; Evans & Rosenberg, 1991; see also Book IV, Chapter 6). With increasingly vigorous or extensive body movement,
R e fe r e n c e s a n d S e le c te d B ib lio g r a p h y
there are three routines that will be of great benefit to you
N u tritio n
and your enjoyment.
Warmup. Gentler and slower movement before more
Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publishers.
vigorous movement increases blood flow to muscles and raises muscle temperature. Slow walking before brisk walk
Combs, G.F. (1991). The Vitamins: Fundamental Aspects in Nutrition and Health. Orlando, FL: Academic Press.
ing is a warmup. Brisk walking and/or light jogging before running is a warmup. Warmup is vital for muscle flexibil ity, elasticity, agility, and endurance (Margen, et al., 1995, p. 238-239; see also Book II, Chapter 7).
Cooldown. Gradually doing slower versions of ear lier more vigorous movements will gradually lower the temperature in muscles.
Cooldown helps prevent post
movement muscle tightening and lessens the chance of sore ness. Gentle stretching also can help the cool down pro cess.
Stretching. Appropriate stretching can aid muscle-ligament flexibility and joint range of motion. It also can be very beneficial to muscle endurance and general agility. For optimum benefit, a stretch should last about 20 to 45 sec
Council on Scientific Affairs, American Medical Association (1989). Di etary fiber and health. Journal o f the American Medical Association, 262, 542546. Evans, W.J., & Rosenberg, I.H. (with Thompson, J.) (1991). Biomarkers. New York: Fireside. Gershwin, M.E., Beach, R.S., & Hurley, L.S. (1985). Nutrition and Immunity. Orlando, FL: Academic Press. Logue, A.W. (1991). The Psychology of Eating and Drinking. New York: W.H. Freeman. Margen, S., et al. (1995). The New Wellness Encyclopedia. New York: Health Letter Associates. Margen, S., etal. (1992). The Wellness Encyclopedia o f Food and Nutrition. New York: Health Letter Associates. McArdle, W.D., Katch, F.I., & Katch, V.L. (1991). Exercise Physiology: Energy Nutrition, and Human Performance (3rd Ed.). Philadelphia: Lea & Febiger.
onds. Stretching can be done, however, in ways that inhibit
Meyers, D.G., Maloley, P.A., & Weeks, D. (1996). Safety of antioxidant vitamins. Archives o f Internal Medicine, 156, 925-935.
these benefits. In his book The New Fit or Fat (1991), exercise physiologist Covert Bailey strongly suggests three principles of stretching (p. 68): 1.
Never stretch muscles that haven't been warmed
up. Warm up first, THEN stretch. 2. Stretch slowly, no bouncing. 3 . Never stretch to the point where you are uncom
Prasad, J.S. (1980). Effect of vitamin E supplementation on leukocyte func tion. American Journal o f Clinical Nutrition, 33, 606-608. Rubin, W. (1991). Vocal effects of allergy and nutrition. The National Asso ciation o f Teachers o f Singing Journal, 48(1), 21-22, 41.
Sataloff, D.M., & Sataloff, R.T. (1991). Obesity and the professional voice user. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 191-194). New York: Raven Press.
fortable.... A good rule of thumb is this: if you feel you could hold the stretch indefinitely without pain, then you are not overstretching. n u t r i t i o n
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B o d y M o vem en t American College of Sports Medicine. (1978). Position statement on the recommended quantity and quality of exercise for developing and main taining fitness in healthy adults. Medicine in Science and Sports, 10, vii-x. American College of Sports Medicine. (1991). Guidelines fo r Exercise Testing and Prescription (4th Ed.). Philadelphia: Lea & Febiger. American College of Sports Medicine. (1993). Resource M anual fo r Guidelines fo r Exercise Testing and Prescription (2nd Ed.). Philadelphia: Lea & Febiger. Atha, J. (1982). Strengthening muscle. Exercise and Sports Sciences Reviews, 9, 1-73. Bailey, C. (1991). The New Fit or Fat. Boston: Houghton Mifflin. Bendiksen, F.S., Dahl, H.A., & Teig, E. (1981). Innervation types of muscle fibers in the human thyroarytenoid muscle. Acta Otolaryngology (Stockholm), 91, 391-3 97.
Farrell, P.A., Gustafson, A.B., Morgan, W.P, & Pert, C.B. (1987). Enkepha lins, catecholamines and psychological mood alterations: Effects of pro longed exercise. Medicine and Science in Sports and Exercise, 19, 347-353. Fox, E.L., Bowers, R., & Foss, M. (1993). The Physiological Basis fo r Exercise and Sport (5th Ed.). Dubuque, IA: Brown & Benchmark. Friedman, R.M. (Ed.) (1995). Ten minute workouts. The Wellness Letter, 11(12), 7. Gollnick, P., Armstrong, R., Saltin, B., Saubert, C., Sembrowich, W., & Shep herd, R. (1973). Effect of training on enzyme activity and fiber composi tion of human skeletal muscle. Journal o f Applied Physiology, 34(1), 107-111. Gruber, J.J. (1986). Physical activity and self-esteem in children: A meta analysis. In G.A. Stull & H.M. Eckert (Eds.), Effects o f Physical Activity on Chil dren. (Champaign, IL: Human Kinetics. Guyton, A.C. (1986). Textbook o f Medical Physiology (7th Ed.). Philadelphia: W.B. Saunders.
Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention o f Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publishers.
Harte, J. (1992). Psychoneuroendocrine concommitants of the emotional experience associated with running and meditation. In A.J. Husband (Ed.), Behavior and Immunity (pp. 43-53). Boca Raton, FL: CRC Press.
Blair, S,N., & Tremain, D.R. (1995). Exercise and preventive medicine. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 620-626). St. Louis: Mosby.
Haskell, W.L. (1987). Developing an activity plan for improving health. In W.P. Morgan, & S.E. Goldston, (Eds.). Exercise and Mental Health. Washing ton, DC: Hemisphere.
Brooks, G.A., & Fahey, T.D. (1985). Exercise Physiology: Human Bioenergitics and its Applications. New York: Macmillan.
Hedfors, E., Holm, G., Ivansen, M., & Wahren, J. (1983). Physiological variation of blood lymphocyte reactivity: T-cell subsets, immunoglobulin production, and mixed lymphocyte reactivity. Clinical Immunology and Immunopathology, 27, 9-14.
Brooks, G.A., & Fahey, T.D. (1987). Fundamentals o f Human Performance. New York: Macmillan. Brown, J.D. (1991). Staying fit and staying well: Physical fitness as a mod erator of life stress. Journal o f Personality and Social Psychology, 60, 555-561. Brown, R., Pang., G., Husband, A.J., King, M.G., & Bull, D.F. (1992). Sleep deprivation and the immune response to pathogenic and non-pathogenic antigens. In A.J. Husband (Ed.), Behavior and Immunity (pp. 127-133). Boca Raton, FL: CRC Press. Cooper, D.S., Partridge, L.D., & Alipour-Haghighi, F. (1993). Muscle ener getics, vocal efficiency, and laryngeal biomechanics. In I.R Titze (Ed.), Vocal Fold Physiology: Frontiers in Basic Science (pp. 37-92). San Diego: Singular Pub lishing Group. Coyle, E.F., Martin, W.H., Sinacore, D.R., Joyner, M.J., Hagberg, J.M., & Holloszy, J.O. (1984). Time course of loss of adaptation after stopping prolonged intense endurance training. Journal of Applied Physiology, 57, 18571864. Crow, R.S., & Jacobs, D.R. (1995). Exercise and a healthy lifestyle. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 617-619). St. Louis: Mosby. deVries, H.A., & Housh, T.J. (1994). Physiology o f Exercisefo r Physical Education, Athletics and Exercise Science (5th Ed.). Dubuque, IA: Brown & Benchmark. Elder, G.C.B., Bradbury, D., & Roberts, R. (1982). Variability of fiber type distributions within human muscles. Journal of Applied Physiology, 53(6), 14731480. Evans, W.J., & Rosenberg, I.H. (with Thompson, J.) (1991). Biomarkers. New York: Fireside.
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Hoffman-Goetz, L. (1996). Exercise and Immune Function. Boca Raton, FL: CRC Press. Holloszy, J. (1967). Effect of exercise on mitochondrial oxygen uptake and respiratory enzyme activity in skeletal muscle. Journal o f Bioloqical Chemistry, 242, 2278-2282. Keesey, R.E., & Powley, T.L. (1986). The regulation of body weight. Annual Review o f Psychology, 37, 109-134. Knapp, M.S. (1992). Rhythmicity in immunity and in factors influencing immune responses. In A.J. Husband (Ed.), Behavior and Immunity (pp. 109125). Boca Raton, FL: CRC Press. Leith, L.M. (1995). Exercise for mood enhancement. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 611-614). St. Louis: Mosby. Margen, S., et al. (1995). The New Wellness Encyclopedia. New York: Health Letter Associates. Margen, S., et al. (1991). The Wellness Encyclopedia. New York: Health Letter Associates. Martin, B.J., Robinson, S., Wiegman, D.L., & Aulick, L.H. (1975). Effect of warm-up on metabolic responses to strenuous exercise. Medicine and Sci ence in Sports, 7(2), 146-149. McCann, I.L., & Holmes, D.S. (1984). Influence of aerobic exercise on de pression. Journal o f Personality and Social Psychology, 46, 1142-1147. McArdle, W.D., Katch, F.I., & Katch, V.L. (1991). Exercise Physiology: Energy, Nutrition, and Human Performance (3rd Ed.). Philadelphia: Lea & Febiger.
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c h a p t e r 14 c o rn e rs to n e s o f v o ic e p ro te c tio n Leon Thurman, Carol Klitzke, Norman Hogikyan
ave you heard people with "raspy" voices and
C o r n e r s t o n e I.
H
When You Continually Have an Optimum amount of water in
been puzzled by singers who want to sing, who try every
1. abundant and thin mucus flow on the interior sur
thing asked of them to improve their ability to sing, but no
face of your entire respiratory tract; [That mucus flow pro
matter how much they try, their voices just can't seem to
vides a kind of lubrication for your colliding vocal folds, so
speak or sing without unnecessary effort, or can't seem to
that shearing forces are minimized when you speak and
consistently sing in their in upper register, or speak with a
sing.]
wondered if they had a cold, flu, bronchitis, or allergies? Have they been talking loudly, or yell
Your ing, or singing for long hours over several days? Have youBody, Then You Will Have:
2. optimum compliance and greater capability for flu
clear voice quality? Has your voice ever been hoarse? Has the hoarseness
idity of motion (lower viscosity) in all your voice's tissues
lasted for several weeks? When you talk, does your voice
and organs;
sound "lower" than it once did? Could you once sing easily
mucosal waving are then possible.]
in your higher range but over the years you've become more of an "alto or bass"? Have you experienced severe
[Efficient neuromuscular coordinations and
3. continued support for transport and activation of your immune system's cells and transmitter molecules.
vocal limitations, seen a physician, tried recommended rem edies with minimal improvement, or been told that you may have to consider another occupation?
Drink 7-10 8oz. glasses of water per day, distributed throughout the day (Chapter 12 has details).
Can voice disorders be prevented? Can you reduce
Come as close as you can to breathing air that has
the likelihood of developing diseases that can diminish your
40% to 50% relative humidity. Less than 35% to 40% can
capabilities for vocal self-expression? If you happen to get
result in mucosal tissue dehydration that excessively re
such a disease, what can you do to diminish its effect and
duces vocal fold surface lubrication and tissue compliance,
help your immune system toward healing?
and may render your respiratory mucosa more vulnerable
This chapter presents a summary of some answers to those questions, but all of the details are beyond its scope. Additional information is in Chapters 9 through 13.
to viral or bacterial infection. Avoid taking caffeine or take it in small amounts. Avoid drinking alcohol within five hours before athletic voice use. Compensate for the diuretic effects of both by increasing your water intake.
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C o r n e r s t o n e II.
tails). Obstructive sleep apnea syndrome (OSAS) can pre vent the deep, restorative sleep that occurs in the delta range
When Your Bodymind's Energy Expenditure is Balanced with its
of brain wave frequencies, and circadian cycles can be se
Energy Restoration, Then Your Entire Bodymind is Capable of
verely disrupted (Chapter 3 has details).
Functioning at Optimum Nearly All the Time, and You Can Feel
4. Physical movement and stretching can relieve the tension that stress reaction creates in your muscles (see
Energetic and be Healthy
Here are twelve ways to replenish your bodymind's
Chapter 13). The movement need not be strenuous. Rela
"energy bank" and in the process, help optimize the effec
tively brisk pleasure walking is just fine, for 20 to 30 min
tiveness of your immune system.
utes, three days a week for a minimum of helpful move
1. Every meal that you eat m ay-or may not-boost
ment.
Swimming or jogging or yoga or tennis-whatever
our energy savings. You are what you digest. If you eat
you enjoy-can help you overcome the effects of stress. Brisk
balanced meals, including appropriate balances of proteins,
movement will increase blood flow to your brain and sup
carbohydrates, and fats-including needed amounts of fiber
ply it with fresh nutrients and the oxygen that is necessary
in vegetables, fruits, legumes and whole grain foods-you
for energy uptake. Stretching that does not include pain can
will feel better and have more energy available to you in
help relieve tension and discomfort in muscles, ligaments
your energy bank (Chapter 13 has more details).
and joints of the skeletal system, improve blood flow to
Your body's circadian rhythms and your emotional
them, and improve their flexibility and agility in fine motor
stability are affected by when you eat meals . Eating meals at
skills. Movement and stretching mean that your muscles
regular, predictable intervals helps set and regulate your
can relax rather than remain tensed, and you may notice
body's daily biological clock, that is, the triggering of timed
that you then (1) feel better, (2) think and feel more sharply,
transmitter molecule secretions into your bloodstream by
and (3) coordinate your gross and fine motor skills with
your hypothalamus by way of your pituitary gland (Chap
more range of motion, speed, precision, and smoothness.
ter 4 has some details).
Spending appropriate amounts of energy results in more en
Irregular food intake times can
contribute to relatively confused circadian rhythms and a
ergy being available to you.
possible adverse effect on mental-emotional sharpness, a kind of dull, low-energy background feeling state.
5. Regular massages and raising the temperature of your body by soaking in hot water or taking a sauna are
Gastroesophageal reflux and laryngo-pharyngeal re
two ways to enhance efficiency in neuromuscular coordi
flux diseases are significantly related to the content and timing
nations and the effectiveness of your immune system. Those
of diet. The more severe these diseases, the more debilitative
activities also stimulate neural networks and the produc
they can be to your energy bank and to your vocal capa
tion of transmitter molecule recipes that result in sensations
bilities (Chapters 3 and 9 have details).
of pleasant feeling states.
2. Water is needed in your body so that your energy
6. In the morning, after brushing your teeth, make a
engines can operate with optimum capacity and efficiency.
series of silly, funny faces at yourself in front of the bath
All living cells must be bathed in copious amounts of fluid
room mirror. Keep making faces until you can't help but
in order to function at peak.
laugh. During the day, occasionally find a mirror and have
That's why your body is
about 65% to 70% water! (Chapter 12 has more details). 3.
some fun. Trade funny faces with a friend or family mem
Typically, sleep is a vital source of deposits into ber.
your energy bank. During sleep, significant bodywide res
Speech-Language Pathologist Candace Fancher of
toration and repair occurs. Going to sleep and waking up
Fairview Southdale Hospital, Edina, Minnesota, suggests that
at about the same time every day has a major influence
you can assess your pleasure-pause potential by asking
over your biological clocks and your immune system (see
yourself the following questions:
Chapter 2). Irregular sleep-wake cycles result in diminished
• Do I have a designated quiet time each day?
mental-emotional sharpness and contributed to a dull, low-
• Do I easily laugh at my own foibles?
energy background feeling state (Chapter 4 has some de c o r n e r s t o n e s
of
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• Do I enjoy spending time with children?
off of that accelerator and put in the clutch so you can turn
• Do I enjoy being spontaneous?
your bodymind's speeding car onto another more pleasur
• Do I keep a journal of my life-experiences?
able or productive road (adapted from Dr. David Dobson,
• Do I have a humor library?
Psychologist):
a. Take a deep rich breath or two and sigh it out with
• Do I send funny cards to people and give funny gifts? • Do I appreciate pleasant surprises?
out voice.
b. Play
• Do I have friends who have good senses of humor? • Do I schedule pleasurable events into each week? Laugh! Laugh!
Laugh? LAUGH!
visual volleyball.
With only minimal movement
of your head, look up with your eyes only (so you feel a little bit of eye strain). Then move your eyeballs to an up
7. As you stand, walk or sit in your daily work or
per left side or an upper right upside (your choice). Then
routine, do so with an awareness that your head can gently
look down on that side. Then move them to the opposite
release upward and lead your whole body in a kind of
down-side, then back up, and then back to the middle.
flexible floating, rather than a downward pressure that com
c. Instead of a rectangle, circle your eyes. Then repeat
presses your spine and the nerves that extend from it, and
the eye movements by rolling your eyes in the opposite
compress the internal organs of your torso. That down
direction.
d. DO SOMETHING that is productive and makes
ward pressure is distressful. If you release it you can feel better and talk and sing more efficiently, thus, voice
you feels good. Visual volleyball just may help you shift
protection (Book II, Chapter 4 has details).
away from wasting bodymind energy on worrying and
8. When you have personal or interpersonal conflicts,
toward satisfying accomplishment.
deal with them as soon and as thoroughly as possible.
11. Schedule one or two 15 to 30 minute times per
Conflicts will be necessary and inevitable at times. Delay
day as Worry Time. Then, if you find yourself worrying and
ing their resolution can increase your energy drain. If oth
it isn't a scheduled worry time, well, why waste time wor
ers choose to maintain the conflict rather than resolve it,
rying.
Save it and take it up at worry time, along with
they are the ones who face a challenge. Take care of your
everything you can possibly think of to worry about. But
self, and, if you so choose, leave the challenges that others
when worry time is over, then go on to more productive
face to their self-discovery processes.
things. Of course, Worry time just might become Planning
9. If you are heavily involved in your work and spend ing a great deal of time doing the same kinds of things
time, or Personal Assessment Time, but when it's over, it's over.
nearly every day, schedule diversion activities into your
12. You can learn how to go into your bodymind's
days and weeks. Read entertaining books, go to a movie or
restoration mode so that it can restore and repair itself.
a concert or a play, or do something you've never done
Spend tim e every day depositing energy into your
before. Diversion can help you re-energize and feel good.
bodymind's energy bank. One way that you can do that is
If you feel stressed out and too much is going on in your life,
a process called Going toward zero (see Thurman & Rizzo,
then make a list of (1) all of your obligations that are abso
1989, referenced at the end of Chapter 8). Zero is an imagi
lutely necessary to surviving (contractual obligations that
nary place of deep rest and restoration.
The process is
provide food, housing, family support, and so forth), and
designed to help you learn how to calm the tone of over
(2) your obligations that are discretionary (interesting and
used or unnecessarily used neuron networks in your ner
productive, but not necessary to survival). Be strong and
vous system such as the parasympathetic division of your
start eliminating items from the second list, and replacing
autonomic nervous system and activate restorative pro
them with rest, mundane family activities, and so forth.
cesses.
10.
If you spend noticeable amounts of time worry
ing or obsessing about events in your life, or find yourself in a mental-emotional rut, there are ways to take your foot
Do this: Find a quiet, comfortable place to sit, to reduce audi tory and kinesthetic stimulation. Close your eyes to eliminate visual stimulation.
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Uncross any parts of you that may be overlapping so that the
3. frequent use of voice pops ("glottal attacks") to ini
weight of one on the other does not distract you. If you do this while
tiate words that begin with vowels in conversational speech
lying down, you may tend to go to sleep. If you do this while seated,
or singing;
you may tend to relax with increasing depth, as your brain waves
4.
habitually effortful conversational speech, a side-
approach the alpha range of frequency that is associated with deep
effect of which is restriction to a speaking pitch area that is
relaxation with alertness.
lower than the pitch area that would be produced if the
Take an "inventory" of how your body feels in general, and the
excess effort was not occurring.
amount of thinking activity in your mind. Assign the number "five" to those sensations.
Please note that the above circumstances are signs.
Notice what your bodymind feels like as you progress to a level of relaxation and comfort that you could call "four"
They are not the "problem". The problem is the excess un necessary muscular effort that they are signs of. Continued
Enjoy the four feeling for a time, and then notice what your
effortful voice use can result in laryngeal tissue fatigue and/
bodymind feels like as you progress to a level of relaxation and comfort
or vocal fold swelling. More serious voice disorders may
that you could call "three."
follow over an even greater time span.
Enjoy each plateau of relaxation and comfort, and eventually
Physically Efficient Use of Voice for Speech reduces
proceed to deeper levels of relaxation that can be called "two" "one" and
the likelihood of voice disorders and results in a voice quality,
"zero" Along the way you may discover a number of interesting sensa
pitch, and vocal volume variability that other people find
tions in your bodymind. For example, your breathing coordination
interesting and comfortable to listen to.
may change and the arrangement of your body in space may change.
An appropriately opened vocal tract, with a breathflow that seems to gather up a person's voice and carry it out, are fundamental skills of all efficient voice use. Another fun
Go toward zero two times per day no less than
damental skill occurs in a voice that produces a warm, mel
five minutes each time, and no more than 20 minutes. After
low, flowing but clear and firm voice quality. That quality
several days or weeks of exploration and discovery, you
represents the middle of the efficient laryngeal voice quality
may be able to approach distressful circumstances with a
continuum (Book II, Chapter 10 has details).
request to your bodymind, such as,
quality means that laryngeal efficiency is occurring that will
"Please take me to
That voice
three as soon as possible."
remove the # 2 and # 3 inefficiency signs listed above.
C o rn e rsto n e III.
C o r n e r s t o n e IV .
As You Learn How to Speak and Sing with Increasing Physical
As You Achieve and Maintain Optimum physical Conditioning
and Acoustic Efficiency and as You Achieve and Continue Opti
in Your Respiratory Laryngeal, and Vocal Tract Muscles, and in
mal Larynx Muscle and Vocal Fold Tissue Conditioning, Then
the Tissues of Your Vocal Folds, the Following Advantages to Your
Your Capabilities for Vocal Self-Expression Will Be Deepened and
Speaking and Singing Skills can be Noticed.
1. Your larynx muscles will not have to work as heard
Enriched.
Major portions of this book are devoted to informa
to achieve complete vocal fold closure due to greater bulk
tion about physically efficient singing. Book V Chapter 2
in the muscles that form the core or body of your vocal
presents important aspects of physically efficient speaking.
folds.
There are four major signs of inefficient speaking co ordinations:
2. Your respiratory and larynx muscles can be en gaged with more strength so that stronger closure can be
1. presence of a voice quality called vocal fry;
exerted for increased vocal volume range, and upper pitch
2. a voice quality that can be described as edgy, pressed,
range can be facilitated.
tense, constricted, or strident to some degree, indicating unnecessary laryngeal effort; c o r n e r s t o n e s
of
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649
3. Your respiratory and larynx muscles can be en
When do you use your voice vigorously in louder
gaged with greater speed, precision, and smoothness to en
talking, yelling, or singing? Is some of the louder talking or
able more fine-tuned vocal coordination skills. 4. You will be able to sing and speak for longer time periods, with greater vocal volume and pitch range, before laryngeal muscle and vocal fold tissue fatigue occur.
singing actually necessary? Can the more energetic talking that is necessary be less strenuous and still accomplish what you need to do? Music educators and choral conductors sometimes
5. Your larynx muscles and vocal fold tissues will be
sing with their students-singers. Is it absolutely necessary?
able to recover more quickly from the effects of fatigue and
When students/singers are singing, will educators/conduc
collision and shearing forces (Book II, Chapter 15 has de
tors be most effective when singing with them or listening?
tails).
The sound of our own voices prevents complete reception of any sound that originates outside of us.
C o rn ersto n e V.
Many educators/conductors talk to students/singers while they are singing, and must talk loudly (vigorously) to
When you Balance Voice Use and Intensity Time with Voice recov
be heard.
Will the concentration of students/singers be
ery time; Then Your Voice Will Almost Always be Ready to Speak
enhanced by the talking or will it be broken? How much of
and Sing at Peak Skill.
that talking do they actually hear? So, listening, singing or
Voice use time is the amount of time you actually make
talking-which is most effective?
vocal sounds during a day—sound-making, speaking, or
When in voice recovery mode, (1) speak only when
singing. Voice intensity time is the amount of time you spend
you are paid to (only when absolutely necessary), and (2)
making higher-intensity (louder) sounds during a day. The
speak to people when they are close enough for you to
longer and louder you speak and sing, the more your lar
touch them. Take the teacher's voice protection and effective
ynx muscles will fatigue, and the more your surface vocal
teaching pledge: I (state your name) hereby swear or affirm, that
fold tissues are likely to experience inflammation (swelling).
from this day and forevermore,, when I am teaching or conducting
Voice recovery time is the amount of time you are not using
and other people are talking, singing, or otherwise making music; I
your voice at all, so that larynx muscles and vocal fold
WILL BECOME SILENT! See Book I, Chapter 9, for sugges
tissues have a chance to recover normal dimensions and
tions about how to implement the pledge.
restore tissues and neurobio chemical resources. Analyze your daily voice use. When do you use your
Social gatherings such as parties in restaurants, lounges, and homes often involve loud recorded music.
School
voice unnecessarily? Are there tasks that you perform vo
lunchrooms can be very loud places. In noisy rooms, people
cally that you can perform non-vocally? When are you
are actually talking quite loudly. W hat would happen if the
already restoring your voice with silence? Add more resto
noise were suddenly stopped? (Whoops!)
ration time to that list.
The wind and
motor noise in some cars and busses has been measured as high as 90-dB. In order to be heard at relatively close range, voices must produce at least 6-dB above the ambient level.
Theoretical Fatigue Curve
C o r n e r s t o n e V I.
Optimum Voice
When You Notice Signs that Your Vocal Abilities Have Dimin ished in Any Way for 10 to 14 Days or More, Seek help from a Voice Health Professional [A Voice-Ear-Nose-Throat Physician (Oto laryngologist) or a Speech Voice Pathologist, or an Appropriately Trained and Experienced Voice Educator]. Do Not Self-diagnose and Delay Getting Help. Figure III-14-1: Theoretical fatigue curve.
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One medical records study showed that singing teach
speak or sing higher pitches they are more lengthened and
ers, vocal music educators, and singers with voice prob
thinned. [Vocal folds is a more accurate term than vocal cords.
lems commonly waited six months or more before seeking
Vocal fold ripple-waving is the same as vocal fold vibra
help, often believing that their problem was a lingering al-
tion.] All vocal fold ripple-waves begin on the underside
lergy-sinus condition or cold, when it wasn't [Bastian, et al. (1990), The Journal of Voice, 4, 172-183]
(windpipe side) of your vocal folds and flow up and over their topside (throat side). The ripple-waves of both folds
T ip s o n K e e p in g Y o u a n d Y o u r V o ic e H e a lth y ...
are synchronized, that is, they flow at the same time and rate.
Each ripple has a crest (high point) followed by a
valley. When the two crests flow up, the surface tissues of ...For People Who Use Their Voices Extensively and/or Vigor ously in Their Careers, or Community Religious, or Social Activities-Or All of the Above.
your vocal folds collide. To produce louder voicing, your vocal folds close with more force, and that requires more breath strength to keep the ripples going. That also means that a greater amount of
If your voice (or the voice of someone you know)... 1. becomes hoarse, raspy, husky, or breathy (especially if it happened suddenly);
vocal fold tissue is involved in the ripple-waving (official term: amplitude). With greater amplitude there is increased colli sion force with each ripple-wave (official term: impact stress).
2. aches or feels irritated, distressed, "used" or "raw";
Another form of tissue stress occurs when the ripple-wav-
3. has to be cleared of thick mucus frequently;
ing vocal fold tissues are subjected to high speed shearing
4. loses some high pitches and/or gains some low
force by high-pressure breathflow (official term: shearing
pitches;
stress). Also, every time the tissues collide, the skin surfaces
5. cracks, breaks, or "cuts in and out" unpredictably;
rub against each other. The microscopic-sized ruffles and
6. becomes more effortful than usual when talking or
ridges on the vocal fold skin surfaces can be worn down by
singing; 7. becomes weak and tired after 30 minutes of use or less;
such abrasion force. So, at middle-C, your vocal folds will endure colli sion, shearing, and abrasion forces about 260 times in one
8. can only whisper...
second. How many collisions, shearings, and abrasions would take place in three minutes of singing or speaking?
...then you will find helpful information here.
Females singing in their higher pitch range (soprano, for instance) may experience from 80,000 to 90,000 colli-
If you would like to...
sions-shearings-abrasions in songs with very average ranges.
1. help prevent the above;
Females singing in their lower pitch range (alto, for instance)
2. help prevent colds, the flu, and sore throats;
may experience from 55,000 to 65,000 collisions-shearings-
3. know what to do if you get one...
abrasions. During three minutes of continual quiet conver sation, females could experience from 30,000 to 45,000 col-
...then reading this tips list can help you.
lisions-shearings-abrasions. Males singing in their higher pitch range (tenor, for
V o c a l In ju r y a n d F a tig u e
instance) may experience 40,000 to 50,000 collisions-
When you sing or speak around the musical pitch
shearings-abrasions, and in lower range (bass, for instance)
called middle-C (with a non-breathy, clear sound) your two
may experience 30,000 to 40,000 collisions-shearings-abra-
vocal folds are closed together and your flowing breath-air
sions. During three minutes of continual quiet conversa
causes their surface tissues to ripple-wave about 260 times
tion, males could experience from 15,000 to 22,500 colli-
per second. When you speak or sing lower pitches, your
sions-shearings-abrasions.
vocal folds are more shortened and thickened; when you c o r n e r s t o n e s
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How many collisions-shearings-abrasions could there be
4. the more air will "leak" through stiffened vocal folds,
in a day for all talking and singing? It can easily be TWO
and your voice quality will become fuzzy to breathy to hoarse
TO FIVE MILLION COLLISIONS-ABRASIONS PER DAY
in softer speaking and singing; and your voice will be more
The force with which each collision-shearing-abrasion occurs will
likely to "crack" and "break";
depend on the amount of closure force exerted by your
5. your breathing will be more frequent and your vo
vocal folds' closer-compressor muscles. So, the louder you
cal sound sustaining time will be shorter during speaking
sing or speak, the greater are the collision-shearing-abra
and singing because of the breath-air leaks.
sion forces on your vocal folds. Your vocal folds are made
Over a long enough period of time, more serious vo
of very tough, resilient tissues. They are built to withstand
cal fold tissue reactions are possible, such as vocal fold nod
high numbers of forceful collisions per day, assuming two
ules, polyps, cysts, granulomas, ulcers, hemorrhages, and so forth
things:
(1) your voice use is reasonably efficient, and (2)
your vocal fold tissues are conditioned to reasonably high
Fatigue of larynx muscles and vocal fold tissues, and chafing of
tolerance levels for impact and shearing stress. Your vocal
moving tissues in your throat, also occur with higher collision-
folds are made of living tissues.
shearing-abrasion forces.
There are limits on the
Pitch accuracy, volume range, voice
am ount o f collision-shearing-abrasion forces they can
quality, and timing precision are likely to be affected.
Over a
take before the tissues begin to change in order to pro
long enough period of time, sensory nerves in your larynx
tect themselves.
muscles will begin to report the physio-chemical changes of
What are the changes and how do they affect voice? What
fatigue, and vocal discomfort or pain may be noticed. The ca
typically would happen to your vocal fold tissues if their
pacity of your larynx muscles to continue high-intensity con
tolerance for collision-shearing-abrasion forces was ex
tractions will diminish gradually and voicefatigue syndrome or muscle
ceeded, say, after much talking at work or school and one
misuse voice disorder can occur.
to six hours of rehearsal or performance? Inflammation is the first change. At first, fluid would
Over a long enough period of time, vocal fold swell ing or fatigue, for any reason, changes the way your brain
accumulate in your vocal folds' surface tissue layer in an
coordinates its fine-tuned, skilled muscle movement for
attempt to provide a "padding" for protection of blood ves
speaking and singing. This coordination change can be
sels and other tissues.
come habitual in both speaking and singing, even after the
That padding is called vocal fold
swelling. When swollen, your vocal folds "balloon out" (en
swelling or fatigue go away.
The result is more habitual
large) to some extent and that makes their surface layer
effort in your larynx muscles when singing and speaking,
stiffer. Vocal fold blood vessels also would expand, creat
and an increase in collision-shearing-abrasion forces and
ing a reddened appearance.
larynx muscle fatigue rates. The rate at which such coordi
The more your vocal folds are swollen:
nation changes occur is usually so slow that you do not
1. the more they cannot be thinned out as much, so
become consciously aware of it.
your upper pitch range will be diminished [If you have not experienced your true higher pitch range capability, then you may never notice the loss.];
C om m on a n d N ot-so-com m on D ise a se s T h a t C a n D o Y o u r V o ic e In
2. the vocal fold ripples that we call "vibration" are
Two common diseases are colds and the flu. Viruses
more "sluggish" and will require even more closing force
and bacteria are transmitted through the air, but are trans
and exhalation effort to create a clear, non-breathy sound
mitted just as frequently when you touch objects or people
with desired loudness level, thus you will notice more vo
on which they are attached, then touch your eyes, nose,
cal effort, adding to fatigue;
mouth. Bacterial infections can be treated with antibiotics
3. collision-abrasion forces will be maintained at a
(take every pill prescribed even if you feel OK). There are no
greater level than usual and the swelling problem will be
medications yet that can "kill" common viruses.
Only a
maintained or worsened;
throat culture can tell the difference. For athletic voice us ers, some physicians prescribe antibiotics anyway, in order
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to avoid the possibility of a secondary bacterial infection
better chance of flowing the "bad guys" into your stomach
after the viral one has nearly run its course. The body's
and killing them before they zap you. 1. Drink seven-to-ten 8oz. glasses of water per day or
immune defenses must conquer viruses, but the "infectee"
the equivalent thereof in any liquid except those containing
can help [more later]. Most people are unaware of many less common dis eases that can hurt voices. Have you heard of laryngopha
caffeine or alcohol. They contribute to dehydration by caus ing some body water loss.
ryngeal reflux disease (LPRD)? It can produce mild to chronic
2. Vocal folds like to breathe air that is from 40% to
symptoms that can be interpreted (even by physicians) as
50% relative humidity. In hotels, fill the tub with hot water,
laryngitis, sore throat, allergies, systemic fatigue, and asthma.
soak the towels in the hot water and hang them about the
Continuing to speak/sing extensively through the course of
room so the water evaporates into the room air for you to
any disease that affects larynx tissues can bring the risk of
breathe-especially while you are sleeping; in aircraft, drink
forming vocal fold nodules, polyps, cyst, and hemorrhage.
water more frequently-there is very little humidity in the
Very rarely, vocal fold paralysis can occur when a virus
air.
infects one of the nerves that supply motor movement to
3.
Bite the sides of you tongue to stimulate a reflex
larynx muscles. There are many disease states that can do
secretion of mucus in your vocal tract (including your vo
your voice in. Voice health professionals can advise you
cal folds).
only if you seek their help.
4. Tart tasting foods will have the same effect.
P r e v e n t io n is th e N a m e o f th e S o n g
II.
Maintain a strong immune system and help it
when it is overpowered.
Stressful demands in your life
depress the effectiveness of your immune system and in I.
Maintain your body's optimum water level (see creases susceptibility to a variety of diseases (see Chapters 2
Chapter 12). That will result in an abundant and thin mu
and 8; also Book I, Chapters 4 and 5). "Stress" is defined as
cous flow in your entire respiratory tract. Advantages to
any demand placed on your body. "Distress" is unwanted,
you:
unpleasant demands. "Eustress" is wanted, pleasant, reward That kind of mucous flow provides a lubrication for
ing demand (Book I, Chapter 2 has some details). If eustress
the colliding-shearing-abrading action of your vocal folds.
becomes "too much," with deadlines and threatening pres
It functions like oil in a motor to reduce wear and tear on
sures, then it can become unpleasant distress. Stress reac
vocal fold tissues. The lower you are in mucus when you
tion produces bodywide "residual" muscle contraction that
use your voice (dehydration), the tissue rubbing is more
includes your jaw, throat, abdomen and larynx. Vocal over
"sandpapery" rather than "slick," so you increase wear and
working happens, and this contribution to fatigue and ex
tear on your vocal fold tissues. Also, your mucus tends to
cess collision-shearing-abrasion force can be prevented (see
gather in thicker, gluey glops and that can cause you to
Chapter 6). Take control of your stress reaction and your
clear your throat often and really beat up your folds.
immune system to prevent disease so you can be healthy,
When you are dehydrated, your vocal fold surface tissues develop a more dense consistency. More effort is then required to set them into ripple-waving, thus raising
feel good, and have plenty of energy: 1. Reduce excessive responsibilities down to what is absolutely necessary.
fatigue rates, and teaching your brain to operate your lar
2. Take the lead in resolving family, school or per
ynx with more effort than is necessary so that collision-
sonal conflicts; talk out personal problems with family, a
shearing-abrasion forces increase along with fatigue rates.
friend, or a professional counselor.
In less abundant and gluey-glop mucus,
viral and
bacterial "bad guys" have a better chance to colonize and infect your airway tissues.
Abundant-thin mucus has a
3. Move the large muscles of your body briskly at least three days per week for 20-30 minutes each day. 4. Maintain your body's optimum water level. 5. Genuinely laugh a lot. c o r n e r s t o n e s
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6. Learn how to induce your body's inborn restora tion response.
18. Avoid nasal decongestant sprays. 19. Drastic or prolonged lowering of body tempera
7. Eat a balanced diet emphasizing vegetables, legumes, fruits, whole grains.
ture reduces immune system effectiveness and gives the bad guys an advantage. Over 60% of body heat is lost from the
8. Boost immune function by taking hot baths/show -
neck up, so dress appropriately for temperature changes.
ers/saunas/whirlpools (take care about time and tempera
20. The major season changes (summer to fall, winter
ture) and drink warm liquids to raise your body's tempera
to spring) make physical demands on bodies which can affect your immune system, making colds, the flu, or sore
ture. 9. Go to sleep and wake up at about the same times every day.
throats more likely. Redouble your commitment to hydra tion, rest, regular sleep-wake and meal times, nutritious diet,
10. Eat at relatively regular times each day of the week and eat relatively small or adequate amounts at each meal.
brisk body movement, stress control, appropriate dress for body temperature, and so forth.
11. Wash your hands with reasonable frequency; use the backsides of your hands when you touch eyes nose,
III.
mouth.
1. Learn how to use your voice with increasing physical
12. Rest, relax and sleep as much as possible; avoid using energy, seeing people, and worrying, and so forth. Devote your body's energy to fighting off infections, prefer ably before they start.
Protect your voice.
and acoustic efficiency. 2. ALWAYS warm up your voice gradually for at least 1520 minutes before athletic use. 3.
Balance voice use time with voice recovery time (silence).
13 . Increase water intake a bit beyond the 7-10 glasses
Speak and sing defensively. Give only what you know your
per day to assist in "flushing" your respiratory system and
voice can comfortably and healthily give to expressive situ
helping your immune system; avoid any medication with
ations. During athletic voice use, desirable fatigue occurs in
the word "antihistamine" on the label unless there is a spe
your abdominal (breathing) muscles.
cific medical reason to do so.
If your laryngeal
muscles tire, and your voice becomes a bit "fuzzy" or even
14. Some physicians recommend an increase of vita
hoarse, then your voice is telling you that it is fatigued and
mins A, B-complex, D, and C foods, or food supplements,
is under-conditioned for what you are asking it to do. Your
to aid the immune system.
larynx is asking for rest. When students are singing, our
15. In dry buildings, breathe in highly moist air by
primary job is to be silent and listen. Singing to help inex
soaking a washcloth in hot water, wringing it out, laying it
perienced singers learn a new song is necessary, but if you
over your nose and mouth and breathing in through it.
continue to sing with them after they have learned new
Repeat several times.
songs, they will become dependent on you and will not
16. Ear-Nose-Throat doctors recommend that vocal
develop their own independence. "Save" your voice in re
athletes avoid the use of aspirin or ibuprofen whether you
hearsals by listening closely.
When your voice is being
have an infection or not, unless it is prescribed for special
used extensively and vigorously, USE IT ONLY WHEN
medical circumstances - never with or after alcohol. Aspi
ABSOLUTELY NECESSARY.
rin increases the possibility of vocal fold hemorrhaging when
4. Do not sing with an inflamed or sore throat. What would
you use your voice athletically. Use aspirin substitutes such
happen to a sore on your hand if you beat on it 500,000
as acetaminophen (as in Tylenol).
times a day or more. Prevent.
17. Avoid over-the-counter spray or lozenge prod ucts that have the word "anesthetic" on the label.
5. Do not drink alcohol within five hours of singing. It causes
They
a slight swelling of your vocal folds, contributes to dehy
decrease pain sensitivity in your throat, but if you have
dration, and reduces the sensitivity of the sensorimotor
pain in your throat, your body is sending you a very im
nerves that operate your voice. That results in a reduction
portant message. If that message is turned off, serious vo
of your vocal ability that your conscious awareness is not
cal trouble may await you.
likely to detect.
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6. Smoking anything dehydrates and irritates the larynx and vocal tract by depositing toxins thereon. Over a long enough time period, permanent tissue change and reduction of vo cal capability can occur (refer to Chapters 3, 8, and 11). 7. Prevent Gastro-Esophageal Reflux Disease (GERD) and
tioned, and they could have saved themselves much an guish if they had gotten competent help at the beginning. If voices remain hoarse and vocally limited for 10 to 14 days, or if onset of vocal distress and hoarseness is abrupt, then help from a voice experienced ear-nose-throat
GERD results when
physician or a speech pathologist/voice therapist is needed.
the sphincter muscle that separates the stomach from the
Recovery from most voice health circumstances can
laryngo-pharyngeal reflux disease (LPRD).
esophagus is "weakened" or "overpowered" by intra-stom ach pressure.
occur with appropriate help.
GET HELP EARLY
The result is a reflux of the highly acidic
stomach contents up the esophagus. The reflux becomes LPRD when stomach contents empty into the bottom of the throat, with seepage into the larynx/vocal fold area and irritation of same. Reflux most commonly occurs during sleep. Conscious awareness of the flow rarely occurs. Symp toms can include "bad taste" or a noticeable breath odor upon arising from sleep; throat-clearing, belching, or mild regurgitation; sense of mild "burning" irritation in the throat area; swollen vocal folds with inconsistency of various vo cal abilities, lowered average speaking pitch area, and in creased warmup time. Symptoms are especially noticeable in the morning.
The acid flow can be aspirated into the
trachea and into the nasal cavity and produce asthma-like or allergy-like symptoms (see Chapter 3). If you have, or think you have GERD or LPRD, observe the recommenda tions listed below (a partial list) and raise the head of your bed 6 to 8 inches higher than the foot of your bed so that gravity helps keep your stomach contents in your stomach when asleep. • Do not eat or drink (except water) within 2-3 hours of sleeping (unless medically necessary). •Do not eat "hot-spice" foods very often [Italian (pizza, spaghetti, etc.), Mexican, Szechuan Chinese cuisine, for ex ample] or chocolate. • Drink only occasional and minimal amounts (if any) of alcohol, coffee, tea, soft drinks, any carbonated beverage. • Do not eat large amounts of food at meals. 8. When you or someone you know has a "hurt" voice, get help early The longer "hurt" voices are used while hurt, the more your voice skills will deteriorate, you will be much more likely to need medical and voice therapy treatment and longer recovery time that can disrupt your vocal career.
Many
people self-diagnose their condition, wait a long time to get help, and then learn that their diagnosis was not accurate, that their waiting had greatly worsened their vocal condi c o r n e r s t o n e s
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bo o k four lifespan voice development
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th e b i g p ic t u r e young Canadian conductor was rehearsing a small
become husky and dark sounding, and she can no longer
symphony orchestra in a particular composition
sing her formerly clear, high soprano pitches. She asks to
for the first time ever. He became very puzzled.
be transferred to the alto section so that she can sing with
He had a deep sense of familiarity with the music's 'cello
more vocal comfort. She is dared by a friend to audition
part. Some time later, he was startled to learn that his mother,
for the school musical play. She is asked to sing the play's
a 'cellist, had rehearsed and performed that composition on
audition song in a loud, belted way, and finds that she is
several occasions during the third trimester of her preg
very good at that. She is cast in the lead role, and in her
nancy, just before she gave birth to the conductor.
four high school years, she sings belted-out lead roles ev
A
A Suzuki violin teacher learns that prebirth children
ery year, and does the same in summer community musi
can hear and form implicit memories of repeated auditory
cals. She is an extremely outgoing person and finds that
experiences. An enduring mystery is then resolved for her:
she has a flair for entertaining people.
at the age of 11 postbirth months, her son used babble
At the age of 19, she forms her own band, belts out
syllables to sing "Twinkle, Twinkle Little Star" with accurate
show tunes, rock songs, and gospel songs in a lounge act-
pitches. [That is the first song that 2 and 1/2 to 3 year-old
three sets of 10 to 13 songs each, three to six nights per
Suzuki violin students learn, and they play it repeatedly in
week-and she thoroughly enjoys her work.
the first several years of their playing.]
smoking and drinking alcohol frequently. By the age of 28,
She begins
A proud grandfather reports that his grandchild was
she notices that the hoarse quality of her voice is really
exposed to singing with great frequency during late womb
getting bad, she can no longer make the clear-loud sounds
life and during infancy. The family had made tape record
that she once did, her pitch accuracy is seriously slipping,
ings of that precious grandchild accurately singing a reper
and she really has to push her voice "from her throat". She
toire of over 30 short children's folk songs at the age of 18
sees an ear-nose-throat physician who diagnoses large, fi
months postbirth.
brous vocal fold nodules. She closes down her band and
An elementary music educator reports to her peers
begins voice therapy. She quits smoking and drinking, and
that her public school students sing lots of children's folk
after eight months of determined faithfulness to her therapy,
songs and play lots of singing/movement games beginning
there is absolutely no improvement in the hoarse quality of
in kindergarten. She also reports that she guides them in
her voice and her nodules are not reducing in size.
the exploration and development of fundamental voice skills
agrees to vocal fold microsurgery.
in such a way that the learning experiences are interesting
propriate instruments and techniques, and after the tissues
She
The surgeon uses ap
and successful. Then she reports that every single one of
had reasonably healed, she resumed therapy.
her students sing accurately by at least the fourth grade
was clear for the first time since the age of 13-no husk. She
(except for the occasional transfer student).
could talk easily again with "no effort". Eventually, she was
An eighth grade girl, who has recently turned 14 years old, has performed occasional solos for her elementary and
Her voice
able to sing pitches "effortlessly" and very accurately, even in her upper register-also a first since age 13.
junior high school choirs. Recently, however, her voice has the
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Eleanor and Robert have loved singing in their reli
The principle of a continuum of voice skill develop
gious choir for all of the 45 years of their married life. At
ment, presented in Chapter 3, can help prepubescent chil
one time, they actively sang for many religious and com
dren and people of all ages learn how to develop skilled
munity occasions such as choral concerts, musical plays,
singing and speaking.
weddings, funerals, and official community occasions. They
children will find a rich array of information about adoles
frequently sang for and with their two children, sang duets
cent male and female voice transformation, and its effects
at home for the fun of it, and they each always sang when
on self-expressive speaking and singing skills, in Chapters 4
they took a shower. As they became older, they began to be
and 5.
less active in general, and they gradually sang less and less.
conditioning on the vocal anatomy and physiology of older
Now, at the ages of 70 and 71 years, respectively, they are
adults can lead to diminishing pleasure in the expressive
singing in their choir's Wednesday evening rehearsal, 1 to 3
acts of singing and speaking.
choral selections during worship services, and during con
ways that older human beings can remain engaged in stimu
gregation singing.
lating, rewarding, and self-expressive activities.
Unfortunately, they have noticed that
Teachers and parents of pubertal
The effects of aging and a reduction of physical
Chapter 6 points to many
they are singing with an ever widening and audible vibrato,
By way of introduction, the editors propose that the
singing out of tune, and with a relatively pressed-edgy voice
age range that identifies young voices begins when prenatal
quality. Eventually, they decide to quit singing in the choir,
auditory processing begins, and ends when laryngeal and
a decision that they both weep over.
vocal tract anatomy have assumed adult dimensions-about age 20 to 21 years. Early adulthood ends at about age 30 years when the laryngeal cartilages have completed their essential calcification and ossification (Chapter 2 describes
Over our human life-span, enormous changes take
these processes). To have a unified reference point, the age
place in our anatomy, physiology, and neuropsychology
spans that are significant in physical and vocal development
(Book I, Chapter 3 has some details, as do all of the Chap
may be categorized as follows:
ters in this book). Those parts of us that produce speaking
1. Prenatal-onset of auditory processing to birth;
and singing are no exception.
2. Infancy-birth to 1 year;
Appreciating how these
changes affect our capabilities for vocal self-expression, and
3. Early Childhood-1 to 5 years;
the conversion of those capabilities into vocal abilities, is of
4. Middle Childhood-5 to 9 years;
vital importance to voice educators.
5. Late Childhood-9 years to the onset of puberty;
The disturbing experiences that are described above
6. Early Adolescence-puberty, usually 12 to 15 years;
could have been prevented if the people themselves or their par
7. Middle Adolescence-15 to 18 years;
ents, teachers, or conductors had known some of the infor
8. Late Adolescence-18 to 21 years;
mation in this book.
9. Early Adulthood-21 to about 30 years;
Someday, the pleasant experiences
that are described above could possibly become the norm. Parents are, by far, the most important educators of
10. Middle Adulthood-about 30 years to 65 years; 11. Older Adulthood-about 65 years and up.
all. School and religious educators can be highly influential in the life-courses of human beings.
The information in
The six chapters in Book IV are:
Book IV is intended to point all educators, including par ents, in the direction of laying solid foundations for skilled,
Chapter I-Foundations for Human Self-Expression During
confident, expressive speaking and singing. Day care pro
Prenate, Infant, and Early Childhood Development
viders, early childhood educators, elementary school teach
Chapter 2 -Highlights of Physical Growth and Function of
ers, and music educators can find foundational direction
Voices from Prebirth to Age 21
for practical childhood educational experiences in Chapters
Chapter 3 -The Developing Voice
1 and 2.
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Chapter 4-Voice Transformation in Male Adolescents Chapter 5-Understanding Voice Transformation in Female
Adolescents Chapter 6-Vitality, Health, and Vocal Self-Expression in
Older Adults Readers of Book IV will be helped by knowing the following information: Indications for pitches in this book follow the guide lines recommended by the Acoustical Society of America for uniform international designation of musical pitches. The lowest C on the keyboard is labeled C1 and all the pitches within the octave above C1 use the same numbered designation, that is,
E b1 and so on. Succeeding octaves
begin with C2, C3, C4 and so on. Pitches below the lowest C are designated with a zero, thus B0, Bb0, A0, and so on. Middle C is C4.
the
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ch ap ter 1 fo u n d a t io n s fo r h u m a n s e lf-e x p r e s s io n d u r in g p re n a te , in fa n t, a n d e a r ly c h ild h o o ld d e v e lo p m e n t Leon Thurman, Elizabeth Grambsch year old infants. inda Mack started a really odd community cho
L
rus. Only people who "couldn't carry a tune in a bucket", or did not have "good" voices, were
allowed to join this choir (Mack, 1979). In private inter views, she asked the members why they joined.
An 86-
year-old man told her: As a child, I loved to sing. I sang all the time. One day the music teacher at school had us all sing for her by ourselves, and she divided us into two groups-the bluebirds and the crows. I was a crow. Wellf I grew up on a farm, and I knew what crows sounded like. I haven't sung since.
1. The prolific production of synapses during the first three years makes brains particularly responsive to "en riched" experience. 2. Learning during "critical periods" of high brain plas ticity is more valuable than learning that occurs after cessa tion of critical periods. 3. Increased investment in enriched child care envi ronments during the first three years will inevitably lead to societal benefits such as increased intelligence test scores, school achievement, and crime prevention.
But I guess that before I die, I want to learn how to sing. Those kinds of stories break our hearts. Unfortunately, they still happen. Human beings are denied a lifetime of self-expressive singing because vocal inadequacy was com municated to them by some event or by som eone-a parent, peers, a teacher. How close can we come to that never happening again? That's what this chapter is about.
Reasonable people assert that scientific
studies support the following claims:
Bruer (1999) reviewed the scientific data that were known to him regarding infant capabilities in the first three years.
He concluded that those data do not support the
popular claims. He wrote about a "myth of the first three years". For instance, according to Bruer, there is no direct scientific evidence that an enriched cognitive environment during the prolific synaptic production of the first three years results in a lifelong advantages for human beings. M any of the studies that are cited to support those claims
In t r o d u c t io n
compared the brains of rodents who lived in two settings: Most societies of the world assume that the formative years of children begin at birth and continue through the first three years. Most of the research on the earliest capa bilities of human beings has concentrated on one-to-three
(1) the deprived surroundings of a scientific laboratory with nutritious feeding, and (2) the same deprived surroundings and feeding, but with objects to play with and mazes to run (for example, Diamond, et al., 1967). The cerebral cortices of the "enriched" rodents were significantly thicker and had
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developed denser arrays of synapses. Bruer asserts that the
Eichorn and Verny (1999), Greenspan (1997), Siegel (1999),
research cannot be applied to human beings. He wonders
and others, suggest that, during the first three or four years
how the brains of the enriched laboratory rats would com
postbirth, an emotionally secure base with at least one
pare to the brains of rats who had lived all of their lives in
empathic adult, provides the most crucial foundation for
a free-roaming, highly complex, natural environment.
lifelong self-development and learning (see Book I, Chapter 8).
Johnson (1999) agrees that there is no scientific evi
Yes, the first three years of post-birth life are funda
dence that links enriched early childhood experiences with
mentally significant in the lives of children. Yet.., are not the
raising IQ test scores or with crime prevention.
But he
first three years an extension of pre-birth life? Because pre
qualifies his response by suggesting that there is no scien
birth babies are inside a womb, cannot be seen with the
tific evidence that so-called enriched environments do not
unaided eye, and can only be "felt" by pregnant females,
produce cognitive advantages for "free-roaming" human
many human beings-especially males-have assumed that
children.
babies are not babies until they can be seen, touched, held,
Research such as Diamond's does indicate that
varied cognitive experiences result in adaptive proliferation
and heard.
of cortical material. In addition, Johnson notes that brain
wise. In reality, growth and development processes are a
research methods and technology have only recently been
continuum.
focused on children. Gopnik, Meltzoff, and Kuhl (1999), three leading-edge
Pregnant women have always known other Ordinarily, those processes occur for about
nine months inside a mother's womb and then they con tinue to occur for many years outside that womb.
developmental psychologists, have studied infants who have
For some time, now, the frontiers of early childhood
been raised in normal, complex environments that include
research have developed techniques and instrumentation
interaction with a variety of people, places, things, and events,
which enable the scientific study of perception, feeling,
and the use of language. They propose that the innate in
memory, learning, behavior, and health patterns, during the
teractive, imitative, and exploratory capabilities of infants
pre-birth, birth, and newborn times. The scientific evidence
lead to adaptive learning. When infants' brains learn some
is strong that those processings begin to develop in human
thing, their states are altered and they are more able to at
beings well before birth. They occur because of genetic and
tend to and process new experiences in a way that was not
epigenetic influences and because of the vast array of net
as likely as before. In other words, perceptual, value-emo-
worked nervous system and transmitter molecule interac
tive, conceptual, memory, and behavior patterns that are
tions that happen in both mother and child during every
learned during the first three years are important because
pregnancy.
those learnings are the foundation upon which all subse
Ingested and respirated chemicals, and feeling responses
quent experiential learning is based. Infants born to post
to experiential events, processed by mothers and their ba
partum depressed mothers, for instance, will be deprived of
bies, influence the neuronal and neurotransmitter content
their essential need for empathic relatedness which is partly
of their brains. Those internal events also influence their
gained through patterns of mutual eye gaze, facial expres
bodywide endocrine and immune system functions.
sion, mutual skin-to-skin touch, and a variety of playful
though the extent of the influence has not yet been com
interactions and caring communications. They will not learn,
pletely elaborated, the neuropsychobiological characteris
Al
or will be slower in learning, normal interactive-expressive
tics of a mother definitely affect the neuropsychobiological
abilities such as verbal and nonverbal communication skills
characteristics of her baby in utero (Anand & Hickey, 1987;
(Field, et al., 1985, 1988, 1990; Pickens & Field, 1993).
Ando & Hattori, 1970; Barker & Sultan, 1995; Chamberlain,
The clinical experience of child psychologists and psy
1983, 1998a,b; deMause, 1982; DiPietro, et al., 1996;
chiatrists provides considerable evidence that the relation
Facchinetti, et al., 1987; Fedor-Freybergh, 1985; Field, et al.,
ship between parents and children during the first three
1985; Hooker, 1959; Humphrey, 1978; Liley, 1972; Nijhuis, et
years is crucial to the future cognitive-emotional-behav
al., 1982; Odent, 1986; Paarlberg, et al., 1995; Rossi, et al.,
ioral development of children (Bornstein, 1985, 1989; Earls
1989; Sallenbach, 1998; Smotherman & Robinson, 1995;
& Carlson, 1994; Karr-Morse & Wiley, 1997). Bowlby (1986),
Sontag, et al., 1969; Tronick & Gianino, 1986; Van den Bergh, p r e n a t e ,
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1990; Wadhwa, 1993, 1998; Wadhwa, et al., 1996; Verny, 1981).
Table IV-1-1). They make possible the development of adap
The assumption that life begins at birth, when chil
tive abilities for perceptual, value-emotive, and conceptual
dren can be seen, heard, and held, may make prenatal and
categorizing of the people, places, things, and events that
perinatal research results seem astounding to some people.
are encountered, and memories of, and behavioral interac
Centuries-old assumptions about prenate and infant capa
tion with them.
bilities are now being rectified, and many unforeseen op
systems, these innate capabilities are sometimes referred to
portunities for lifelong humane child-rearing and educa
as experience-expectant self-organization of electro-physio-
In the nervous, endocrine, and immune
tion are being opened. How do the innate interactive-ex
chemical processes. Capabilities increase in their extent and
pressive abilities of children begin operating before birth?
range as cyclical brain growth spurts occur throughout life
Might this be relevant to voice educators?
(see Book I, Chapters 7 and 8). Also, during prenatal gestation, patterned repertoires
P re n a ta l a n d P e r in a ta l P e r c e p t io n , F e e lin g , M e m o r y , L e a r n i n g , B e h a v io r , a n d H e a lth : T h e o re tic a l/ S c ie n tific B a s e s
of interconnected electro-physio-chemical networks are formed in human bodies, mostly in the brain. They actu ally carry out the perceptual, value-emotive, and concep tual categorizing of the people, places, things, and events that are encountered, and behavioral interactions with them.
During prenatal gestation, genetic and epigenetic pro
These categorical, patterned, networked processes are re
cesses activate to form and "bring to life" a human being.
ferred to as innate abilities (see Table IV-1-1). A primary
These processes make adaptation to encountered experi
repertoire of
innate
abilities optimizes sheer survival, such
ences possible by inducing the growth of anatomy and
as suckling for nourishment, pleasure-displeasure sensa
electro-physio-chem ical processes (physiology).
These
tions, and crying out when hungry or in distress (Edelman,
adaptive potentials are referred to as innate capabilities (see
1989). In order to survive and thrive over a lifetime, how ever, a vast secondary repertoire of learned, abilities are
Table IV-1-1 Some Human Capability-Ability Ousters
Perceptual capability-ability dusters: Categorizations within the auditory, visual, somatosensory, vestibular, olfactory, and gustatory senses Value-emotive capability-ability dusters: Categorizations within homeostatic neuroendocrine states (feelings, emotions) and their self-regulation (threat-benefit categorizing, pleasure-displeasure categorizing) Conceptual capability-ability dusters: Constructing adaptive, patterned relationships between perceptual and value-emotive categorizations An analytic, sequentially branched, logically interpretative, detail oriented, verbal explanatory capability-ability cluster An integrative, whole pattern, global, cluster-branched, feeling-based, nonverbal, literal observation capability-ability cluster Sensorimotor capability-ability dusters: Protective reflex movements Coordinated, adaptive, purposeful movements that are expressions of perceptual, value-emotive, and conceptual capability-ability clusters (includes vocal sound-making)
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In
The process of general human ability development
other words, innate capabilities make learned abilities pos
tends to be web-like in nature, like a relatively chaotic cross-
sible, but a person's interactions with people, places, things,
stitch pattern (Fischer & Bidell, 1997; Fischer & Rose, 1996).
developed as adaptive responses to life's experiences.
and events elicit adaptive adjustments of perceptual, value-
Each ability is like a strand in the web that branches and
emotive, conceptual, memory, and behavioral tendencies.
interfaces with other strands.
The pruning and "sculpting" of excessively produced neu
ment (1) occurs differently in unique people (in "fits and
rons and synapses into increasingly refined and entwined
starts"), (2) is experience-dependent, and (3) is highly elabo
Although ability develop
neuron networks is sometimes referred to as experience-
rated only under conditions of optimal environmental sup
dependmt self-organization of electro-physio-chemical pro
port, several different ability strands tend to "bud or blos
cesses (Greenough & Black, 1992; Perry, et al., 1995).
som" in relatively predictable time frames within a lifespan.
Each person's genetic-epigenetic constitution includes
For example, a noticeable difference occurs in the behavior
a consistent core of reactive tendencies that are referred to
of infants at about the age of eight months, and another
as temperament. Kagen (1994, pp. 140-173 ; 1999), for ex
quantum leap occurs between ages 3.5 and 4.5 years.
ample, addresses two categories of temperament that he re
Fischer and Rose propose a sequence of four brain-
fers to as inhibited and uninhibited. Varied neurotransmitter
behavior developmental tiers: (1) reflex, (2) sensorimotor,
or receptor site reactivity in key nuclei within the two
(3) representational, and (4) abstract. Within each develop
amygdalae are major effectors of these two reactive tenden
mental tier, four predictable, repeated cycles of growth in
cies (also see Benes, 1994). The amygdalae are reentrantly
neural network connectivity occur (see Table IV -1-2). At
connected with the orbital frontal cortices and the hypo
the conclusion of four cycles, a new developmental tier be
thalamus, and those two areas are interfaced with most of
gins. Each of the four growth spurts is referred to as a tier
the neuropsychobiological processes of human bodyminds.
level. When each level within a tier occurs, (1) a patterned
Inherited temperamental tendencies can be intensified
growth spurt of neural network connectivity occurs in par
by life experiences, or they can be modified, depending on
ticular areas of the brain, and (2) new observable cognitive-
the nature of personal life experiences. If shy or unrespon
emotional-behavioral patterns can be observed. Each tier
sive children's neuropsychobiological needs for relatedness,
of brain and cognitive-emotional-behavioral development
competence, and autonomy are satisfied constructively, they
begins with a growth spurt of neuron network connectivity
can evolve confident, assertive, constructive abilities in so
in the right and left frontal lobes, the so-called "brain's brain".
cial situations.
When children who are emotionally in
This is significant because the frontal lobes are capable of
tense, low-regulated, and negative by temperament experi
activating and entraining a large array of neural networks
ence a preponderance of empathic relatedness and develop
and "hold them on-line" (working memory) in anticipation
constructive competencies, then their temperament tenden
of the enactment of an ability, during its enactment, and
cies are likely to be modified constructively.
after its enactment.
The innate, genetically triggered capabilities of chil
The extent and intensity of these growth spurts are
dren continue to evolve during infancy and early child-
relatively minimal in the reflex tier and become progres
hood-indeed over the entire human lifespan. Cyclical, ge
sively greater in succeeding tiers. The greatest frontal growth
netically triggered spurts in neural network connectivity
occurs during the late representational and abstract tiers.
occur in the brain within predictable time periods as chil
Fischer and Rose refer to these collections of neural net
dren grow up (see Book I, Chapter 8; see also Lampl, et al.,
works as control systems. They refer to emerging cognitive-
1993).
Fischer & Rose (1994, 1996) have correlated these
emotional-behavioral patterns as dynamic skills (Fischer, et
brain growth spurts with documented spurts in cognitive-
al., 1990; 1993, 1997; see Book I, Chapter 8 for a summary).
The
Greenspan (1997, pp. 41-109) presents an overview of
conversion of increased capabilities into realized abilities, how
optimal constructive self-development from birth to about
ever, must be initiated and supported by optimal environ
age four years. He also describes maladaptive and protec
emotional-behavioral capabilities (see Table IV -1-2).
mental experiences. p r e n a t e ,
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Table IV-1-2 Tiers and Levels of Cognitive Development from Birth to about Five Years. (adapted from Fischer & Rose, 1994, 1996) Tiers
Tier Levels
Approximate Ages
Reflex
Single Reflexes Reflex Mappings Reflex Systems Single Sensorimotor Actions
3 to 4 weeks (1 month) 7 to 8 weeks (2 months) 10 to 11 weeks( 3 months) 15 to 17 weeks (4 months)
Sensorimotor
Sensorimotor Mappings Sensorimotor Systems Single Representations
7 to 8 months 11 to 13 months 18 to 24 months
Representational
Representational Mappings
3.5 to 4.5 years
Table IV-1-3 Greenspan's Stages and Levels of Self-Development from Birth to about Four Years. (adapted from Greenspan, 1997, pp. 43-109) Stages
Levels
I. Security and Engagement
1. Making Sense o f Sensations: Global Aliveness [prenatal through 3 to 4 months post-birth] 2. Intimacy and Relating: The Related Self [peaks from 3 to 4 months through 6 months]
II. From Intent to Dialogue
3. Intent to Dialogue: The Willful Self [from 6 months to 12 months] 4. Purpose and Interaction: The Preverbal Sense of Self [from 12 months to 18 months]
III. Creating an Internal Self
5. Images, Ideas, and Symbob: The Symbolic Self [from 18 months to 24 months] 6. Emotional Thinking: The Thinking Self [during the third and fourth years]
tive self-development.
He refers to three developmental
tonomy (Deci & Ryan, 1985, 1991; Ryan, 1993; Ryan, et al.,
stages of self-development, (1) security and engagement, (2)
1996). There also are correspondences between Greenspan's
from intent to dialogue, and (3) creating an internal world.
stages and levels and the tiers and tier levels of Fischer and
Each stage has two levels of self-development for a total of
Rose.
six levels (see Table IV -1-3). According to Greenspan, each of the six sequential, overlapping levels provides the foun dation for development of the next level. If any one of the
G e n e ra l P re n a ta l an d P e r in a t a l D e v e lo p m e n t
levels is incompletely developed, the subsequent levels also will be incompletely developed. The common result is mild
During the in utero genetic and epigenetic processing
to severe psychosocial difficulties as a child grows toward
that creates a normal human body, neuropsychobiological
and through adulthood (see Book I, Chapter 8 for details).
functioning of that anatomy gradually begins to activate.
There are close correspondences with the three basic
All of the basic perceptual, value-emotive, conceptual, and
neuropsychobiological needs of all human beings-empathic
motor "equipment" of human beings is formed and acti
relatedness, constructive competence, and self-reliant au
vated, to some extent, well before birth.
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• The heart is incomplete but activated by the third week of gestation.
• By GA week 12, all major systems are formed and a fetal baby is basically a functioning organism (Verny, 1981),
• The neural tube, a three-segment, one-tailed precur sor of the central nervous system (CNS), is formed by three to four weeks gestational age (GA). The three segments are
but cannot survive outside the womb, yet. • The gustatory sense (taste) develops from 14.5 to 16 weeks.
the forebrain, the midbrain, and the hindbrain. Eventually, the
• An unborn infant's heart rate will increase and the
"tail" becomes the spinal cord. By about the fifth week, the
head will turn away from a bright light directed at mother's
forebrain and hindbrain have segmented again, forming a
abdomen by week 16 (Liley, 1972; Goodlin, 1979).
five segment neural tube (Martin & Jessell, 1991). By the
•Auditory function begins sometime between the 16th
seventh week, a layer of neural cells migrate to the outer
to 20th weeks, and the auditory nerve is functioning at about
margins of the forebrain to form the cortical plate and begin
24 weeks (more later).
a five-stage formation of the cerebral cortex (Poliakov, 1965).
• Swallowing and respiration-like functions begin as
Beginning about the 16th week, the cortical plate begins to
early as 21 weeks, with both "breathing" and swallowing of
differentiate into the six-layer formation of the neocortex,
amniotic fluid (Jansen & Chernick, 1983).
and that development continues well into postnatal life (Marin-Padilla, 1970).
• deMause (1982) describes common characteristics of the 3-to-6 month fetal baby which includes kinetic be
•The forebrain becomes the telencephalon (which even
havior.
The fetus ...now floats peacefully now kicks vigorously
tually becomes (1) the cerebral cortex, basal ganglia, hip
turns somersaults, hiccoughs, sighs, urinates, swallows and breathes
pocampal area, amygdala, and so on), and (2) the dimcqtha-
amniotic fluid and urine, sucks its thumb, fingers and toes, grabs its
lon (becomes the thalamus, hypothalamus, and so on). The
umbilicus, gets excited at sudden noises, calms down when the mother
hindbrain becomes (1) the metencephalon (becomes the pons
talks quietly; and gets rocked back to sleep as she walks about.
and cerebellum) and (2) the myelencephalon (medulla oblon gata) (Martin & Jessell, 1991).
The spinal cord begins its
• Nearly all of the neurons that will ever be produced in human brains (neurogenesis), are produced by about the
refined differentiation first, followed by the brainstem, mid
30th week of womb life, and many more are produced than
brain, limbic system, and the cerebral hemispheres and their
will actually be used in the developed brain. Genes appear
cortices.
CNS neurons have begun forming functioning
to trigger the growth of more neurons than are necessary in
sy n ap ses b y a b o u t the 70th day after co n cep tio n
order to optimize adaptability and survival (Dobbing &
(Wigglesworth, 1980).
Sands, 1973; Spreen, et al., 1995, p. 28).
• The earliest reflexes of sucking and grasping occur by the sixth week (deMause, 1982). • The first of the senses to appear is the tactile sense at
• Interhemispheric transmission through the corpus callosum is established by the 32nd week. • Vocal sounds have been produced in uterol
This
the gestational age (GA) of about 7.5 weeks (Hooker, 1959)
occurs very rarely, and under highly unusual circumstances
when the fetal baby is about four-fifths of an inch tall.
(Ryder, 1943; Thiery, et al., 1973).
•The vestibular sense (balance and orienting in space) begins functioning at about 9.5 weeks. • The limbic system, including the right and left
• The fetal brain is sufficiently developed to support consciousness and physical awareness by the 28th to 32nd weeks of gestation (Purpura, 1975).
amygdalae, has begun to differentiate by at least the 10th
• A primary repertoire of synaptic connections and
week, and the gyral configuration of the cingulate cortex
neuron networks is gradually formed during womb life in
region (limbic lobe) can be detected by weeks 16 to 19 (Benes,
response to genetic and epigenetic processes (Edelman, 1989).
This system is crucially involved in
This primary repertoire provides core capability-ability clus
processing human feeling states, but its "regulatory" links
1994; Tucker, 1992).
ters that ensure basic survival when in the care of a pri
with the prefrontal cortices are very immature through in
mary caregiver.
fancy.
•Temperament-related amygdala reactivity thresholds appear to be formed during the third trimester, as a result of p r e n a t e ,
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genetic, epigenetic, and experiential processes (maternal dis tress, for example) (Kagen, 1994).
• During post-birth life, genetically induced cyclical brain growth spurts occur that increase the size and com
• Neurons that (1) do not make synaptic connections
plexity of the brain's neurons, and the number and size of
during their epigenetic location processes (Cowan, et al.,
the brain's supporting glial cells greatly increase (Fischer &
1984), or (2) those that are minimally activated by sensory
Rose, 1994, 1996; Yakovlev & Lecours, 1967).
or motor experiences (Huttenlocher, 1990, 1994), are prime
• Post birth experiences with people, places, things,
candidates for cell death and subsequent elimination from
and events increase the sensory and movement stimulation
the body This pruning away of neurons is related to plas
of neural and transmitter molecule processes of neonates
ticity and efficiency of brain function, and some of it occurs
and infants. As a result, the brain's neurons grow larger
before functional maturity of most neuron groups has been
and longer, and many billions of interconnecting synaptic
completed (Spreen, et al., 1995, p. 16).
filaments are generated (synaptogenesis), that is, dendrites
•Brain weight normally doubles during the 8th month
and axon collaterals and telodendria (see Book I, Chapter 3,
of womb life as neuronal size, dendrites and synapses, and
and Edelman, 1989; Huttenlocher, 1993). While the major
the number of the brain's supporting glial cells increase.
ity of brain growth occurs in the first year following birth,
The fetal left and right hemispheres expand enormously
the brain grows many more synapses than it will use, even
around the 28th week, although the right hemisphere's neu
tually discarding many (Innocenti, 1981; Huttenlocher, 1993).
ron networks become refined (pruned and "sculpted") ear
• Part of the increase of neuronal size involves the
lier than the left (Bracco, et al., 1984).
The left is usually
growth of a white insulation material, called myelin, around
larger than the right (Chi, et al., 1977), in preparation for an
the axons of many neurons in the nervous system (Yakovlev
experience-expectant capability for spoken language. The
& Lecours, 1967). Myelin is supplied by a certain type of
right hemisphere is functionally dominant in infants (Chiron,
glial cell. It considerably improves the conduction velocity of
et al., 1997).
nerve impulse firing. As myelinization continues, there is a
• Genetically triggered, cyclical brain growth spurts
gradual increase in the speed, accuracy, and smoothness of
(Fischer & Rose, 1994, 1996) interface with stimulations from
a child's sensory perception, and neuromuscular coordina
life experiences, to induce a selection process that provides
tion and reaction time.
a secondary or learned repertoire of neurochemical net
begins in early womb life, spurts in the eighth fetal month,
works in the body and its brain (Edelman, 1989; Greenough
and is significantly complete out to the extremities by about
& Black, 1992).
four years. It occurs more rapidly in response to appropri
Myelinization of motor neurons
• Only about 25% of adult brain weight has been
ate sensory stimulation (Dobbing, 1974; Ludington, 1985).
achieved by birth, 50% at six months, 70% at one year, and
Prefrontal cortex and corticospinal motor nerves continue
90% at age three (Dobbing and Sands, 1973).
growing in size and myelinization until at least age 17 years
Thus, the
majority of brain growth occurs in the first 1 to 2 years
(Paus, et al., 1999).
following birth (Lemire, e t al., 1975; Ludington, 1985; Spreen, et al., 1995, pp. 28, 29).
The parts of human nervous, endocrine, and immune systems that process affective states (feelings, emotions; see
If almost no new neurons are formed after about five
Book I, Chapters 2, 7, and 8) are in place and functioning at
months of womb life, why is adult brain weight not achieved
least during the third trimester (Benes, 1994; Dawson, 1994).
at the same time? W hy does brain weight continue to in
As a result, neuroendocrine states that occur in pregnant
crease? There are several known reasons:
mothers also occur in their babies (Fedor-Freybergh, 1985).
• Prenatal brain size must be constrained so that pas
Recipes of hormones and neuropeptides are released into
sage of baby's head through mother's birth canal is pos
mothers' bloodstreams, and many, if not most, of the bio
sible.
chemical ingredients are passed to fetal babies through umbilical cords.
They then can stimulate similar neuro
chemical feeling states in the babies (the blood-brain bar
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rier is still immature). This is one way in which memory
den Bergh, 1990). When pregnant mothers have pleasant
and recognition capabilities and affective attachment, non
expectations, are relaxed and feel secure, the increased tone
attachment, or dis-attachment can occur between mothers
of the parasympathetic division of their autonomic ner
and babies (also referred to as parent-child bonding or
vous systems, and the release of the pleasant-feeling hor
disbonding; Kraemer, 1992). Presumably, the earliest internal
mones and neuropeptides in their own bodyminds, will
affective state changes begin the lifelong value-emotive cat
influence similar states in the bodyminds of their children.
egorizations that are the foundations of what has come to
Repetition of those kinds of circumstances create the neural
be called emotion regulation or deregulation (Book I, Chapters
and neurochemical changes that (1) form pleasant feeling
7 and 8 have more information).
Pregnant mothers are
states and implicit, other-than-conscious memories of them,
always part of this process. The impact that fathers have is
(2) sensitize the nervous system to, and raise the threshold
determined primarily, but not exclusively, by the nature of
for, unpleasant emotional reactivity, and (3) become the foun
their relationship with mothers. For example, the transmitter molecules that are re
dation for attachment or emotional bonding between mother and baby.
leased during stress reaction, such as cortisol, epinephrine,
Memories of prenatal, birthing, and infant experiences
and norepinephrine (Book I, Chapter 4 has details), can cre
are formed (Bauer, 1996; Chamberlain, 1988b; Meltzoff, 1995;
ate emotional distress in a fetal baby (Anand & Hickey,
Meyers, et al., 1994; Moscovitch, 1984; Rovee-Collier, 1993).
1987; Davidson, 1994; Porges, 1991, 1992; Porges, etal., 1996;
Language-capable children can be asked if they remember
Rossi, et al., 1989; Van den Bergh, 1990; Wadhwa, 1998;
when they were born or "came out of mommy's tummy."
Wadhwa, et al., 1996). As a result, fetal baby heartrates will
There is a window of remember ability until about age 3 to
increase and they will most likely move around and/or
4 years, after which infantile amnesia occurs (Meltzoff, 1995).
kick. If pregnant mothers have experienced sudden, intense
The physio-chemical states that were present during their
emotional distresses, or have been in relatively intense stress
formation can no longer be reconstructed in ordinary con
ful circumstances over a period of time, then the increased
scious states, presumably because cyclical brain growth
tone of the sympathetic division of their autonomic ner
spurts have inhibited access to the neural circuits in which
vous systems, and the biochemistry of distress, will be
they are instantiated. Early emotional memory states may
shared, to some extent, with their babies.
still be present, to some extent, and can influence behavior
Repetition of those kinds of circumstances create the neural and neurochemical changes that (1) form unpleasant
outside of conscious awareness. They are likely to be ac cessible only through age-regression hypnosis.
feeling states and implicit, other-than-conscious memories
As prebirth anatomy gradually grows toward postbirth
of them, (2) sensitize the nervous system to, and lower the
anatomy, and its functioning becomes increasingly com
threshold for, unpleasant emotional reactivity, and (3) pos
plex, a rudimentary human consciousness becomes pos
sib ly b eco m e the fo u n d a tio n fo r som e degree o f
sible sometime during the final two months of womb life.
nonattachment or emotional disbonding with mother. These
Human consciousness is a generic term for vastly complex bio
characteristics may be observed in the behavior of babies
logical processes that include (1) conscious sensory aware
following birth.
For example, so-called "difficult" babies
ness of surroundings in integrated wholes, (2) protective
who cry and fuss a great deal might be expressing a prenatal
reflex behaviors, (3) perceptual, value-emotive, and con
history of frequent and intense episodes of maternal dis
ceptual categorization and memory (major aspects o f pri
tress. A baby who sleeps for unusually long periods also
mary consciousness), (4) volitional, intentional, and purposeful
may be reacting to such a prenatal history.
behavior in relation to past and present experiences, (5)
The transmitter molecules associated with pleasant feel
estimates of future experiences, and (6) symbolic commu
ing states and neurom uscular relaxation, such as the
nication with other human beings through language, math
endomorphines, are key mediators of emotional bonding
ematics, and the symbolic modes called "the arts" (major
between a mother and her baby (see Book I, Chapters 2 and
aspects of higher order consciousness). Nearly all of the biologi
7; also Fedor-Freybergh, 1985; Facchinetti, et al., 1987; Van
cal processes that produce consciousness occur outside con p r e n a t e ,
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scious awareness. But the summated results of that pro
nitive-emotional-behavioral capabilities "on-line". Those in
cessing produce what we refer to as psychological processes
nate abilities are elaborated as babies gradually learn to
that are, or could be, in conscious awareness, such as im
express themselves symbolically with gestural and vocal
ages, representations, concepts, and so on (for more details
abilities. As culturally accumulated knowledge and ability
see Book I, Chapters 2, 7, and 8). All of these processes are
are categorized, knowledge-ability clusters are formed, such
integrated with human capability-ability clusters.
as music, language, mathematics, science, history, and so on
Three innate abilities are the seeds from which all learned
(see Table IV -1-4).
abilities grow and branch. An initial version of these abili
All aspects of brain growth and function are facilitated by ap
ties are part of the primary repertoire of electro-physio-
propriate prenatal, infant, and early childhood interaction with people,
chemical networks with which human beings are born. They
places, things, and events (Brazelton & Cramer, 1990; Eichorn &
are:
Verny, 1999; Ludington, 1985; Verny, 1981). 1. an interactive-expressive ability that enables both
obvious and subtle expressive interactions between a grow ing human being and the people, places, things, and events that a baby encounters;
P re - a n d P e rin a ta l C a p a b ilit ie s th a t U n d e r li e S p o k e n L a n g u a g e a n d S in g in g
2. an imitation ability that enables the learning of postural, gestural, facial, and general body movements as
Brief summary of physical and functional devel
well as vocal pitch, vocal volume, tonal quality, and dura
opment of the auditory system within the pre-birth
tion; and
sound environment. The tympanic membrane of the outer
ear begins developing in the 11th week of gestational age an exploratory-discovery ability that enables sen (GA). The tiny bones of the middle ear begin developing in sory and motor exploration followed by discovery of sur the 8th week and general middle ear development contin roundings (people, places, things, events) and increasingly 3.
detailed elaboration of an array of capability-ability clus
ues until the 8th month (Pujol, 1993; Lecanuet, 1996). The
ters.
inner ear begins developing at about the 28th day.
The
cochlea begins to curl during the 6th week, has assumed its As cyclical brain growth spurts occur during infancy
basic configuration by the 10th week, and assumes its final
and childhood (described later), they bring increased cog
adult size by the 20th week. The organ of Corti begins its
Table IV-1-4 Some Human Knowledge-Ability Ousters Self-expression through spoken, written, or signed denotative language(s) Self-expression through mathematical symbol systems Self-expression through value-emotive symbolic modes such as: objects in space that have expressive shape and color, prosodic-metaphoric-story language, music, singing, theatre (reenactment), mime, dance, opera, film, video Somatosensory knowledge-ability clusters in which people take pleasure in using skilled and unskilled physical coordinations to explore surroundings and carry out purposeful action such as creation and repair of objects, nonverbal gestural communication Visual-spatial knowledge-ability clusters in which people take pleasure in apprehending, designing, and/or constructing visually perceived spatial environments Personal autonomy knowledge-ability clusters in which people develop emotional self-regulation, constructive competencies, self-reliance, and a bordered self-identity Empathie relatedness knowledge-ability clusters in which people develop human-friendly verbal and nonverbal communication and socialemotional self-regulation skills
668
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intracochlear development by the 8th week and its hair cell
the early studies indicated clearly that those SPLs at those
auditory receptors are observable by the 11th week. By the
frequencies actually came from the resonances of the build
14th week, even when all of the hair cells are formed and in
ings in which the recordings were made (Peters, et al., 1991).
their final positions on the basilar membrane, they are not
The equipment that was used to record the data were not
yet functioning.
sensitive enough to distinguish room frequencies from
The inner ear develops significantly between the 16th to 20th weeks.
womb frequencies.
At 20 weeks the auditory mechanism is
More recent microphone technology for recording in
structurally comparable to that of an adult (Eisenberg, 1969),
fluid environments, and more accurate spectral analysis tech
and auditory functioning has begun (Pujol & Uziel, 1991).
niques, have indicated that the actual ambient sound levels
During gestation, the outer and middle ears are filled with
within the womb are much quieter. A range of 20 to 65-dB
amniotic fluid.
SPL and frequency ranges from 100-Hz to 700-Hz are much
Fluids, bones, and other tissues conduct
sound pressure waves very readily, so that sound wave
more common, depending on (1) the location of the micro
energy can easily reach the cochlea and its hair cells with
phone within the womb, (2) the frequency range of the noise,
out significant energy loss.
Early innervation of the hair
and (3) the arousal state of the mother and child. Maternal
cells has occurred by the 20th week, although the hair cells
heartbeat averaged about 25-dB SPL (Benzaquen, et al., 1990;
are not yet fully mature. Mature synapses between the hair
Gagnon, e t al., 1992; Querleu, e t al., 1981, 1988). Other varia
cells and the auditory portion of the vestibulocochlear nerve
tions in the intra-abdominal sound environment of fetal
(cranial nerve VIII) are found by the 24th to 28th weeks,
babies relate to variations of thickness in womb tissues, the
and final maturity of the inner ear occurs by the 8th month
fetal position within the womb, the time of day when mea
(Pujol, et al., 1991).
sures were recorded, and the nature of the external sound
Transmission of nerve cell impulses has been recorded in the brainstems and the auditory cortices of premature babies. They have been recorded, but are inconsistent, in
environment (Nyman, et al., 1991; Richards, et al., 1992; Vince, et al., 1982).
Evidence of prenatal auditory perception of sound,
the 24th to 25th weeks of GA, but there is a progressive
speech, and music and responsiveness to same.
increase to stability by weeks 30 to 32 (Krumholtz, et al.,
startle responses to sound stimulation (loud warning horns
1985; Pasman, et al., 1991; Starr, et al., 1977). Transmission
and wood claps) were studied in the 1920s (Forbes & Forbes,
of nerve cell impulses also has been recorded in the
1927; Pieper, 1925). More sophisticated methods and tech
brainstems and the auditory cortices of fetal babies by placing
nology have been used by scientists in recent decades
electrodes on their scalps during labor (Barden, et al., 1968;
(Abrams, et al., 1995).
Scibetta, et al., 1971; Staley, et al., 1990).
vibrating objects are attached directly to the skin surface of
Initial studies of the intra-abdominal sound environ
Fetal
During vibroacoustic stimulation,
maternal abdominal walls, such as tuning forks and vari
ment used microphones that were covered with rubber
ous electronic vibrators. Air-mediated acoustic stimulation
membranes.
They were placed into the vagina or cervix
transmits sound energy onto the maternal abdominal sur
nearest to the uterus in pregnant women, non-pregnant
face from various distances. Studies have used pure tones
women, or into the amniotic cavity during or after mem
and narrow and broad frequency band noises. Observed
brane rupture.
The earlier microphone technology and
fetal responses have been (1) isolated, sudden, startle motor
acoustic analysis techniques indicated somewhat loud in
movement, (2) ongoing increases in motor movement, (3)
tra-abdominal noise levels of 72 to 96-dB sound pressure
movement inhibition, and (4) heartrate acceleration or de
levels (SPL) at low frequency levels of about 50-Hz to 60-
celeration (Tanaka & Arayama, 1969).
When exposed to
Hz (Bench, 1968; Henshall, 1972; Walker, et al., 1971;
ongoing loud noise (85-dB and higher) and to short, very
Murooka, 1976). These high SPLs were thought to result
loud noise bursts (such as gun firings), various degrees of
from the sounds of: (1) maternal heartbeat, (2) maternal
hearing loss have been measured in animal fetuses (sheep)
arterial and venous bloodflow, (3) the umbilical artery, and
that are near the size and maturational stage of human fe
(4) uteroplacental bloodflow. A re-analysis of the data from p r e n a t e ,
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tuses (Gerhardt, et al., 1999). Cochlear hair cells also were malformed.
External voices that were spoken at 90-dB SPL were barely reduced by passage through the abdominal tissues
Air-mediated broad-band noise stimulation was pre
of a pregnant mother, 2-dB for males and 3-dB for females.
sented at 110-dB, and a slow-latency, random motor re
Just like external voices, the sound waves that are produced
sponse occurred in a 20-week old fetus.
An immediate
by a mother's voice are transmitted from her mouth, through
startle response occurred in response to the same stimulus
surrounding air molecules, and resonate through abdomi
at the age of 25 weeks, including sudden movement and
nal tissues into the womb's amniotic fluid for transmission
accelerated heartrate (Shahidullah & Heffer, 1993).
Out-
to fetal ear mechanisms. In addition, however, the funda
side-the-womb sounds that range between 85-dB and 100-
mental frequency and upper harmonics of maternal voices
dB do not produce the startle response. In fact, the com
are conducted into the womb by way of the spine and pel
mon response is relative stillness and moderate decelera
vic arch (Petitjean, 1989).
tion of heartrate, and it can occur during both awake and sleep states (Lecanuet, et al., 1988).
Based on heartrate changes in response to sounds, 40-dB may be the lower threshold of a prenatal infant's
Learning through the auditory sense was demonstrated
ability to hear mother's voice (a firm whisper is about 35
through such methods as classical conditioning as early as
dB). A minimum duration of 300 milliseconds is necessary
the 1930s (Ray, 1932). Learning that is outside conscious
to get attention (Eisenberg, 1965). A threshold for outside-
aw aren ess
and
the-womb sounds appears to be about 60 dB (DeCasper
dishabituation of decelerative heartrate reactions to syllables
and Fifer, 1980; Querleu, et al., 1981). That is the equivalent
spoken by a female speaker at 95-dB and repeated every 3.5
SPL of conversational speech.
is
d em o n stra ted
b y h a b itu a tio n
seconds. The initial heartrate resumed after about 16 rep
Lecanuet (1996) notes that research into the fetal re
etitions, but the deceleration reoccurred when the order of
sponse to music indicates that the type of music, its loud
the syllables was changed (Lecanuet, et al., 1987). Using the
ness, its general pitch characteristics, and the behavioral state
habituation and dishabituation response, late-term fetal
of the baby will affect fetal reactions.
babies discriminated the difference between a female voice
tions commonly occurred during 15 seconds of a Bach or
and male voice (Lecanuet, et al., 1992).
gan prelude that was presented at 100-dB (Woodward, 1992).
Heartrate accelera
A mother's speech, and speech that is delivered near a
Twenty-five minutes of classical or pop music was pre
mother, are clearly differentiated from intra-uterine noise at
sented through headphones to pregnant mothers during
frequencies above 100-Hz (G2) (Querleu, et al., 1988). Both
their third trimester. During a subsequent period of silence,
sources of speech were muffled and the sound pressure
their babies exhibited increased general body movement
levels (SLPs) of the higher harmonic frequencies were re
but decreased respiratory movement. The effect was more
duced. The inflection of spoken pitch (prosody) was clearly
pronounced when the mother's favorite music was pre
noted, and when the recordings were played for adults, the
sented (Zimmer, et al., 1982).
words were recognized even though the high-frequency
Feijoo (1981) noticed that when m others-to-be went
noise components in consonant sounds were significantly
into deep relaxation during the sixth through eighth months
reduced. Apparently, there is a 20-dB SPL reduction of ex
of pregnancy, their fetal babies would increase their move
ternal vocal sound, with no difference noted between male
ment within the womb. Subject mothers played the main
and female speakers (Benzaquen, et al., 1990; Querleu, et al.,
musical theme from Peter and the Wolf by Tchaikovsky when
1988). There is only an 8-dB SPL reduction, however, of
ever they went into the deeply relaxed state during those
mother's voice. Mother's voice, therefore, is more audible
months of their pregnancy. Would playing the theme (con
within the womb than external voices.
In one study
ditioned stimulus) induce the increased movement in the
(Richards, et al., 1992), a mother's voice was measured at
absence of the deep relaxation (unconditioned stimulus)?
72-dB SPL near her mouth, but the intra-uterine recording
The study's final assessment occurred in the 37th week of
of her voice was measured at 77-dB SPL, a 5-dB increase.
the babies' womb lives.
670
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The conditioned babies began
moving immediately after the music began, and babies who
story, The Cat in the Hat, twice a day during much of the third
had not heard the music began moving 6 to 10 minutes
trimester of womb life (DeCasper & Spence, 1986; see also
later.
Kolata, 1984). Newborns prefer a familiar story read by the
Postnatal evidence of prenatal auditory experiences
mothers, but not a new, unfamiliar story read by their moth
with sound, speech, and music. Several studies confirmed
ers.
a calming response by newborns when recordings of ma
and familiar prosody of their mothers' voices (DeCasper &
ternal heartbeat sounds were played for them (Salk, 1960,
Spence, 1986). The same effect occurs when mothers sing a
Thisindicates a preference for familiar word sounds
1962; Yoshida, et al., 1988). Marooka, et al., (1976) and Kato,
familiar versus an unfamiliar lullaby (Satt, 1984). Newborns
et al., (1985) made recordings of prominent cardiovascular
also have indicated preference for the musical themes of
flow-pulses near the placenta. When played for newborns,
television shows that were frequently viewed by mothers
the calming effect occurred, and DeCasper & Sigafoos (1983)
before birth (Hepper, 1991).
observed a reinforcing value for 3-day old babies.
They
also concluded that any sound that was acoustically simi lar to that flow-pulse noise also would have a short-term calming effect. Asada, et al. (1987), noted reductions in heart
F e e lin g , L e a r n i n g , a n d H e a lt h D u r i n g P r e n a t a l, In fa n t a n d E a r ly C h ild h o o d A g e s
and respiration rates during the calming effect Newborn babies can discriminate pitch differences and
Interactive human communication actually begins
turn their heads to locate sounds (Leventhal & Lipsett, 1954),
before birth and continues for a lifetime. If babies are to
and they respond with "enjoyment" to the sound of their
survive, they require interactive assistance from one or more
mothers' voices (Butterfield & Siperstein, 1974). From a few
adult caretakers. In addition to shelter and feeding, infants
hours to just under 72 hours after birth, infants will choose
must experience the affective physio-chemical states that we
to listen much more frequently to their own mothers' re
human beings refer to as attachment, emotional connection, bond
corded voices reading a story than the recorded voices of
ing, and loving care. If they are deprived of those experiences,
other females reading the same story (DeCasper & Fifer,
they tend toward pitiful crying out, rage, repetitive swaying,
1980). The same preference is displayed for mothers' voices
lethargy, wasting away, and death (Carlson & Earls, 1997;
singing a nursery rhyme (Panneton, 1985; Panneton &
Spitz, 1945, 1946; Spitz & Wolf, 1946). Genetic-epigenetic
DeCasper, 1986).
growth processes provide all normal babies with (1) an
An even greater preference is demonstrated for ver
interactive-expressive ability, (2) an imitative ability, and (3)
sions of mothers' voices that were recorded from within the
an exploratory-discovery ability (documented in Book I,
womb before their children were born (included placental
Chapter 8). These abilities set babies up for optimum sur
cardiovascular sounds; Fifer & Moon, 1989; M oon & Fifer,
vival and thriving when they are consistently in the pres
1990). How do newborns express their preferences during
ence of a caring, interactive adult.
these studies? The rate at which newborns suckle at a plas tic, non-nutritive nipple is faster when they are experienc ing a pleasantly familiar person or event. In some studies, newborns were presented an array of three non-nutritive nipples, and suckling on each nipple tripped a switch that turned on a different tape recording. Fathers' voices were not preferred by 2-day old infants over the voices of other males. They surmised that the finding was due to much less auditory experience with fathers' voices compared to mothers' voices (DeCasper & Prescott, 1984). Newborns remember and recognize their mothers' familiar voices when the mothers have read a Dr. Suess
F e e lin g , L e a rn in g , a n d H e a lth B e fo re B irth All learning has an emotional base (Book I, Chapter 8), and learning begins in utero. The most frequent sound that fetal babies hear is the sound of heartbeat pulsations within the womb's main artery (Salk, 1973). The bloodstream which carries nour ishment to a fetal baby, also carries the kaleidoscope of hormones and neuropeptides that are among the physical mediators of human feelings, emotions, immunity, and other bodymind functions (Book I, Chapters 3, 4, 5, and 7 pro vide background). When a baby experiences the hormone recipes that adults associate with emotions, and when they p r e n a t e ,
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are experienced with some critical level of frequency, emo
ing fetal life detrimentally affected postnatal adaptability of
tional memory tags are formed within the child's neuroen
infants.
docrine system.
The central nervous system (CNS) of a fetal baby is
Prenatal learning was documented at least as early as
particularly vulnerable to noxious environmental effects.
1932 (Ray, 1932; Spelt, 1948; Leader, 1982; Kolata, 1984).
The CNS develops over a longer time period than other
Nonverbal, other-than-conscious communication abilities
systems (about two decades), is limited in repair capabili
(described in Book I, Chapters 7 and 8) appear to be rather
ties, and the blood-brain barrier is not fully developed during
sophisticated at birth (Chamberlain, 1998a), which implies
womb life. Also, degrees of sensitivity and responsivity in
instantiation of those capabilities-abilities prior to birth. At
neurotransmitter systems are initially set during fetal and
least within the final month of full-term pregnancies, the
postnatal development (Facchinetti, et al., 1987; Sternberg,
interactive-expressive and exploratory-discovery abilities of
1999; Wadhwa, 1998). Developmental trajectories are being
normal babies are remarkable (Chamberlain, 1998b).
For
traced into the prenatal period (Smotherman & Robinson,
instance, unborn children can learn to play an interactive
1995), and immune system sensitivities have been traced to
game with their mothers and fathers.
When babies kick
prenatal "programming" (Barker and Sultan, 1995; Odent,
behind their mothers' abdomens, parents can press back
1986). Alcohol consumption and tobacco smoking are two
against that same location. After an appropriate number of
common substances that can seriously affect the epigenetic
repetitions, parents can then press another location and even
formation of neural anatomy and immune responsiveness
tually, their babies will learn to press out at that location
(Emanuele, et al., 1997; Michaelis, 1990; Randall, et al., 1990;
and an interactive game can evolve (Van de Carr, et al., 1988).
Schenker, et al., 1990; Sorahan, et al., 1997).
Condon and Sandor (1974) videotaped newborns making
Some prenatal obstetric procedures appear to have
subtle movements that were precisely timed with mothers'
detrimental effects on the neuropsychobiological processes
speech patterns. Chamberlain (1988b) has documented birth
of children. The high-frequency sound waves of ultrasound
memories with strong emotional content in adults who were
imaging appears to have detrimental effects on some fetal
tape recorded describing their own birth under age-regres-
babies (Ewigman, et al., 1993; Wagner, 1995). A test of nor
sion hypnosis.
mal fetal viability, named the vibroacoustic stimulation test
Higher intensity distress episodes, excessive eustress,
(VAST), places an electronic artificial larynx on a pregnant
and long-lasting milder distress episodes, can all have un
mother's abdomen but directly over the fetal baby's head,
fortunate effects on prenatal babies (Wadhwa, et al., 1996).
and generates a 122-dB SPL noise signal for five seconds.
Within the past two decades, over 100 scientific studies have
Predictably, the baby's respiration is altered, heartbeat ac
associated prenatal psychosocial stress in pregnant women
celerates significantly, and movement away from the sound
with (1) in utero developmental deficits such as early preg
source is immediate. A sound that strong produces a "tran
n a n cy loss, m a lfo rm a tio n s, h y p eractiv ity , reduced
sition which in the neonate can only be brought about by
neurobehavioral maturation and growth, shortened gesta
painful stimuli" (Richards, 1990). Anecdotal experience of a
tion, low birth weight, birth com plications, (2) infant
child that was exposed to the VAST indicated sensorineural
neurodevelopmental deficits related to cognition, affect, be
hearing loss and difficulty focusing attention (Personal ex
havior, and (3) development of childhood and adult psy
perience, Elizabeth Grambsch).
chopathologies (DiPietro, et al., 1996; Field, et al., 1985;
Sometimes, prenatal birthing classes can increase the
Paarlberg, et al., 1995; Rossi, et al., 1989; Sontag, et al., 1969;
apprehension and distress of women, especially those who
Tronick & Gianino, 1986; Van den Bergh, 1990; Wadhwa,
are experiencing pregnancy for the first time, or those who
1998). For example, pregnant Japanese women who lived
wish to achieve a vaginal birth after caesarian delivery of a
near Osaka Airport gave birth to smaller than normal ba
first child. Explicit and implicit apprehension and distress
bies and there was a higher than normal incidence of pre
can result from "matter-of-fact" references to labor pain,
mature births and birth defects among them (Szmeja, et al.,
long periods of labor, pictures of women in painful labor,
1979). Ando & Hattori (1970) noted that intense noise dur
pictures of "bloody" babies emerging from the womb and
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of afterbirth substances, and discussion of various birth
cally in special prenatal communications with enough fre
complications. Artificial, consciously controlled breathing
quency. By the 32nd week, fetal babies can react differently
techniques, that are learned for the purpose of controlling
to the voices of mother, father, and unfamiliar voices (Verny,
contractions, focus conscious awareness on the mother,
1984).
rather than on the whole process of bringing forth a new
From before birth, and throughout life, the voices of
human being. Such learning experiences can create images
parents affect the emotional and cognitive learning of their
and protective behavioral tendencies in the conscious-ver
children. Associations between parent-child bonding and
bal and emotional motor systems that can override the in
the sound of parents' voices may be among the earliest
nate, reflexive birthing processes with which all women are
bases upon which a healthy self-identity can be built for a
genetically endowed (Odent, 1984a,b; Personal communi
lifetime, or its opposite.
cation, Michel Odent, M.D., September, 1986).
tions for spoken language is a substantial development in
The mastery of vocal coordina
Along with Frederick Leboyer (1975), Dr. Michel Odent
the life of children. From birth to death, the voices of hu
is regarded as a pioneer in the reform of Western childbirth
man beings are the primary means by which we communi
practices (Odent, 1984a,b, 1986). No prenatal birthing classes
cate our needs, wants, thoughts, and feelings with others.
were offered at Dr. Odent's leading-edge obstetric clinic in
The limbic areas of the brain that process our feeling-states
Pithiviers, France. The only organized activity for pregnant
are richly interconnected to the cortical and brainstem ar
parents and their families were led by Madame Marie-Louise
eas that operate our voices. Our voices are, therefore, con
Aucher, a singing teacher and former professional singer.
nected to the deepest, most profound sense of "who we are"
Once or twice a month, she would lead anyone who came
When mothers want their babies, love them, express
to her sessions in singing French folksongs (child-length
their empathic feelings to them, and provide occasions for
and adult-length).
Songs were selected that expressed a
calm relaxation, during womb life, then the possibility of
variety of life's feeling-states, and Mme. Aucher coached
mutual pleasant-feeling memory tags and empathic emo
those assembled to match their voices to the expressive
tional relatedness is increased (Dunkel-Schetter, et al., 1996;
meanings of the words and music. She also coached them
Fedor-Freybergh, 1985). Optimum conditions for a preg
in basic singing abilities, midsection breathing in particular.
nant woman and her growing baby include (Dunkel-Schetter,
According to Dr. Odent, such singing can be excellent prepa
et al., 1996; Odent, 1984b):
ration for parents before birth.
empathic relatedness with the people who are important to
(1) optimum supportive and
her, (2) optimum pleasant, intrinsically interesting experi (S)inging provides a simple way for women to exercise their
ences, (3) self-expressive experiences (speaking and sing
(breathing) muscles and learn to concentrate on breathing out, which
ing), (4) optimum nutritious diet for mother and baby and
can help them relax during labor. Singing also encourages women to
appropriate whole body movement (pleasure walking, at
feel comfortable, unself-conscious and expansive-to experience and re
least, see Book III, Chapter 13), (5) a minimum of distressing
lease the whole range of emotions. (Odent, 1984b)
experiences, (6) supportive prenatal care from birthing pro fessionals.
The second most frequent sound that fetal babies hear in the
Learning occurs in the womb whether it is "planned" or not.
womb is the sound of mother's voice. When mothers experience loving, empathic feelings toward their fetal babies, they usu ally express those feelings in spoken words during private moments of special communication.
The more mothers
talk while they are in alert-pleasant, calm-relaxed, affec tionate states, the more an association is built between pleas ant feeling-states and the sound of mother's voice. Fathers may be a part of such bonding if they also participate vo
F e e lin g a n d L e a r n in g A r o u n d the B ir t h in g E v en t For both mothers and babies, birth is a physically and emotionally demanding event (Lagercrantz & Slotkin, 1986). For some mothers, it is deeply traumatic. For others, it is an intense experience that includes pain, but results in the birth of her child. Within one minute of birth, five vital signs of newborns are evaluated: (1) color, (2) pulse, (3)
p r e n a t e ,
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reflex response to external stimulation, (4) muscle tone, and
Giving birth under bright lights may be convenient
(5) respiration. Each vital sign is rated on a 0 to 2 scale that
for obstetric staff, but is a noxious stimulant for birthing
was invented in 1952 by an anesthesiologist, Virginia Apgar.
mothers (Odent, 1984a,b), and can induce various retinal
Zero means immediate medical attention is required, one
pathologies in newborns (Glass, et al., 1985). Post-partum
means wait and see, and two means normal. Most new
eye medications alter visual processing which needs to be
borns receive an Apgar rating of 7 to 10, and that generally
optimum for normal eye development (Davenport, 1988).
means that the baby is normal and will require no special
Higher-deciBel noise, especially continuous noise in a neo
medical attention.
Five minutes following birth, another
natal intensive care unit (NICU), can produce hypoxemia
Apgar evaluation is performed and its rating is compared
(low blood oxygen levels) in newborns (Gottfried & Gaiter,
to the one-minute rating. By then, most babies who ini
1985; Long, et al., 1980) and possible hearing loss (Gerhardt,
tially scored below 7 will score in the 7 to 10 range. High-
1990).
risk infants may be rated with the Neonatal Behavioral Assess
forceps extraction and electronic monitors, and manual "de
ment Scale, developed by pediatrician T. Berry Brazelton.
livery" manipulations, such as unnecessarily aiding the
Elevation of neuroendocrine stress levels can inter fere with every woman's reflex-like capability for giving
Use of various instrumental procedures, such as
baby's passage through the birth canal, also participate in a human-antagonistic birth.
birth, including their fetal ejection reflex (Personal communi
Use of pain-depressant medications and procedures
cation, Michel Odent, M.D., September, 1986). The work of
(epidural anesthesia) disrupts a mother's reflex-like neu
Klaus, Kennell, and colleagues (1988; Sosa, et al., 1980), and
roendocrine processes that orchestrate the birthing process
others (Eichorn & Verny, 1999; Odent, 1984a,b; Verny, 1981),
(Odent, 1984b). They also blunt the implicit cognitive, emo
strongly suggest a connection between higher levels of stress
tional, and sensorimotor capabilities of both mother and
ful, acute anxiety and the suppression of labor contrac
baby at a time when these capabilities are vitally important
tions, resulting in longer periods of labor and fetal distress.
to the emotional and neuroendocrine well being of both
Stress and anxiety reactions include increased production
(Brackbill, 1979; Davenport, 1988). The optimal epigenetic
into the bloodstream of the hormone epinephrine, and it is
growth and development of the central nervous system is
associated with decreased uterine contraction and longer
put at risk.
duration of labor (Lederman, et al., 1978).
phin and other neurochemicals is suppressed by these meth
Some obstetric procedures and practices can elevate the neuroendocrine stress levels of mothers and their ba
Production and transmission of beta-endor-
ods, and may affect their production during distressful cir cumstances later in life (Thomas, et al., 1982).
bies, and some can detrimentally affect the physical and
The umbilical cord is made up of the baby's genetic-
neuropsychobiological development of children (Emerson,
cellular material, not the mother's. Clamping and cutting
1998; Goer, 1995). For example, neuroendocrine stress lev
the umbilicus before its pulsations cease denies the new
els are elevated when mothers give birth in an unfamiliar
born an important supply of blood-borne nutrients and
setting, especially one that is modeled after a surgical suite.
highly beneficial transmitter molecules of the neuroendo
The intimate experience of giving birth also becomes stressful
crine and immune systems (Davenport, 1988; Linderkamp,
in the presence of observing strangers (professional atten
1982). Immunoreactive endorphins and prolactin, for ex
dants), especially when they are wearing sterile masks, gloves,
ample, provide a natural analgesia and a pleasant postbirth
hats, shoe covers, and surgical scrubs. Placing women in a
feeling-state that facilitate development of the baby's inter
fixed, supine, body position eliminates the influence of grav
nal milieu and mother-baby emotional attachment.
ity and makes the birthing process physiologically ineffi
Severing the umbilical cord, followed by physical sepa
cient. This position also interferes with normal blood flow
ration of newborns from their mothers immediately fol
by placing pressure on the major vein that returns blood
lowing birth, disrupts the establishment of mother-child
from the abdomen to the heart (vena cava; see Odent, 1984a,
empathic relatedness or attachment.
pp. 30, 86). These practices are human-antagonistic.
newborn from mother detrimentally affects the success of
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Early separation of
first breast feeding by new babies (Righard & Adale, 1990).
(Klaus & Kennell, 1988).
The first breastfeeding is a cornerstone event in the lifelong
sumed the birthing role, and birthing practices became radi
emotional connection between mother and child. A seem
cally changed away from the empathic, supportive rela
ing abandonment of a child by the mother is a traumatic
tionship between mother, child, midwife, and father. In 1887,
neuropsychobiological event in the lives of helpless human
a journal was established, the Midwives Chronicle, in order to
beings, and is quite unnecessary (except in emergencies).
continue the midwife perspective about childbirth. For about
Except in the most life-threatening emergency situa
Gradually, male physicians as
the past 70 years, a common assumption has been that the
tions, artificial stimulation of newborns in a supine posi
sterile environment of a hospital surgery suite would better
tion with rough towels, slapping, or chest rubbing, is not
protect babies from disease and provide equipment for
needed to induce respiration, circulatory flow, and vital
immediate intervention during problem births. The beliefs
"color" (Davenport, 1988). These stimulations are noxious
and convenience of male physicians, who had never expe
to babies and produce an unpleasant feeling-state biochem
rienced childbirth, became the guiding force in the practice
istry.
of obstetrics (from Latin: obsto, obstare, obsteti: to stand in the
Suctioning to remove mucus and other substances
from the nasal, oral, pharyngeal, or tracheal areas also is
way). Currently, there is a trend back to earlier childbirth
unnecessary. By contrast, when mothers (1) want and love their
practices, but without losing medical expertise in the pro
unborn babies, (2) communicate lovingly and playfully with
cess. For instance, nurse training has been combined with
them, (3) are supported emotionally by family and friends,
training in midwife practices to create nurse-midwives.
(4) experience their pregnancy with relative calm, (5) ex
Odent (1984b) suggested that a nurse-midwife could be the
press out the distresses that they have encountered, and (6)
only person present during labor, and that alternative
anticipate birth with calm confidence, then pregnancy and
birthing environments be available such as a warm pool of
birth can be much more pleasant and the probability of a
water in which to recline and give birth, or reasonably spa
problem birth or intense birth trauma can be dramatically
cious, private, dimly lit room with a large soft bed in which
lowered (Brazelton & Cramer, 1990; Odent, 1984b, 1986;
mothers could be free to move around and to choose pos
Van den Bergh, 1990).
tures which they feel are comfortable. The husband or a
During the approximately 10,000 years that human
nurse-midwife could hold the mother in an upright, semi-
beings were hunters and gatherers, an array of birthing and
squatting position (underarm-shoulder support) so that
child-rearing practices evolved. In premedical times, bar
gravity could assist the descent of the baby through the
ring exceptional circumstances, childbirth took place in the
birth canal. Odent's clinic in France reported dramatic de
mother's familiar dwelling space and in comfortable, dimly
creases in the length and intensity of labor, the number of
lit privacy. One very common practice was continual as
problem births, and the number of caesarian sections (re
sistance and support for pregnant mothers during labor
ported in Odent, 1984b).
and birth by a birth-experienced woman. A common En
In the early 1970s, two obstetricians, Marshall Klaus
glish term for this role is midwife. A midwife was the middle
and John Kennell, studied birthing practices cross-cultur-
link between a husband and a wife during the birth of their
ally (reported in Klaus & Kennell, 1988; Sosa, et al., 1980).
child. Midwives had given birth themselves and were ex
In a Guatemalan hospital, they observed and recorded the
perienced in assisting other women during labor and child
birth outcomes of 427 normal, healthy, pregnant women.
birth, having "trained" as an apprentice with a practicing
The women were randomly assigned to two groups: ( l ) a
midwife.
Usually, midwives were acquaintances of the
168-member experimental group made up of women who
mother, if not a relative or friend, and sometimes another
had continuous personal support from a birth-experi-
female assisted. The overriding concern of midwives was,
enced female companion (referred to locally as a doula), and
and still is, the welfare of both mother and child.
(2) a control group of 259 women who labored and gave
The medicalization of birth began about 150 years ago in countries where the industrial revolution occurred
birth alone, with no companion (the common hospital prac tice). p r e n a t e ,
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The study's question was: Would the interactions with
The doula's prior experience with childbirth provides her
a doula make a difference in length of labor, perinatal com
with a fuller well of empathy and strength that fathers often
plications, and maternal-infant interactions within the first
cannot express at this time. This is particularly true of first
hour following birth in the hospital setting?
time parents.
• The women who had continuous support experi enced labor for an average of eight hours.
An experienced doula once wrote notes about how doulas support laboring mothers (adapted from a quota
• The women who gave birth alone experienced an
tion in Klaus & Kennell, 1988).
average of 14 hours of labor! • Medications were given to 19% of the women who gave birth alone, versus 4% of the supported women. • Thirty-four percent (34%) of the doula-supported
During (the first labor) stage you become a friend; you relax the (mother) and become her friend... .(W)hen she is dilated between 5 and 6 centimeters...she needs mothering....(T)elling them how proud I am
women had perinatal complications compared to 74% of
of them seems to make them try a little harder. It is very important to
the women who labored and gave birth alone.
soften your voice. This relaxes them and they quite often sleep between
• Caesarian sections were performed on 17% of the
contractions....(K)eeping my hand on their leg lets them rest
women who gave birth alone, versus 7% of the supported
comfortably....(W)hen she is between 8 and 9 cm (dilated)...she's at a
women.
point where she can lose controL.She needs strong support in a loving way....Encouraging remarks makes them pick up your excitement and
W hat does a doula do and what is her background?
they seem to have more energy....(W)hen (the doctors and nurses are)
Before the birth, the doula interviews the mother-to-be about
not talking you're going to be telling them how great a job she's doing
what she wishes to happen during her labor and birth. She
and "just remember, there's a baby at the end of all this!' I'm holding
is then the birthing mother's respectful, protective, repre
her hand all this time, sometimes even both hands. I stay with (her)
sentative to the rest of the world during labor and child
until she goes to recovery even if the baby is not in the room. I feel a tie
birth events. This allows the mother to let go of her self-
to her and I feel she still needs me.
conscious concerns, worries, or need to control the situa tion or "take care of" her husband, and to "go inside herself"
Following birth, mammalian babies automatically seek
and allow her bodymind's instinctive, reflex-like actions to
their mothers' breasts for a first-feed. That includes human
flow toward and through the birth moment.
babies. If they are placed face down on their mothers' ab
Descriptive
information from doulas in a Tampa, Florida, hospital in
domen (with intact umbilicus) for skin-to-skin contact, they
dicated that doulas touched, held hands with, and mas
will move themselves to the mother's breast and suckle (Dav
saged laboring and birthing mothers 70% of the labor and
enport, 1988; Righard & Adale, 1990). In this moment of
birth time and talked encouragingly and soothingly with
touching, smelling, holding, hearing mother's familiar heart
them 71% of the time.
beat and voice, self-attachment with mother's breast, and first
Usually, doulas have no medical training, but they
feeding, a rather intense array of neuroendocrine, immune
have borne children themselves. They have an empathic,
system, and em otional connection events take place.
supportive, and mothering way of interacting, but they can
Mother's uterus contracts to normal size more quickly when
speak with respectful strength when the interests of the
nursing occurs soon after birth, reducing the possibility of
birthing mother or child need serving, and they can be re
unpleasant hemorrhaging (Davenport, 1988). If breastfeeding
spectfully directive if the laboring mother appears to be
continues until first teeth appear, there is a significant and
giving up. Although the automatic bodymind functions of
optimum transfer of mother's innate and acquired immune
a birthing mother are more comfortably carried out when
system capabilities to the baby (Goldman, 1993; Lawrence,
another woman protectively assists her, many women are
1994; Newman, 1995; Slade & Schwartz, 1987).
reassured by the physical presence of the father (Klaus &
A constant, empathic, supportive, female companion
Kennell, 1988). The doula then supports the couple and the
(midwife, doula, nurse-midwife) can enhance ( l ) a lower
baby, and can "coach" the father in his support of his wife.
probability of a problem birth (for example, breech presen
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tation, caesarean section), (2) shorter labor, (3) less intense
fants with respiratory distress begin to regulate their breath
labor pain, and (4) optimum neuroendocrine and emotional
ing and the oxygen content in their blood begins to in
benefit to the baby and mother. In summary, some of the
crease. Such responses are especially prominent when re
beneficial circumstances that parents can discuss with their
cordings of the pan flute are played by the artist Zamfir.
nurse-midwife, doula, and/or obstetrician are:
They also play prepared recordings of parents' voices talk
1. familiar surroundings, only a few very close people
ing, reading, and singing. The Unit's physician and nursing
present, and a midwife, doula, or nurse-midwife to provide
staff noted that the children whose parents agreed to the
constant companionship and assistance;
music program showed increased growth rates and emo
2. relatively dim lighting;
tional self-regulation behaviors, compared to the children
3. recordings of familiar, calming music played in the
of parents who did not agree to the program.
birth place, possibly including prerecorded songs sung by one or both parents; 4. umbilical cord that remains uncut until its pulsa tions cease, to allow immune system enhancement and "bonding hormones" to pass from the mother; 5. immediate presentation of baby onto mother's ab domen for self-attachment, accompanied by welcoming words, gentle caressing and holding, and comforting vocal inflections or songs from mother and any family members and attending personnel; 6. privacy for family bonding as soon as possible and absolutely minimum separation of baby and parents while baby is awake.
Sensory processing is greatly increased in the hours, days, weeks, and months following birth, of course.
As
infants interact with their outside-the-womb world, many new sensory stimulations are presented for pattern catego rization and for exploration of bodymind neural network development. W hat is it like to be born? How would you feel if you were suddenly removed from all of your familiar surroundings and were placed in a geographic area and climate that were completely unfamiliar. All people were strangers, their customs were unfamiliar, and they spoke a language that had no linguistic meaning for you whatso
Longer term effects of gentle birth? Klaus and Kennell (1982) reported a study of two groups of mother-infant pairs. One group was provided 10 more hours of contact time over the first two postbirth days than the other group. During an observation six months later, the amount and affective quality of mother-child interactions were signifi cantly greater in the group that had more contact time. With one extra hour of suckling and skin-to-skin contact imme diately after birth, De Chateau (1976) observed similar sig nificant characteristics of mother-child interaction.
These
differences have been observed into the third year post partum (De Chateau & Wiberg, 1984). Music, including sung music, benefits children who have been born prematurely. A music program is used at the Neo-Natal Intensive Care Unit, St. Joseph's Hospital, Marshfield, Wisconsin, USA (Huber, 1986). Wireless pillow speakers and battery-operated audio cassette tape record ers are used to play music with a tempo and character which approximates the adult at-rest heartrate, and has a mellow flowing quality of tone.
F e e lin g , L e a rn in g , a n d H e a lth D u r in g In fa n c y a n d E a r ly C h ild h o o d
Soon after the music begins, in
ever. Only mother's voice and scent are familiar, as well as the sound of father's voice if he has been a frequent prena tal presence. Typically, parents begin interacting with their infant(s) immediately following birth and thereby deepen their em pathic emotional connection. Meeting the needs of infants for nourishment, hygiene, health, and emotional support are crucial to establishing what Bowlby (1988) calls a se
cure base.
That secure base lays a solid foundation for
lifelong development of empathic relatedness with other people, constructive perceptual, value-emotive, conceptual, and behavioral abilities, and self-reliant autonomy. Affect regulation (Schore, 1994), emotion regulation (Denham, 1998), emotional expression (Dawson, 1994; Malatesta-Magai, 1991), emotional intelligence (Salovey & Sluyter, 1997), optimism (Seligman, et al., 1995), and altruism (Kohn, 1990) are labels for key value-emotive ability clusters that are made pos sible by development of a secure base during pregnancy and infancy (Book I, Chapter 8 has some more details).
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Born children are susceptible to general ill effects of
are thus stimulated into action. Any experience that has
neuroendocrine distress (Gottfried & Gaiter, 1985; Gunnar,
been repeated enough times will result in formation of im
1986, 1992; Gunnar, et al., 1994; Porges, 1992; Sagi &
plicit feeling-tagged memory patterns, and some explicit
Hoffman, 1976).
Distresses can detrimentally affect brain
memories. Generally speaking, pleasant feeling states bias
development (Gunnar, 1996) and attachm ent security
children toward repeating those experiences, and the re
(Gunnar, et al., 1996). An insecure base steers new human
sulting behaviors lead us to use such word labels as interest,
beings more toward learning protective abilities (Davidson,
attachment, connecting, bonding, empathy, caring, loving, and so
1994), and can create susceptibilities to ill health and disease
on.
(Sternberg, 1999).
Most parent-child interactions are spontaneous, that
A great deal of important learning takes place during
is, what the parents do without conscious advance plan
early parent-child interactions. For example, adults all over
ning.
Should parent-child interactions be limited to what
the world speak to babies in very similar ways, but parents
parents do spontaneously? Can basic and applied research
use the exaggerated form of speech called parentese (this term
findings indicate appropriate and beneficial parent-child in
includes fathers; motherese does not). This form of speech
teractions which parents can learn and conveniently use
gives infants opportunities to extend and enrich nonverbal
with conscious planning? On the other hand, might some
paralanguage and prosodic-expressive aspects of vocal com
interactive stimulation of infants be detrimental to their cog-
munication that began to be processed during the third
nitive-emotional development? If so, how can parents know
trimester of womb-life (Ellis & Beattie, 1986, pp. 280-317;
how to distinguish appropriate from inappropriate stimu
Fernald & Kuhl, 1987; Kuhl, et al., 1997; Gopnik, et al., 1999;
lations?
Meltzoff & Gopnik, 1989; Messer, 1994; Rosenthal, 1982).
In the 1980s, a controversy arose in the United States
Vowel targets are modeled in an exaggerated way so that
among some child development specialists over whether or
speech explorations can begin to occur, commonly called
not parents can "accelerate" the intellectual and physical
cooing, followed by babbling in late infancy.
development of their children with emotional safety.
At
Can such interactions, that bring pleasure to parents
one extreme, some authors indicated that parents could
and infants, be taken too far so that they become distressful
develop so-called "superbabies" by using recommended
to babies?
stimulation techniques for future intellectual advantage
Everyone, including child development researchers,
(Doman, 1984, for example). At the other extreme, some
believes that parent-initiated interaction with babies (such
authors indicated that overly-concerned parents can "hurry"
as talking, holding, rocking, massaging) is necessary to the
the development of their children's physical and intellectual
healthy physical and cognitive-emotional-behavioral de
capabilities in ways that compromise emotional security
velopment of children.
(Elkind, 1981, for example).
Some people label those interac
tions as early learning experiences, and some call them infant
A centrist position argued that parents can learn:
stimulation.
1. what developmental sequences children go through
W hat is early learning or infant stimulation? It is sen
as their physical and intellectual capabilities develop; and
sory input for the neural-chemical systems of an infant,
2. how to "read" their babies' responses to stimulating
that is, any stimulation of one or more of the visual, audi
interactions and use them as a guide for appropriate action
tory, and somatic (bodily) sense systems that are interfaced
(described below and in Brazelton & Cramer, 1990;
with the rest of the brain, the endocrine system, and the
Ludington-Hoe, 1985).
immune system. Because elements of those systems pro cess feeling-states and feeling-based behavior, the processed
The centrist position asserted that parents can learn to
stimulation usually results in some kind of reaction by an
read the behavioral signs that their babies display when
infant such as focusing visual attention, smiling, kicking,
they are (1) ready for interaction, (2) no longer interested in
vocalizing, calming, sleeping, and crying.
an ongoing interaction, or (3) are over-stimulated and need
An infant
bodymind's categorizing, memory, and learning processes
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recovery time.
If parents have not learned how to read
these responses, they may try to keep their baby involved in an interaction which the parents find pleasant, but which continues past the capacity of their baby to sustain involve m ent
4. open their eyes very wide and stare fixedly with either a wrinkled brow or pained expression; 5. become drowsy.
The tone of the sympathetic division of the auto
nomic nervous system is then elevated, and the physio-
When these signs appear, Dr. Ludington recommends
chemical changes of distress occur (see Book I, Chapters 2
that babies be released from concentrated interaction. Par
and 4).
ents and caregivers can then hold babies close in stillness,
Memory of that event, including the parent, the
place, and things that are involved, are then "tagged" as an
or allow them to look at a blank ceiling or wall while they
emotional ouch (see Book I, Chapter 9).
recover their capacity for alert inactivity. Sensitive interac
According to Dr. Susan Ludington, former Dean, School
tion has an important effect on a baby's willingness to en
of Nursing, UCLA Medical Center, a state of alert inactivity
joy the kind of cognitive-emotional-behavioral experiences
means that babies are able to focus their attention and are
that lay the foundation for developing human capability-
ready for the pleasure of stimulating, empathic interaction.
ability clusters. So, when a baby's interactions with people,
Dr. Ludington (1985) suggests that parents can look for these
places, things, and events are developmentally appropriate
signs of alert inactivity:
and the parents read their child's responses sensitively, and
1. head is facing you or turns toward you or an object that has attracted attention;
respond accordingly, then many kinds of learning activities can be planned with no danger of developing a stressful
2. eyes gaze at you or object of attention for the length of attention span (4-10 seconds at birth, and increases with time);
"hurried child syndrome".
Playful interaction and caring
communication are the keys. Unborn and newborn babies, infants and pre-school
3. pupils dilate and eyes widen;
children are not in a classroom setting. They are in the "real
4. facial expression changes, is relaxed and pleasant,
world" and their most influential teachers are their parents.
perhaps a smile;
Every parent wants to give their baby the best advantage
5. breathing rate becomes slower and more even;
possible in life (except for parents who have certain
6. sucking rate becomes slower;
neuropsychobiological disorders). Information is now avail
7. abdomen relaxes;
able about pre-natal and infant learning experiences that
8. fingers and toes fan toward you or an object of
are consistent with healthy physical and cognitive-emo-
attention as if to touch.
tional-behavioral growth.
The problem is bringing that
information to the common knowledge of parents, guard Babies need and enjoy repetition of the same appro priate interactions, but only up to the point of habituation
ians, and other caregivers, so that beneficial child-rearing actions may be undertaken.
when signs of disinterest will be shown and focused atten tion diminishes or stops. Parents can then change interac tions to a variation of the same activity or to a different activity. Babies can become over-stimulated or distressed when their neural capacity for concentrated attention is ex
D e v e lo p m e n t o f V o c a l S e lfE x p r e s s io n A b ilit ie s D u r i n g P r e n a t e , In fa n t a n d E a r ly C h ild h o o d A g e s
pended. When that happens they will display easily "read able" behaviors, and that means that the interaction needs
Learning begins with activation of one or more of the
Over
senses and is completed when there is responsive adapta
to stop so they can go into a restoration mode.
stimulation has occurred when babies begin to:
tion to whatever stimulated the sensory activation. In the
1. cry;
context of this chapter, sensory activation occurs when
2. flail their arms and legs and squirm their bodies;
unborn and born children interact with the people (espe
3. splay their fingers and toes and thrust tongue or
cially parents), places, things, and events that have been
droop their head;
encountered. At the global level, sensory activation engages p r e n a t e ,
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three innate, "prewired" abilities: (1) interactive-expressive,
fancy and early childhood to develop, or enhance the de
(2) imitative, and (3) exploratory-discovery. Sensory acti
velopment, of all of a child's capability-ability clusters. The
vation and adaptation (learning) can then be consolidated
acquisition of verbal and nonverbal communication,
and elaborated through experiential repetition and varia
for example, is facilitated by parents who talk somewhat
tion.
frequently in the baby's presence, and of course, to the baby W hat kind of interactions are in the best interests of
(DeCasper and Spence, 1986; Kuhl & Meltzoff, 1996; Messer,
fetal babies, infants, and toddlers? Should there be sequen
1994). Parental models are provided for the articulation of
tial school-like curriculum to activate babies' senses?
Of
spoken language, of course, but also for the pitch, volume,
course not. Parents can, however, instigate a repertoire of
timing, and voice quality variations of paralanguage, facial
interactive-expressive and exploratory-discovery events to
expressions, and arm-hand gestures (Bloom & Capatides,
which their children may globally adapt in any number of
1987; Lynch, et al., 1995; Meltzoff & Gopnik, 1989, 1993;
ways, such as calming, sleeping, attending, kicking with joy,
Meltzoff & Moore, 1992; Messer, 1994; Nadel & Butterworth).
vocalizing, and so on. When the events are generated with
In singing, the knowledge-ability clusters called lan
caring communication and playful interaction, and are an
guage and music are intertwined.
integral part of the everyday shared activities of a family or
refers to these clusters as the linguistic and musical intelligences.
Gardner (1983, 1999)
caregiver group, then emotionally connected or bonded
Speaking and singing have common neural roots in the
relationships are deepened, and important, foundational
patterned neural networks of the brain that produce them.
learning takes place.
The area of the right hemisphere that is equivalent to
Sound-making is a neuroaudiomuscular ability with
Wernicke's area in the left hemisphere processes the "feeling
which we are born. It is genetically prescribed so that ba
meanings" of incoming speech (prosody) and also is in
bies can indicate their survival needs such as hunger, pain,
volved in processing melodic-harmonic contours.
threat, discomfort, and pleasure or delight. Responsiveness
areas are richly connected to the motor areas that enact
to heard sounds is a neural processing ability that also is
prosody in speech, such as expressive pitch variability (Gor
These
genetically inherited. Auditory deprivation, however, seems
don & Bogen, 1974; Mosidze, 1976; Ross, 1980; Van Lancker,
to adversely affect perception of higher harmonics in lan
1997) and sung melodies. In most people, motor areas of
guage and musical sound and results in diminished ability
the left hemisphere activate nearly all of the language abili
to discriminate certain consonant sounds that are crucial to
ties for both speech and song. Just as prenatal language
word meaning. Without those discriminations, attention
stimulation advances the knowledge-ability clusters called
deficits can be observed. Optimum development of audi
language and paralanguage, so prenatal musical stimula
tory capabilities depends on optimum environmental sup
tion aids the development of the knowledge-ability cluster
port. A rich auditory environment, without acoustic trauma,
called music (Panneton, 1986; M. Papousek, 1996; Thurman
activates the auditory nervous system more completely and
& Langness, 1986; Thurman, Chase, & Langness, 1987;
stimulates dendritic growth therein (Smith et al., 1988).
Thurman, 1988).
The hearing, visual, and physical movement senses
The verbal and nonverbal communicative capacities
are all involved in the elaboration of sound-receiving and
of infants begin to be shaped prenatally (DeCasper, et al.,
sound-making abilities into the very complicated neuro
1994) and are intertwined with the parent-child bonding
muscular abilities of speaking and singing. The sound that
process (or disbonding, as the case may be). While the au
makes both speech and song possible is produced by
ditory sense is the prime sensory receiver in language and
neuroaudiomuscular coordinations of the parts of us that
music learning, the visual, tactile, vestibular, and kinesthetic
produce the phenomenon we have labeled voice. Repeated
senses all play an important role.
and varied long-term learning experiences make that pos
cooperation is a crucial aspect of language and musical per
sible.
ception, acquisition, and production.
Left-right hemispheric
Spoken and sung language, with physical movement
Hearing and attending to speaking and singing sounds
in the interaction, can be used prenatally and during in
is necessary before production of speech and song is pos
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sible. That input begins before birth. In order for normal
language and singing abilities to be developed, intact pe ripheral and central auditory nervous systems must be present during the prenate, infancy, and early childhood periods (Lynch & Eilers, 1992). When pregnant women are in sufficient environmental noise, however, fetal babies can
3. exploratory vocal play and vocal expansion (4 to 6 months; single sensorimotor actions level); 4. repetitive babbling (7 to 11 months; sensorimotor mappings level); 5. variegated babbling and early words (9 to 13 months; sensorimotor systems level); and
be born with permanent hearing losses that result in im
6. the one-word stage (12 to 18 months; to the end of
paired language and singing development and a deficit in
the sensorimotor systems level and the beginning of the
general adaptability (Ando & Hattori, 1970; Daniel & Laciak,
single representations level).
1982; Lalande, et al., 1986). Incubator noise, or noises within a hospital's neonatal intensive care unit, can adversely af
During their journey toward mastery of spoken lan
fect cochlear function (Douek, et al., 1976). Impaired trans
guage, children go through five stages (see Gopnik, et al.,
mission of auditory signaling within the brain can result
1999, pp. 92-132; Jusczyk, 1997; Kuhl & Meltzoff, 1996;
from undetected or inadequately treated middle ear infec
McLean, 1990; Wilder, 1972, for brief reviews).
tions (otitis media with effusion, OME). Commonly, they
1. The cooing stage (vowel-like sounds) begins soon af
are challenging to detect in young children. Distorted per
ter birth and continues through about the first six months.
ception and memory of (1) language sounds, (2) musical
2. The babbling stage (consonant-vowel combinations)
pitches and rhythms, and (3) vocal tone qualities result in
begins at least by the sixth month, often before.
During
diminished speech-language, singing, and reading abilities
months 4-7, babies experiment with and master the respi
(see Book III, Chapter 5; Gravel & Wallace, 1995).
ratory coordination for sustained speech.
Newborns prefer to listen to human voices over non
3. The first meaningful word usually appears at the
vocal sounds (Butterfield and Siperstein, 1974), and prefer
age of one year, or before, to introduce the one-word stage,
to listen to their mother's voice and her native language
and a vocabulary of three to ten or more single words are
more than other voices or other languages (DeCasper and
available at least by the age of eighteen months.
Fifer, 1980; Mehler, et al., 1988; Moon, et al., 1993). A baby's responsiveness to speech during pregnancy is so sensitive, that as a newborn, the baby will move subtly and intri
4. The two-to-three word stage and a vocabulary of about 50 words or more usually happen at least by the age of two. 5. At the sentence stage, children speak in longer com
cately to the rhythm patterns of mother's speech (Condon
plete sentences. At least by three years or before, conversa
and Sandor, 1974).
tions may be carried on and vocabulary may exceed 1,000
Talking and singing frequently, play
fully, and lovingly to a baby-especially during the last three
words.
months of pregnancy-can increase the neural store of lan guage sounds (Gopnik, et al., 1999, pp. 102-106) and musi cal pitch contours (see earlier section; Lecanuet, 1996).
The intricately complicated neuromuscular coordina tions that produce spoken language are learned by way of
Based on research that is not related to the Fischer
other-than-conscious multi-sensory input, pattern detec
and Rose proposal described above (see Table IV-1-2),
tion, and motor exploration (Papousek, 1992). Along with
Mechthild Papousek (1996) lists six stages of preverbal vo
the formation of vowels and consonants, the vocal explo
cal development. Note how the proposed Fischer and Rose
ration of children during the cooing and babbling stages
reflex and sensorim otor tiers approximate the ages in
includes variations of vocal quality, pitch range, and loud
Papousek's vocal ability stages:
ness. The complex neuromuscular coordinations that pro
1. phonational (birth to one month; single reflexes level);
duce sung language can be learned in just the same way, IF parents sing frequently around the house and during inter
2. "melodic" modulation and primitive articulation in
actions with baby (Papousek, 1994, 1996). Talking and sing
cooing (2 to 3 months; reflex mappings and systems levels);
ing can develop together if they both are experienced fre quently and as interchangeable ways to express thoughts p r e n a t e ,
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and feelings. In fact, the most effective way for parents to
tion with the people, places, things, and events that are en
"teach" singing skills to their children is to sing for personal
countered (Csikszentmilhalyi, 1975; Gottfried, 1986).
pleasure during everyday activities such as getting dressed,
The play of young infants is very simple and play
automobile travel, or doing household or employment work
episodes do not last very long. They have to spend a great
(Thurman & Langness, 1986).
amount of time sleeping because their physio-chemical sys
Auditory discrimination of pitch changes has been
tems are growing, elaborating, and organizing at a phe
observed in newborns and infants (Alho, et al., 1990). The
nomenal rate. In each of an infant's first four months, a
pitch matching capability of 3-6 month-old infants is quite
complete cyclical brain growth spurt occurs. As increased
remarkable (Kessen, et al., 1979; see also Fox, 1982; Oiler,
neural capacities come on line over time, the complexity of
1981; Ries, 1987).
Children who have been sung to and
play increases IF the complexity is optimally supported by
have heard singing frequently during the pre-birth and early
the people, places, things, and events in a child's surroundings.
infant times have been observed singing short, repetitive
Rubin, and colleagues (1983), suggested five personal
songs with pitch accuracy using babble syllables by the age
and social aspects of play. When children play alone, even
often months (Personal communication with a mother who
when one or more other people are present, they are engag
was a Suzuki violin teacher during and after her pregnancy).
ing in solitary play. When children observe other people
By about 18 months, a repertoire of such songs can be sung
playing, but do not join in their play, onlooker play is
during play and interactions with parents (Kelley & Sutton-
occurring, even if the onlookers talk with the players. Par
Smith, 1987). Infants' perception of, and reactions to, audi
allel play occurs when two or more children are playing
tory patterns, melodic contours, and tonal timbre have been
autonomously with the same or similar objects but with no
documented (Trehub, 1990; Trehub & Schellenberg, 1995;
interactive influence on the play of the other(s). When there
Trehub & Trainor, 1993, 1998; Trehub, et al., 1984, 1990,
is conscious recognition of shared activities among play
1997, 1998; Weinberger & McKenna, 1988; Zentner & Kagen,
participants, then Rubin referred to that as associative play.
1996).
When cooperative play occurs, objects are used and playSinging brings a feeling-expressive dimension to hu
roles are assumed by specific children and the interactive
man communication that language alone cannot provide.
boundaries of the playing are progressively communicated
For instance, if someone spontaneously said, "High steep
among the players. Swann and Pittman (1977) analyzed the
ing horses, high stepping horses, high stepping horses go
effects of wording on the intrinsic interest of children when
jiggety jiggety jog," logically analytical people probably would
adults initiate associative and cooperative play, and Hatch
consider the expression to be full of non-sense and unnec
(1997) has described the development of emotional intelli
essarily repetitive.
But if someone were to sing the same
gence. Barnett (1984) noted that children moderated dis
words to the melody of the song "High Stepping Horses,"
tress states during play. Littleton (1991) and Tarnowski (1999),
then the repetition and non-sense would "make sense". A
among others (Bennett, et al., 1997), have made suggestions
feeling-expressive quality would be perceived that the spo
about how to apply "play principles" in general education
ken words alone could not have.
and music education.
According to the late
psychologist Abraham Maslow (1968), and much recent
Piaget (1962) and Smilansky (1968) described the char
research, music affects moods and feelings, and can create
acteristics of children's play itself. When children engage
"peak" feeling-moments in people (Book I, Chapters 7
their sensory perceptions and physical coordinations in an
through 9 have some details). In singing, we can also know
active exploration of their surroundings, functional play is
that the sound that transforms that moment comes from
occurring.
inside our own bodies, and we can feel it happen.
As they progress through the reflex and sen
sorimotor tiers of brain-cognition development, infants see,
The "work" of children is referred to as play. During
hear, and feel objects (including parts of their own bodies),
play, all. or nearly all, of a child's senses are activated and
and watch them, kick at them, reach for them, grasp them,
multiple adaptations (learning) are "tried out". Attentive in
pull them, push them, shake them, turn them around, put
trinsic interest is engaged along with participatory interac
them in their mouths, drop them, pick them up, hear the
682
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sounds they make, see them interact with other objects,
with rules and let the children's imaginations take over. As
observe that they still exist even though they cannot be
children become older, rudimentary video games, board
seen or touched (object permanence and memory), see how
games, card games, and sports games are other possibilities.
other people use the objects, and so on. During functional
In schools, a teacher can present the boundaries of a game,
play, infants explore what they can do with their own bod
model how to play it, and suggest ways to improvise alter
ies such as their own vocal sound-making, rolling over and
native activities, and then ask children to improvise their
back, limb movement, holding head erect, pulling them
own alternative activities.
selves toward a desired person or object, crawling, and
interactive singing-movement games is highly engaging for
throwing. Infants discover many possible ways to imitate
children.
Playing creative, participatory,
and interact with other people. They explore facial expres
Following birth, parents can use interactive-imitative
sions, vowel-like sounds (cooing), consonant-vowel com
voiceplaysm to stimulate vocalization. Imitating the vocal
binations (babbling), and later, they learn to talk, walk, run,
sounds and accompanying facial and gestural movements
carry objects, and feed themselves.
that babies make is one voiceplay game. Often, recognition
Constructive play occurs when children recombine,
of the imitation is shown by a momentary mild surprise
alter, apply, or mold objects and/or materials to create new
response of wider-eyed stillness. Repeating an upper-to-
structures or forms. This form of play usually appears be
lower-register sigh-glide models a vocal sound pattern that
tween the 18th and 24th months postbirth (sensorimotor
may be produced by babies later during their own solitary
tier, single representations level). Toddlers enjoy playing in
play. Conscious reproduction of someone else's simple vocal
sand, for instance, and using different-sized buckets or plastic
sound pattern requires a considerable amount of neural
bowls to create different shapes and then "mess them up"
processing by a relatively unmyelinated brain.
and start over. They may repeatedly fit smaller bowls into
Parents can use sound-making, language-making, and
larger bowls, remove them, and start over. These kinds of
song-making in everyday activities to enhance the onset
activities are especially pleasurable when shared with par
and elaboration of language skills (Duchan, 1994; Ludington,
ents, such as handing or rolling an object back and forth
1985). Sound-making conversations between parents and
repeatedly.
child can take place during the late cooing and the babbling
Spontaneous song-speech begins during this
time as language and prosody are combined.
If children
stages of language development. The sensations of vibra
have heard singing enough times, they are quite capable of
tion and muscle movement and the auditory stimulation
applying prosodic song-speech abilities to the development
from one's own voice enhance pleasure-filled self-recogni
of singing abilities.
tion. Eventually, a sense of "doing what mommy and daddy
Role-playing and/or transformation of "real" objects into imaginary objects is a sign that children have under
do" (interactional synchrony) can signify a bonded connec tion between self and parents.
taken dramatic play. When constraints or boundaries gov
Siblings can join in on the fun, too. Sibling jealously
ern the playing process (how you play a particular game),
and rivalry can be diminished or eliminated if the older
then games with rules have been undertaken,
brother(s) or sister(s) are invited to communicate with and
These forms of play begin at least by the ages of 3.5 to
help welcome a new baby into the family. Singing songs
4.5 years (representational tier, representational mappings
before birth and during infancy, to accompany family ac
level). At first, these children may pretend to be various
tivities, is one way to help develop family bonding (Thurman
animals, or they may pretend that a clothespin is a car or
& Langness, 1986). Each child in a family may have a unique
an airplane, and they may begin to act out the roles that
song that includes her or his name and is "theirs" for life. It
they see adults "playing".
may be sung for them by all members of the family, includ
"Playing house" by acting out
parent-adult roles may occur, or acting out frequently ob served religious ceremonies or television characters.
ing siblings, during prenate and infant development.
An
Some people believe that the ability to sing is inher
early interactive game-with-rules is hide-and-seek. In day
ited. That would mean that some people will be very tal
care settings, a caregiver may initiate dramatic play or games
ented at singing, most will be average, and some will be p r e n a t e ,
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"poor pitch singers," "tone deaf)' or "monotone" Research in
ally connected, empathic relatedness between mother, child,
dicates that everyone with normal anatomy and physiology can learn
and father is the foundation upon which a healthy self-
to sing and feel quite good about it. While there is a degree of
identity is built for later childhood, adolescence, and adult life.
inheritance involved in exceptional singers, many young
Singing can be a significant contributor to maternal
"average" singers have eventually developed substantial sing
calm and self-expression, and to laying the foundation for
ing abilities, and so-called "monotones" can learn to sing.
emotional self-regulation in children.
People with debilitating anatomy or physiology are the only
mothers and fathers can select a child-length calming song-
exceptions, but those conditions are comparatively rare.
such as "Zulu Lullaby" or "Daddy/Mommy Rocks His/Her
[Chapter 3, and Book V, Chapter 6 have some details about
Baby"-and then sing it when mother is upset or frustrated.
voice skill development with older children.]
A different lullaby can be sung before mother's rest time,
During pregnancy,
When mother sings and sways or dances to music
naps, and bedtime. "Hush You Bye" is an expressive sleep
while baby is in the womb, the baby s sensorimotor capability-
lullaby, for example. The general tonal contours of the songs,
ability clusters are stimulated (tactile, vestibular, and kines
and the unique sound of parents' voices, will be remem
thetic senses plus movement coordinations) in conjunction
bered by the baby following birth. If parents sing the calm
with the auditory sense. Those same senses are stimulated
ing song when the born baby is upset or frustrated, the
when mother or father are holding an infant and they sway
associated hormonal reaction of calming may be activated.
in time to the music that they are singing or hearing. Babies
If the bedtime lullaby is sung regularly at nap or sleeptime,
often kick and flail their arms in pleasure when their par
so that it becomes part of a sleep ritual, then parent-child
ents sing to them. Parents can playfully move baby s arms
relatedness and restful sleep may be enhanced (Polverini-
or legs in a gentle side-to-side or push-pull motion to mu
Rey, 1992). Self-calming and going to sleep are emotional
sic, or slowly provide a body massage that is timed with
self-regulation skills that are of great value to children and
whole musical phrases. Before a nap or a night's sleep, a
their parents.
parent can give a gentle massage while singing a familiar calming song or a lullaby.
The development of a social-emotional ability cluster
In the sensorimotor or early
is based on pleasant, intimate, engaging, verbal and non
representational tiers, children may be seen spontaneously
verbal communication between babies and their parents.
swaying to music while sitting or standing (keeping a "steady
Gardner (1983) uses the expression interpersonal intelligence.
beat" implicitly, without formal instruction). Toddlers love
Frequent, close, emotionally connected, empathic commu
action songs that include rhythmicized movement.
nications between mother, child, and father is the founda
The auditory and visual-spatial senses are stimulated
tion upon which comfortable communications with other
when a parent sings from different locations and distances
people is built for later childhood, adolescence, and adult
from baby-face-to-face, above a crib or stroller, near the
life-regardless of innate temperament.
room's door, in another roo m -o r while moving slowly around a crib or from place to place in the home.
The integration of communicative singing into the daily fabric of activities such as waking up, sleeping, dressing,
Emotional self-regulation (emotion regulation) is an
feeding, bathing, diapering, playing, walking, and traveling
important element of self-identity (Book I, Chapter 8).
can deepen parent-child bonding, make the daily routines
Gardner (1983) uses the expression intrapersonal intelligence.
of parenting more pleasant, and can orient babies toward
In addition to innate temperament, prenatal, infant, and early
more empathic, optimistic, and constructive behavior pat
childhood experiences lay the foundations for emotion regu
terns. Songs can be used for stimulating, interactive play,
lation or dysregulation. As noted earlier, frequent or intense
such as, "Sing with Me" or "High Stepping Horses" or A -
maternal distress during pregnancy enhances emotional
rig-a-jig-jig" or "Circle Left" or "Skip to My Lou".
dysregulation abilities in infants (Wadhwa, 1993, 1996).
Words that describe immediate events can be impro
Regular periods of maternal calm and emotional self-ex
vised to fit the melody-rhythm of a song.
pression during pregnancy enhance emotion regulation
nancy, mothers can learn a verse of the actual song and
abilities in infants (Odent, 1984b, 1986). A close, emotion
then practice making up words that describe her current
684
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During preg
activities.
"M arys Wearing Her Red Dress" can become
"Mommy's Combing Her Wet Hair".
With an infant, the
changing-of-the-diaper event can be fairly unpleasant for all concerned. Instead of singing the regular words to "Circle Left", a parent might sing: "Gonna change your diaper, Du O
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Spoken language and singing are universal means of human self-expression.
When children's vocal anatomy
and physiology are normal, and they are not under some form of threat, they will talk and sing if they have heard other people do so (Campbell, 1998; Duchan, 1994).
All
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Trehub, S.E. (1990). The perception of musical patterns by human infants: The provision of similar patterns by their parents. In M.A. Berkley & WC. Stebbins (Eds.), Comparative Perception: Basic Mechanisms (Vol. 1, pp. 429-459). New York: Wiley. Trehub, S.E., Bull, D., & Thorpe, L.A. (1984). Infants' perception of melodies: The role of melodic contour. Child Development, 55, 821-830. Trehub, S.E., Endman, M., & Thorpe, L.A. (1990). Infants' perception of timbre: Classification of complex tones by spectral structure. Journal of Experimental Child Psychology, 49, 300-3 13. Trehub, S.E., Thorpe, L.A., & Morrongiello, B. (1987). Organizational pro cesses in infants' perception of auditory patterns. Child Development, 58, 741-749. Trehub, S.E. & Schellenberg, E.G. (1995). Music: Its relevance to infants. In R. Vasta (Ed.). Annals o f Child Development (Vol 11, pp. 1-24). East Sussex, United Kingdom: Kingsley. Trehub, S.E., Schellenberg, E.G., & Hill, D. (1997). The origins of music per ception and cognition: A developmental perspective. In I. Deliege & J. Sloboda (Eds.) Perception and Cognition of Music (pp. 103-128). East Sussex, United King dom: Psychology Press.
Wilder, C.N. (1972). Respiratory Patterns in Infants: Birth to Eight Months of Age. Unpublished Ph.D. dissertation, Columbia University. Woodward, S.C. (1992). The Transmission of Music into the Human Uterus and the Response to Music of the Human Fetus and Neonate. Unpub lished Ph.D. thesis, University of Cape Town, South Africa. Yao, Q.W., Jakobsson, J., Nyman, M., Rabaeus, H., Till, O., & Westgren, M. (1990). Fetal responses to different intensity levels of vibroacoustic stimu lations. Obstetrics and Gynecology, 75, 206-209. Yoshida, A., & Chiba, Y (1989). Neonate's vocal and facial expression and their changes during experimental playbacks of intra-uterine sounds. Journal of Ethology,7 , 153-156. Yoshida, A., Horio, H., Makikawa, Y, Chiba, Y., Asada, M., Hasegawa, T., Minami, T., & Itoigawa, N. (1988). Developmental changes in neonates' response to intra-uterine sounds. Abstracts o f IX Biennial Meetings of the Interna tional Society or the Study o f Behavioral Development, p. 303. Zentner, M.R., & Kagan, J. (1996). Perception of music by infants. Nature, 383, 29. Zimmer, E.Z., Divon, M.Y., Vilensky, A., Sarna, Z., Peretz, B.A., & Paldi, E. (1982). Maternal exposure to music and fetal activity. European Journal of Obstetrics and Gynecology and Reproductive Biology, 13, 209-213.
Trehub, S.E., & Trainor, L.J. (1993). Listening strategies in infancy: The roots of music and language development. In S. McAdams & E. Bigand (Eds.). Thinking in sound: the Cognitive Psychology o f Human Audition (pp. 278-327). Lon don: Oxford University Press. Trehub, S.E., & Trainor, L.J. (1998). Singing to infants: Lullabies and play songs. In C. Rovee-Collier & L. Lipsett (Eds.). Advances in Infancy Research (pp. 43-77). Norwood, NJ: Ablex. Trehub, S.E., Unyk, A.M., & Henderson, J.L. (1998). Children's songs to in fant siblings: Parallels to speech. Journal o f Child Language, 21, 735-744. Trehub, S.E. Unyk, A.M., Kamanetsky, S.B., Hill, D., Trainor, L.J. Henderson, J.L., & Saraza, M. (1997). Mothers' and fathers' singing to infants. Developmen tal Psychology, 33, 500-507. Trevarthen, C. (1977). Descriptive analysis of infant communicative behavior. In H.R. Schaffer (Ed.), Studies in Mother-Infant Interaction. New York: Academic Press. Tronick, E.Z. (1989). Emotions and emotional communication in infancy. American Psychologist, 44, 112-149.
Turner, M.E. (1999). Child-centered learning and music programs. Music Educators Journal, 86(1), 30-33, 51.
Vince, M.A., Armitage, S.E., Baldwin, B.A., Toner, Y, & Moore, B.C.J. (1982). The sound environment of the fetal sheep. Behaviour, 81, 296-3 15. Wagner, M. (1995). Ultrasound: More harm than good? Mothering, 77, 51-55. Walker-Andrews, AS. (1986). Intermodal perception of expressive behav iors: Relation of eye and voice? Developmental Psychology, 22, 373- 377. Webster, D. (1977). Neonatal sound deprivation affects brainstem auditory nuclei. Otolaryngology, 103, 392-396. Weinberger, N.M., & McKenna, T.M. (1988). Sensitivity of single neurons in auditory cortex to contour: Toward a neurophysiology of music percep tion. Music Perception, 5, 355-390. Wetherby, A., Cain, D., Yonclas, D., & Walker, V. (1988). Analysis of inten tional communication of normal children from the pre-linguistic to the multi-word stage. Journal o f Speech and Hearing Research, 3 1, 240-252.
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c h ap ter 2 h ig h lig h t s o f p h y s ic a l g r o w t h a n d fu n c tio n o f v o ic e s fr o m p r e b ir t h to a g e 21 Leon Thurman, Carol Klitzke
ditors' Note: Most of this chapter is excerpted with permis
testes and it interacts with bodywide physio-chemical pro
sion from:
Thurman, L., & Klitzke, C.A. (1994). Voice
cesses to further develop uniquely male characteristics. In
education and health care for young voices. In M.S. Benninger,
females, gonadotropins, LH, and FSH trigger the circulatory
B.H. Jacobson & A.F. Johnson (Eds), Vocal Arts Medicine: The
release of estradiol from the fetal ovaries, and estradiol in
Care and Prevention of Professional Voice Disorders (pp.
teracts with bodywide physio-chemical processes to fur
226-268). New York:Thieme Medical Publishers.
ther develop uniquely female characteristics. The greater concentration of testosterone in males
The continuum of human growth begins with the
continues until just before birth when it is temporarily sup
union of two DNA strands, one each from a female egg and
pressed. Within just a few minutes following the birth of
a male sperm.
males, however, the concentration of peripheral LH increases
Subsequent cell production is driven by
genetic and epigenetic physio-chemical events.
The phe
by about ten times the level that was present before and
nomenally complex creation, connection, and distribution
during birth. LH levels then recede, but the spurt triggers
of micro- and macro-anatomy are "choreographed" by those
the release of circulatory testosterone that lasts for about 12
events to form a human fetal baby. Pre-birth growth pro
hours or more. LH levels then become more moderate, but
cesses proceed in the protective surroundings of the womb.
greater LH pulsatility and more elevated testosterone levels
In a general sense, post-birth growth processes are a con
continue for about six months, after which their levels are
tinuation of the prebirth processes.
biochemically suppressed (not eliminated) until puberty
Male-female differentiation is completed by the late
(Grumbach & Kaplan, 1990; Grumbach & Styne, 1992).
second trimester of prenatal gestation (Gluckman, et al., 1980;
The greater concentration of estradiol in females con
Grumbach & Styne, 1992). Between the 11th and 24th weeks
tinues until just before birth when it is temporarily sup
of fetal life, a higher concentration of circulating testoster
pressed.
one occurs in fetal males in response to (1) placental gona
males. There is, however, a rise in levels of circulatory FSH
dotropins (Greek: gone = seed; trope = nourishment for growth),
and LH, and it is irregularly pulsatile during the first few
and (2) release of luteinizing hormone (LH) and follicle stimulat
post-birth months.
ing hormone (FSH) from the pituitary gland into the circula
males than in males for the first few years of life, resulting in
The testosterone is released from the fetal
greater levels of circulating estrogens. In general, greater levels
tory system.
696
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voice
No post-birth surge of LH release occurs in fe
FSH pulsatility is then greater in fe
of FSH and estrogen continue for about one to two years,
organ size, cognitive-emotional behavior changes (Warren
after which their levels are biochemically suppressed (not
& Brooks-Gunn, 1989; Michael & Zumpke, 1990), and so
eliminated) until puberty (Grumbach & Kaplan, 1990;
forth.
Grumbach & Styne, 1992).
The years-long release of these hormones and ste
All of the anatomic components that produce voice are
roids produce the years-long pubertal macro growth
formed during prenatal gestation, and most begin func
phase. Within the pubertal macro-growth phase, however,
tioning in some way before birth. The macro-architecture
there are shorter time-scale growth episodes that span
of voice-related anatomy is significantly smaller at birth
multiple weeks to multiple months. During these growth
compared to adult dimension, proportional relationships
episodes, the triggering hormones enter the circulatory sys
are significantly different, and anatomic micro-architecture
tem in pulsatile spurts that last anywhere from 5 to 10 min
is in very early stages of maturation. Middle and inner ear
utes to one hour or more, and they occur mostly during the
structures, however, are comparable to adults by about five
earlier stages of nightly sleep (Grumbach & Styne, 1992;
months gestation (see later details). Physical growth of vo
O'Dell, 1995).
cal anatomy progresses throughout childhood, but is nota
The growth episodes (sometimes called stages) oc
bly extensive during the first 3 to 5 years and during pu
cur sequentially within the various anatomical areas of the
berty.
body, but the time of initiation and the duration of each Puberty (Latin: pubertas = age of maturity) is one
stage is different in each individual (Nielsen, et al., 1986;
macro-growth phase in the continuum of human physical
Wennick, et al., 1988; Martha, et al., 1989; Dunkel, et al.,
development. On average, it begins in females at about age
1990; Hassing, et al., 1990; Grumbach & Styne, 1992; Lampl,
10 years and extends to about 16 years. In boys, it begins
et al., 1993; Vander, et al., 1994, pp. 626-629; O'Dell, 1995).
at about age 12 years and extends to about 18 years
For instance, the end-areas of the four limbs (hands and
(Grumbach & Styne, 1992).
During puberty there is ob
feet) grow larger first, before the bones and soft tissues of
servable growth in (1) standing and sitting height, (2) gross
the arms and legs grow longer and larger. Increases in glove
body weight, (3) lean body tissue (muscles and organs) and
and shoe sizes "announce" increases in general clothes sizes.
fat body tissue, (4) body hair, and (5) various anatomic and
Tanner (1972, 1984) devised five-stage evaluative scales of
organ areas of the body such as feet, hands, gonads, pul
breast development in females and genital development in
monary system, larynx, vocal folds, vocal tract, and vari
males to assist pediatricians in assessing normal versus
ous areas of the central nervous system (notably in the pre-
abnormal pubertal development. Tanner's episodic stages
frontal cortex).
of genital development in male adolescents have been cor
The initiation of puberty is triggered by (1) cessa tion of biochemical suppression of the hormones of growth,
related with their voice transformation stages (Harries, et al., 1996).
and (2) elevated synthesis and release, from the hypothala
An adolescent does not go to bed one night and
mus into the anterior pituitary, of gonadotropin-releasing hor
wake up the next morning with mature breasts and geni
mone (GnRH) and luteinizing hormone-releasing hormone (LHRH).
tals, nor do their feet need shoes that are one or two sizes
Those hormones then trigger the synthesis of luteinizing hor
larger than the shoes they wore the previous day. These
mone (LH) and follicle stimulating hormone (FSH) and they are
growth episodes do not literally happen "overnight". Over
then released from the anterior pituitary into the circula
many nights, specified recipes of growth hormones interact
tory system.
with their biochemical receptor sites in the cells of specified
An increase in both the frequency and the
amount of these hormones occur.
Elevated LH and FSH
target tissues and organs. Intracellular genetic expression is
stimulate the release into the bloodstream of the anabolic
then triggered in the cells of those tissues and organs so that
(growth) steroids:
(1) primarily testosterone in males with
some cells within just hands, or feet, or legs, or arms, or
some estradiol, and (2) primarily estradiol in females with
larynges start dividing into more cells faster than they did
some progesterone. These events, plus many others, result in
before. So, elevated growth hormone, testosterone, and es
the anatomical growth spurts in height, weight, tissue and
tradiol levels trigger physical growth episodes which acti v o i c e s
f r o m
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21
697
vate for a period of time, then subside, then activate, then
al., 1994, p. 179). Callosal processing enhances concept for
subside, and so on, in an evolving, long-term, episodic pat
mation, concentrated attention, and memory access (Musiek,
tern
(Grumbach & Styne, 1992; O'Dell, 1995). The "chore
et al., 1984). At birth, the corpus callosum is about one-
ography" of these highly complex pubertal growth pro
third its adult size (Trevarthen, 1974). Although the rate is
cesses is unique in each person.
different for different children, myelinization of the corpus
The continuum of human growth during the prenatal,
callosum appears to be completed by about age 10 or older,
childhood, and pubertal age spans are reflected in the growth
with optimal function developing into the late adolescent
patterns of the respiratory system, the larynx, and the vocal
years and the third decade of post-birth life (Yakolev &
tract. The end-age parameter of the "young" voice is estab
LeCours, 1967). The last area within the corpus callosum to
lished by Hirano's finding (1981) that nearly all of the macro-
be completely myelinated is the posterior area where inter
and micro-architecture characteristics of adult laryngeal
hemispheric auditory processing occurs (Musiek, et al., 1994).
anatomy have been completed by about age 20-21.
One
Corpus callosum myelinization in learning-disabled chil
important evolution of micro-architecture is not substan
dren appears to be disrupted and delayed, thus disturbing
tial until ages 28 through 32, that is, calcification and ossifi
normal processing for concept formation, concentrated at
cation of the hyaline laryngeal cartilages. This change usu
tention, and memory access (Musiek, et al., 1984; Musiek, et
ally proceeds earlier in males than females (Hately, 1965;
al., 1994).
The respiratory system. Respiratory function begins
Kahane 1983).
The auditory system.
Preparation for the neuro
prenatally as early as 21 weeks gestation, with both "breath
muscular acts of speaking and singing begins with an accu
ing" and swallowing of amniotic fluid (Jansen & Chernick,
mulated history of multisensory input that is predominantly
1983). At birth, the trachea is about one-third of adult size,
auditory. By the 20th week of womb life, the cochlear sys
the bronchi are about one-half adult size and bronchioles
tem is structurally comparable to that of an adult, and the
about one-fourth adult size (Eichorn, 1970). By age 8 years,
auditory nerve (part of the vestibulocochlear nerve, 8th cra
the adult number of bronchioles and alveoli have devel
nial nerve) completes its development by at least the 30th
oped, and subsequent tracheobronchial development is due
week of gestational age (Cervette, 1984; Galambos, Wilson,
to increases in size (Bouhuys, 1977). Through the second
& Silva, 1994), possibly earlier (Eisenberg, 1969, 1976, 1983).
year, the ribs form largely horizontal circles and are mostly
Synaptic proliferation is extensive, of course, until the post
cartilaginous. As walking upright and more extensive res
birth age of three years (Cox, 1985; Romand, 1983; Salamy,
piratory needs develop, rib and spinal contours evolve. The
1984).
thoracic cage arrives at adult contour by age seven (Eichorn,
The fetal brain has been developed sufficiently to sup port consciousness and self-awareness at least sometime
1970). With somatic growth, lung size and vital capacity in
between the 28th to 32nd weeks of gestation (Purpura, 1975).
crease. Increased aerobic activity results in increased lung
In utero discrimination learning in response to sound has
size and vital capacity in children.
been experimentally demonstrated (Kolata, 1984; Birnholtz
results in comparatively less developed lung size and vital
& Benaceraff, 1983; Grimwade, et al., 1971). Maternal speech
capacity (Cotes, 1979). The pubertal growth spurt increases
Less aerobic activity
has been recorded from within the womb (Querleu &
lung size and vital capacity toward adult levels.
Renard, 1981; Querleu, et al., 1981).
Newborn recall of
variability in growth rates of lung tissue and the chest wall,
Due to
mother's voice has been demonstrated in several experi
establishment of adult dimensions, vital capacity and total
ments organized by DeCasper and colleagues (DeCasper &
lung volume can only be estimated to occur between the
Fifer, 1980; DeCasper and Spence, 1986; Panneton, 1985).
ages of 18 to the early 20s.
Myelinization of the corpus callosum enables faster
Until 6-8 months post-birth, maintenance breathing
and more extensive interhemispheric transfer of neural sig
almost exclusively involves diaphragmatic movement. Af
nals and integration between neuronal groups within the
ter that time, mixtures of diaphragmatic and thoracic move
two hemispheres, including auditory processing (Musiek, et
ment facilitate breathing. After age 7 years, thoracic move
698
b o d y m i n d
&
voice
ment predominates. These functional changes reflect use of
Crelin, 1980; Wilder, 1972; Hollien, 1980; Fleming, 1984;
larger lung size, air volumes and oxygen required for meta
Laufer, 1980). Presumably, these neuromuscular coordina
bolic need (Dunnhil, 1962: Bouhuys, 1977; Eichorn, 1970;
tions evolve as infants continue to perceive adult speech
Peiper, 1963). Neonate breathing rate is about 87 per minute,
and begin to learn how to produce it themselves (Lieberman,
compared to about 47 at one year. Adults average about
1984; Murray & Murray, 1980). Respiratory coordinations
16-20 breaths per minute for maintenance breathing. Neo
for speech become increasingly refined during childhood
nate breathing is involuntary and initiated by neuronal ac
as speech is mastered.
tivity in the reticular formation of the brain stem (Mitchell
To date, there has been no scientific study of the inte
& Berger, 1981). Between months 2 and 7 post-birth, inte
gration of respiratory function with the evolution of sing
gration of involuntary and voluntary control of respiration
ing coordinations in infants and children. Hixon and col
takes place as cortical initiation of the neuromuscular coor
leagues (1987) studied respiratory functions during speak
dinations required for speech emerge. Speech requires larger
ing and singing in six vocally untrained adult male subjects,
air volumes than tidal breathing, and speech requires sig
three male and one female adult classical Shakespearean
nificantly longer expirations than inspirations (Laitman &
actors, and six male adult singers of "classical" opera. While standing upright, vocally untrained adult speakers used a typical vital capacity range of 35% to 60% in quiet conver sational speech samples and softer singing.
During loud
speech, they typically initiated samples at 70% to 80% of vital capacity. The classical Shakespearean actors showed no significant difference in use of vital capacity from the untrained subjects. Hixon, et al., speculated that they used vocal tract adjustments to produce a favorable acoustic ad vantage over the untrained speakers.
C.
The trained opera
singers produced the widest variation in their use of vital capacity during the study's various singing tasks.
When
singing aria passages that involved high pitches and loud volumes, and when singing passages that involved longer phrase durations in slow tempo, vital capacity use typically ranged from 15% to nearly 100%. Passages that did not
prepubertal - prepubertal
involve such vocal athleticism typically used a range of 30%
E.
F.
to 65% of vital capacity.
The larynx. /'n * y
(vr
'
* f
prepubertald- prepubertal
The basic elements of the larynx are
formed by the 11th week of womb life, but are not used in vocal function until birth.
Rare, accidental vocalizations
have occurred in utero when anomalous "air pockets" have pubertal - pubertaI
passed from the lower airway area through the vocal folds. Compared to adults, infant laryngeal cartilages are:
Figure IV-2-1: Proportional comparisons of the sizes of prepubertal and pubertal thyroid cartilages in males and females. (A) compares an average prepubertal male thyroid cartilage with an average male pubertal thyroid cartilage - side view. (B) makes the same comparison between average prepubertal and pubertal female thyroid cartilages. (C) compares side views of average prepubertal male and female thyroid cartilages, and (D) compares pubertal male and female thyroid cartilages (E) compares top-side views of prepubertal male and female thyroid cartilages, and (F) compares pubertal male and female thyroid cartilages. Dashed lines = prepubertal male; dashed-dotted lines = prepubertal female; solid lines = pubertal male; x lines, pubertal female. [From Kahane, 1978; Used by permission of the author and The Wistar Institute, Philadelphia, Pennsylvania.]
• much smaller; • more rounded than angular; • softer and more pliable; • more compact in their connection to each other. The cartilages assume a greater proportion of laryn geal dimensions than does the soft tissue, and the anterior v o i c e s
f r o m
p r e b i r t h
to
2 1
699
areas of the thyroid cartilage and hyoid bone almost ap
(Timeras, 1972; Lee, 1980; Tanner, 1972; Weiss, 1950; Hagg &
proximate (Kahane, 1983; Bosma, 1975).
Tarr anger, 1980).
The vocal pro
cesses of the arytenoid cartilages assume approximately one-
During prepubertal childhood laryngeal cartilages show
half the length of each vocal fold compared to the two-
minimal distinction between males and females.
fifths proportion in the adult (Kahane, 1983; Ballenger, 1969).
the pubertal growth spurt, however, laryngeal cartilages be
During
Infant laryngeal connective tissue is loose and has a high
come significantly larger and heavier, remarkably so in males.
density of capillaries (Ogura & Mallen, 1977). The mucosal
Kahane (1982) reported a study of laryngeal growth from
tissues of infant vocal folds are not well defined, a vocal
preadolescence to adolescence to adulthood. The study was
ligament is not developed, and laryngeal muscles are at the
based on measurements of 20 excised human larynges rang
beginning of their maturational journey (Hirano, et al, 1981;
ing in age from nine to 19 years at time of death; and on a
Kahane, 1984). Morphological characteristics of infant la
similarly designed study of adult larynges by Maue (1971).
ryngeal innervation have not been described, but von Leden's
Kahane (1982, 1983) found that during prepuberty to adult
data (1961) suggest that laryngeal innervation is not fully
hood, the most significant proportional change of cartilage
mature until age three.
dimension was in the anteroposterior (front-back) dimen
Laryngeal dimensions increase slowly and steadily
sion of the male thyroid cartilage (See Figure IV-2-1). That
during childhood and are correlated with overall body
dimension in the male thyroid cartilage underwent three
height,
times more growth than the same dimension in females
but no significant differences occur between the
males and females (Klock, 1968).
Laryngeal cartilages in
crease in size and firmness, and Klock observed a pattern to
(15.04 mm compared to 4.47 mm).
From prepuberty to
adulthood, combined weight of the male thyroid, cricoid,
the growth, where the greatest increase is in the anterior
and arytenoid cartilages increased 10.60 grams and in fe
dimension, followed by the lateral and posterior dimen
males that increase was 3.93 grams. Approximately 50% of
sions respectively. The glottal area also increases in length
the increase
and width. Based on the sparse data available, the vocal
and the other 50% more gradually after puberty and into
folds increase their total length by about 6.5 mm between
adulthood.
prepubertal ages of 1 to 12 years (Kahane, 1983). By age
increase to "appositional and interstitial growth processes."
four years only a rudimentary vocal ligament has devel
He cited a study by Hately, et al. (1965), to support his attri
oped, and the mucosal tissues (lamina propria) are yet im
bution of adult weight increases to "constituent changes in
occurred during the pubertal growth spurt Kahane (1984) attributed the pubertal weight
mature. Throughout childhood the elastin fibers and the
the cartilages, such as calcification or ossification."
fibrous connective tissues of the mucosa increase in density
processes may begin as early as age 20, and result in a gradual
and structural complexity.
hardening of the cartilages during early adulthood.
By age 10, the vocal ligament
These
and mucosal tissues are considerably developed, but be
Table IV-2-1:
come essentially mature only after puberty (Hirano, et al., 1981a, 1981b; Kahane, 1983).
[Mean male and female total vocal fold length (in millimeters) from prepu berty through puberty. [Data from Kahane, 1983. Used with permission.]
Puberty is the beginning of adolescence and generally PREPUBERTY
is defined as the time when procreational capacity is at
PUBERTY GROWTH
PERCENT INCREASE
tained. Puberty begins with the gradual appearance of sec ondary sex characteristics. Adolescence customarily ends with the cessation of body growth, and generally ranges
Male
17.35
28.21
11.57
66.69
Female
17.3 1
23 .15
4.16
24.03
from ages 10 to 18 in females and 12 to 20 in males. The most dramatic adolescent "growth spurt" tends to occur between ages 11 to 15 years and may occur within a span of 12 to 24 months. Menarche is the clear physiological landmark of puberty in females, with voice change and ap pearance of facial hair being the clearest landmarks in males
700
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Kahane (1983) also found that male vocal fold length increased by an average of 66.69% from prepuberty to adult hood. Female vocal fold length increased by 24.03% (See
Table IV-2-1). Pubertal maturation of the laryngeal anatomy
contour of the vocal tract is comparable with that of an
includes growth of all its muscles, particularly the adductory
adult, but it still remains shorter and smaller (Laitman &
muscles and the cricothyroid muscles.
The cricothyroid
Crelin, 1976; Crelin, 1987; Kahane 1988). The average di
joint capsule and motor and sensory innervation also be
mensions of both male and female vocal tracts increase at
come more refined. In Japanese children between age four
about the same rate throughout childhood.
and the onset of puberty, Hirano (1981a, 1981b) found gradu
following puberty, the average length of both male and fe
ally increased definition of the connective tissue that is lo
male vocal tracts increases, but the male vocal tract be
During and
cated between the epithelium and the vocalis portion of the
comes significantly longer and develops greater "circumfer
thyroarytenoid muscle. During the pubertal growth spurt,
ence" Full adult sizes are completed at least by age 20/21.
however, layer definition accelerated to clearly identify the
These dimensional differences are reflected in averages of
superficial and intermediate layers, with the intermediate
the three lowest formant frequencies of all vowels. Adult
and deep layers forming a mature vocal ligament. Essential
females average 12%, 17% and 18% higher than adult males,
adult characteristics of the lamina propria were formed by
and prepubescent children (ages unspecified) average 20%
about age 16.
higher than adult females (Sundberg, 1987, p. 102).
Although the vocal folds essentially have reached adult
One indicator of vocal tract length is the location of
length following the complete pubertal growth spurt, the
its lower end-the larynx-relative to the cervical vertebrae
connective tissues of the vocal folds may continue to in
of the spinal column. In infants, the inferior border of the
crease in size and quantity into adulthood, though no study
cricoid cartilage lies adjacent to the lower border of the
has explicitly verified such a conclusion.
third cervical vertebra (C3).
Data collected
Under normal growth pro
regarding laryngeal growth is consistent with endocrino-
cesses, the lower border of the cricoid cartilage is adjacent
logic data related to voice change and general body growth
to the middle of C5 by age five years, upper to middle C6
(Tossi, et al., 1976), and with data regarding general pubertal
by 10 years, the lower border of C6 following puberty, and
growth under hormonal influences. If thyroarytenoid muscle
the upper area of C7 by about age 20 years. Further down
fibers respond similarly to bodywide muscular changes,
ward "settling" then occur, but the larynx remains within
they also will continue to increase in thickness (Allen, Ander
the C7 region throughout life (Kahane 1983, Wind, 1970).
son & Lagham, 1960). Thyroarytenoid muscle bulk may increase with laryngeal muscle conditioning as a result of extensive and vigorous use in voicing.
The vocal tract.
R e fe re n c e s a n d S e le c t e d B ib lio g r a p h y
The vocal tract extends from the
superior surface of the true vocal folds to the exterior sur face of the lips. The infant V ocal tract" is very short, slightly curved, and so compact that the epiglottis is able to couple with the soft palate to enable simultaneous breathing and nursing (Kahane, 1983).
Until age 18 to 24 months, the
tongue lies entirely in the oral cavity, and then its base be gins a gradual inferior progression into the pharynx.
By
age four years, the posterior one-third of the tongue is lo
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cated in the pharynx, the coupling of soft palate and epig lottis is no longer possible, and the vocal tract is longer, more curved, and introduces much more variety in speech resonation. By age five years the basic adult configuration of the vocal tract is present, but not size. By age nine the curved
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Laitman, J., & Crelin, E.S. (1980). Developmental change in the upper respi ratory system of hum an infants. Perinatology/Neonatology 4, 15. Lampl, M., Veldhuis, J.D., & Johnson, M.L. (1993). Saltation and stasis: A model of hum an growth. Science, 258, 801-803 .
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Hagg, U., & Tarranger, J. (1980). M enarche and voice change as indications of pubertal growth spurt. Acta Odontology Scandinavica, 38(3), 179-186.
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Hassing, J.M., Padmanabhan, V., & Kelch, R.P, et al. (1990). Differential regu lation of serum immunoreactive luteinizing horm one and bioactive folliclestimulating horm one by testosterone in early pubertal boys. Journal o f Clini cal Endocrinology and Metabolism, 70, 1082-1089.
Lieberman, P. (1984). The Biology and Evolution o f Language. Cambridge, MA: Harvard University Press.
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Maue, W M. (1971). Cartilages, ligaments and articulations of the adult h u man larynx. Unpublished Ph.D. dissertation, University o f Pittsburgh.
Sundberg, J. (1987). The Science o f the Singing Voice. DeKalb, IL: Northern Illi nois University Press.
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Tanner, J.M. (1972). Sequencing, tempo and individual variation in growth and development o f boys and girls aged twelve to sixteen. In J. Kagen, R. Coles (Eds.), Twelve to Sixteen: Early Adolescence. New York: W.W Norton. Timeras, PS. (1972). Developmental Physiology and Aging. New York: Macmillan. Trevarthen, C. (1974). Cerebral embryology and the split brain. In M. Kinsbourne & W. Smith (Eds.), Hemispheric Disconnection and Cerebral Function, Springfield, IL: Charles C. Thomas. Tossi, O., Postan, D., & Bianculli, C. (1976). Longitudinal study of children's voice at puberty. Proceedings: XVIth International Congress o f Logopedics and Phoniatrics, pp 486-490. von Leden, H. (1961). The mechanism of phonation: A search for a rational theory. Archives of Otolaryngology; 74, 72-87. Warren, M.P, & Brooks-Gunn, J. (1989). M ood and behavior at adoles cence: evidence for horm onal factors. Journal of Clinical Endocrinology and Me tabolism, 69, 77-83 . Weiss, D. (1950). The pubertal change of the hum an voice. Folia Phoniatrica, 2(3), 126-159. Wilder, C.N. (1972). Respiratory patterns in infants: Birth to eight months of age. Unpublished Ph.D. dissertation, Columbia University. Wind, J. (1970). On thePhylogeny and the Ontogeny of the Human Larynx. Groningen: W olters-Noordhoff Publishing. Yakolev, P., & LeCours, A. (1967). The myelogenetic cycles o f regional matu ration of the brain. In A. Minkowski (Ed.), Regional Development of the Brain in Early Life. Philadelphia:F.A. Davis.
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ch ap ter 3 th e d e v e lo p in g v o ic e Graham Welch
ver the past forty years there has been an in
W hy should this be?
creasing research interest in children's singing.
The available research evidence (Welch and Murao,
O
Taken as a whole, the studies reveal that children
1994) indicates that a possible cause is a mismatch between
may exhibit a wide range of singing behaviors within any
singing development potential and the song "curriculum"
single classroom context. In this respect, singing is similar
of childhood. That curriculum is a combination of the for
to any other area of human endeavour. Variation is normal
mal school singing curriculum and vocal music experienced
and a product of such factors as age, maturation, sex, the
within the wider, dominant musical (sub)cultures that are
shape and coordination of basic vocal anatomy and physi
experienced during childhood. Although the possibility of
ology, previous vocal experiences from birth and, not least,
a mismatch between developmental potential and actual
the nature of particular singing tasks with which the child is
experience can occur at any age, it may be theorized that
confronted.
such a disjunction can be particularly problematic in early
Usually, singing behavior will be influenced
by several factors working in combination. Such variation,
childhood when the bases for lifelong musical behavior
however, should not be misconstrued as
patterns and self-identities are being formed.
denoting 'fixed
abilities', but rather seen as an indicator of current abilities, with no necessary inherent predictive value for future sing ing abilities. Perusal of national curriculum statements for music
A D e v e lo p m e n t a l C o n t in u u m M o d e l o f C h ild h o o d S in g in g
from Government or other statutory agencies in the UK, USA, Canada, Japan, and Australia reveals that singing is a
In recent music curriculum documents (such as those
natural human activity, presumed to be accessible to all
from the countries cited above), there is a generic, essen
and susceptible to educational practice. Such a perspective
tially non-problematic, view of singing as a unilinear, hier
is supported by the wide range of vocal music published
arch ical developm ental process in w h ich the child
commercially for schools each year across the world. How
stereotypically progresses naturally from unison singing,
ever, standing alongside such literatures is research evidence
through simple two-part songs, to holding a harmonic voice
to suggest that a substantial proportion of the child popu
part in the performance of more musically complex struc
lation enter adolescence (and later adulthood) with the per
tures. Yet, in contrast, the available research literature on
ception (often self-generated) that they are "non-singers"
children's singing indicates that development is character
(Magnusson, 1988; Murao, 1994).
704
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ized by a complex pattern of vocal behaviors in which the
Infants characteristically play with voiced sound.
borders between singing and speech are often blurred, par
Usually after a babbling stage, when single words and 2 to
ticularly for the young child (Davies, 1994; Welch, 1994a;
3 word phrases begin to be used, children begin to impro
Sergeant, 1994; Welch, Sergeant & White, 1996a). Moreover,
vise "spontaneous" or self-invented songs (Moog, 1976;
this complexity and blurring can persist into later child
Hargreaves, 1986; Papousek, 1996). This is followed by the
hood (Kalmar, 1991; Welch, 1994a). It is evidenced in rela
first major stage in the development of song singing, marked
tion to the acquisition and performance of song 'objects'
by an increased focus on words and fragments of song text.
from the cultural environment, which results in the per
The prominence of the song's linguistic topology (Davidson,
ceived Variability' of singing behaviors mentioned in the
McKernon & Gardner; 1981; Davidson, 1994) in the child's
introduction (often labeled as 'out-of-tune' singing). The pe
perception gradually becomes modified to embrace aspects
riod of voice change during early adolescence provides a
of musical rhythm and, subsequently, pitch.
further opportunity for mismatch, not only between an in
like' nature of the singing develops greater pitch variation,
creasingly sophisticated music curriculum and fundamen
reflecting a growing awareness that specific vocal pitches
tal physical development, but also between physical devel
can be deliberately produced and changed. Aspects of the
opment and musical cognition (Cooksey, 1993; also see
overall pitch contour become more recognizable and self
Chapter 4). Nevertheless, there is a growing body of evi
invented songs "borrow" from the child's musical culture
dence to suggest a developmental sequence in children's sing
(Davies, 1986,1992, 1994). Identifiable song elements gradu
ing (Welch, 1986a, 1994a; Welch, Sergeant & White, 1996a,
ally become more organized schematically into closer ap
1996b), with certain singing behaviors having primacy over
proximations of cultural models, suggesting an evolving
The 'chant
others (see Figure IV-3-1 for the sequence in relation to
competence with the underlying cultural "rules" which frame
vocal pitch-matching).
the child's musics (Hargreaves, 1996).
Figure IV-3-1 A Model of Vocal Pitch-Matching Development (revised 1994) STAGE 1: The words of the song appear to be the initial centre of interest rather than the melody, singing is often described as 'chant-like' and, in infant vocal pitch exploration, descending patterns predominate [Young, 1971; Moog, 1976; Fox, 1982; Dowling, 1984; Goetze, 1985; Welch, 1986a; Rutkowski, 1987; Ries, 1987; Levinowitz, 1989; Davies, 1992; Thurman & Klitzke, 1993].
STAGE 2: There is a growing awareness that vocal pitch can be a conscious process and that changes in vocal pitch are controllable. Sung melodic outline begins to follow the general (macro) contours of the target melody or key constituent phrases, and self-invented and 'schematic' songs 'borrow1 elements from the child's musical culture [Moog, 1976; Davidson, etal., 1981; Fyk, 1985; Welch, 1986a; Hargreaves, 1986; Rutkowski, 1987; Fujita, 1990; Minami & Umezawa, 1990; Welch, e t al., 1991; Davies, 1986, 1992, 1994; Davidson, 1994; White, Sergeant & Welch, 1996; Hargreaves, 1996; Papousek, 1996].
STAGE 3 : Melodic shape and intervals are mostly accurate, but some changes in tonality may occur, perhaps linked to inappropriate vocal register usage [Davidson, et al., 1981; Dowling, 1984; Fyk, 1985; Welch, 1986a; Wurgler, 1990]. STAGE 4: No significant melodic or pitch errors in relation to relatively simple songs from the singer's musical Culture [Davidson, etal., 1981; Fyk, 1985; Welch, 1986a; Rutkowski, 1987; Welch, 1994a]. Author's Note: This model is a revision of the original as published in Welch (1986a) and was first presented to the British Voice Association 1993 annual conference. The suggested model of singing development is based on a research literature that is firmly rooted in Western musical genres. Singing development in relation to non-Western musics may be different because differing musical traditions and structures shape auditory perception and, potentially, vocal production (Walker, 1994; Imada, 1994). Although singing is a commonplace human activity, it also is culturally diverse.
the
d e v e l o p i n g
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70 5
Gradually, if there are appropriate experiences, the sung
ing within a range of no larger than a major third; (6) re
pitches reflect more accurately the culture's song models.
sponses spoken, or unclear as to whether the child was
Although shifts in tonality may occur, singing develops into
speaking or singing.
a culturally acceptable set of social and musical behaviours.
In part, Buckton's research (as with all research) re
However, if musical experiences are in some way 'inappro
flects the perspective within which it was conducted. He
priate' for the above sequence of development (Moore, 1994;
did not suggest that this particular "snapshot" view of six-
Welch, 1994b), such as through poor vocal models, inad
year-old singing competence was necessarily predictive of
equate feedback on vocal pitch accuracy in singing activi
subsequent singing development, nor of future musical com
ties, and/or negative peer pressure, the developmental pro
petence, either for his study's subjects or for others, in New
cess may be retarded and less-accom plished singing
Zealand or elsewhere. Moreover, his common sense ap
behaviours will occur, particularly once children enter the
proach to the research problem and data is based on the
period of formal schooling at around the age of five or six
research paradigms prevalent in previous studies as well as
years.
Furthermore, although these stages within a con
many teachers' 'craft knowledge' experience of singing in
tinuum were generated from research findings using child
classrooms. The wording of his results will be familiar in
samples, they could be seen as having general applicability
the life-experiences and beliefs of many adults, perhaps the
to anyone with little or restricted singing experience; age is
vast majority.
not a barrier to a person being located at a less-skilled stage, nor to subsequent development.
These two strands within the research literature, that is, the tracking of systematic changes in singing competence and the categorization and sampling of singing incompe
R e c o n c ilin g a 'D e fic it ' M o d e l o f S in g in g (d i s )a b i li t y w it h a D e v e lo p m e n t a l C o n t in u u m M o d e l
tence, can be reconciled when we recognize that they are two facets of the same thing, namely singing development. As stated earlier, there is now a wealth of research evidence to suggest that singing behaviours are not fixed immutably in
There is a contrasting group of studies within the music
people with a normal range of vocal anatomy and physiol
education research literature that has adopted a deficit view
ogy, but are subject to change. Singing skills are learned in
of singing (dis)ability.
This deficit model is rather longer
a continuum of developmental behavior patterns, and the
established and stretches back at least several thousand years
different types of singing often reported by researchers are
to the writings of Eurypides (Barker, 1984). The focus is on
examples of categories, stages, or phases of development
a lack of ability, on what certain children and adults appear
located along such a continuum (Welch, 1986a, 1986b). At
to be unable to accomplish when they attempt to sing as
one end of the continuum there are those who are not yet
compared with others who are "normal" Singing behavior
pitch accurate in relation to the singing of songs (as in Fig
is stereotypically classified as being either 'in-tune' or 'out-
ure IV-3-1), whilst at the other end there are those who
of-tune'. For example, Buckton's (1982) empirical study of
exhibit a multifaceted singing ability including the ability to
1,089 New Zealand six-year-olds is within this tradition
sing "at sight."
through his grouping of children's classroom singing into six broad categories. Song singing was classified as follows: (1) consistently sung with a high level of vocal accuracy; (2)
T h e C o m p le x N a t u r e o f S in g in g D e v e lo p m e n t
usually sung with a high level of vocal accuracy, but a num ber of inaccuracies present, for example, where part of a
A major research study of over 1,000 children has
song went beyond the child's vocal range; (3) occasionally
now provided further empirical evidence for a develop
vocally accurate, maintaining the general contour of the song,
ment model and, at the same time, further insight into how
but singing incorrect intervals within that contour; (4) rarely
competence varies with age, sex, and singing task. As part
vocally accurate, but usually singing according to the gen
of a wider investigation into children's singing, an initial
eral direction of the melody; (5) virtually a monotone, chant
three-and-a-half year study of singing development in early
706
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childhood, based at the Roehampton Institute London
allowed a comparison to be made of the effects of adding
(Welch & White, 1994; Welch, et al., 1996a, 1996b), has fo
words to musical material.
cused on mapping the singing development of groups of children aged 4 to 8 years, taking account of the social and
The stimuli for singing were:
ethnic populations from which they were drawn, and com
1. a specially constructed test battery consisting of six
paring these to other sample populations aged 3 to 18 years.
glides that were designed to assess each subject's ability to
A major aspect of the research was a longitudinal study of
match the direction of pitch change;
children during the first phase of compulsory schooling, embracing Key Stage 1 of the English National Curriculum
2. six pitch patterns [melodic fragments] of three and five pitches;
for Music (ages 5 to 7 years). The longitudinal sample (boys
3 . six single pitches; and
= 87, girls = 97, total = 184) was drawn from ten Primary
4. two songs.
schools in the Greater London area, chosen to provide a mixture of social class, ethnicity, and urban/suburban lo
In order to reduce the likelihood of the resultant data being affected by random or testing variables, the battery
cations. The research protocol was designed to examine the
items (glides, pitch patterns, and single pitches) were re
different kinds of singing competency that are evinced by a
corded onto audio tape. The sound source conditions for
range of singing tasks. A review of the previous research
these stimuli were a trained older child chorister and elec-
literature had revealed a variety of singing assessment pro
tronically-produced simple sinusoid tones.
cedures clustered into two main types:
songs were also modeled on audio tape by the chorister for
1. specially chosen song material, for example, rounds, folk songs, nursery rhymes, and national anthems (Anderson, 1937; Joyner, 1969; Plumridge, 1972; Buckton, 1982; Welch, 1986a; Wurgler, 1990; Ellis, 1993); and
The pairs of
use by the subjects' teachers in the two weeks prior to test ing. Each subject learned a pair of test songs. These songs were constructed so that their pitches:
2. individual pitches and patterns of pitches/melodic fragments
1. were within the notional "comfortable" singing range
or elements, such as pitches presented singly, in pairs, in short
for these age groups, that is, A3 to C5, or about 220-Hz to
groups of 3 to 5 pitches, or as shorter elements (fragments)
520-Hz (Welch, 1979a);
of a longer song melody (Madsen, et al., 1969; Greer, et al., 1973; Yank Porter, 1977; Welch, 1985a; Welch, et al., 1989).
2. were in the key of C major; 3 . had subject matter deemed to be suited to the age ranges of the children;
The project testing protocol embraced these two broad categories. Glissandi (pitch slides) were added as schematic
4. used gender-neutral words; and 5. comprised similar melodic and rhythmic patterns.
pitch contours. All the glissandi, individual pitches, and me lodic fragments and patterns were extracted from the pitch topography of pairs of specially constructed songs.
The songs were taught to the children by the teachers
For
normally responsible for music education in the schools,
example, a three-pitch pattern of A3 to F4 to D4 was found
keeping to a previously agreed pattern of teaching which
in song two to the words 'trees grow high,' and it was
controlled the number of teaching sessions and presenta
"deconstructed" into a melodic fragment and a bidirectional
tion of songs. As far as was consistent with practicability,
glissando pattern. In other words, young subjects were tested
therefore, the teaching was a pedagogically 'authentic' expe
in three successive years on their current abilities to (1) sing
rience for each teacher and class, and all children had a
two songs, (2) musical material that was deconstructed from
common exposure to the songs. In the week following the
the songs and performed without and with words, and (3)
final teaching session, one of the research team revisited the
glissandi that were patterned after the deconstructed melodic
school, having already met the subjects informally on ear
elements. Performing the fragments with and without words
lier visits. The subjects were recorded while singing indi
the
d e v e l o p i n g
v o ic e
707
vidually in a quiet area away from the classroom.
Time
related to the generic nature of songs. An examination of
was taken to familiarize the subjects with the data collection
the project data reveals a significant difference in the children's
situation and to put them at ease. The subjects attended the
singing abilities in relation to two key constituent parts of
session either singly or, if in pairs, one waiting whilst the
the test songs, namely the words (song text) and the music
other was interviewed.
No starting pitch was provided
(pitches) (Welch, et al., in press). In each of the three years of
before the performance of the two songs began, and each
testing, the children's ability to reproduce the words of the
singer spontaneously selected their own pitch level. Each
chosen songs were rated extremely highly by the judges
subject's vocal responses were recorded onto digital tape
(see Figure IV-3-3). Moreover, in each year, the ratings for
for subsequent analysis, using a tie microphone positioned
word accuracy were significantly better than the ratings for
15- to 20-cm below the mouth. For an evaluation of the
pitches. In contrast, the ratings for melodic pitch accuracy
musical aspects of the subjects' responses (rather than the
in songs showed no significant improvement until the third
purely sung acoustic attributes which were susceptible to
year of testing (age seven) and even in this third year, pitch
computerised analysis), edited versions of the tapes were
production was still rated as significantly less accurate than
then divided amongst a panel of six experienced profes
text production.
sional musicians so that each response was rated three times
In the opening year of this longitudinal study, the sub
against previously agreed and clearly defined criteria using
jects were assessed in their first year of compulsory school
a seven-point scale.
ing and, in many cases, in their first few months. In general, the evidence from this study is that children arrive at school already 'programmed' to be responsive to words; that is,
A H ie r a r c h y o f D e v e lo p in g S in g in g C o m p e te n c ie s
the neural networks that process heard and spoken lan guage already have generated massive synaptic routings and global mappings (see Book I, Chapters 3 and 7).
On the
The results of the longitudinal study are supportive of
other hand, the evidence suggests that neural networks that
the development model and illustrate further that develop
process heard and spoken language have not yet been syn-
ment is multifaceted and complex. Clear differences emerged
aptically elaborated into the networks that are capable of
in relation to the children's age, sex, and singing task. The
processing heard and sung vocal music. For a large major
longitudinal data reveal an explicit hierarchy in children's
ity of the children, therefore, linguistic competence appears
developing singing competencies. At each age, children were
much earlier than their ability to learn the melodic contour
much more accurate in their vocal pitch matching when
and musical intervals of songs. The growing infant's bio
asked to:
logical propensity for making sense of the world and for
1. reproduce simple glides (uni- or bidirectional);
language acquisition, and the preschool child's personal and
2. reproduce single pitches;
social experiences, are mediated significantly by the inter
3 . (beginning at age 6) reproduce melodic fragments;
active linguistic behavior of parents and child (Wells, 1986;
and
Deacon, 1997).
4.
complex multidirectional glides and songs (see Fig
ure IV-3-2).
The study provides further evidence of the effects of
text on the development of vocal pitch accuracy. Judges ratings for subjects' pitch accuracy in matching melodic el
There was clear evidence of a general, systematic, and
ements (single pitches, simple glides, melodic fragments) were
statistically significant improvement in pitch matching skills
compared to their pitch accuracy on the study's song melo
from year to year, with the exception of pitch matching in
dies (see Figure IV-3-4). In each of the study's three years,
song singing, which was consistently judged as being much
the children scored more highly for their vocal pitch match
less accurate in comparison (Welch, et al., 1996b).
ing of melodic elements than whole melodies in songs. Ad
The reasons for this developmental disparity between
ditionally, their ability to vocally pitch-match the melodic
songs and other forms of pitch matching appear to be closely
elements improved across the three years, but there was no
708
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&
voice
The complex
plished successfully within the classroom if the singing is
simultaneous neural processing of text and music (songs)
part of wide, rich musical experience, and if singing accu
can sometimes have a detrimental effect on children's abil
rately is a longer-term goal rather than a consciously empha
ity to sing melodic pitches accurately
sized starting point (brains learn by taking target practice
similar improvement in relation to song melodies.
Perhaps more sig
nificantly if these children's overall musical development
over time; see Book I, Chapter 9).
were to be judged solely on the accuracy with which they
into their elements in order to facilitate exploration, play,
could reproduce song melodies, a false picture would be
and mastery through subsequent recombination should
created which belied their developing and increasingly com
allow children, and developing singers of all ages, to focus
petent singing skills when presented with non-song tasks.
on the songs' musical aspects without the perceptual inter
The complex and diverse nature of singing develop
Deconstructing songs
ference of text.
ment presents the teacher with a challenge: How do you match present competency in diverse individuals with ap propriate learning experiences in order to facilitate devel opment? One inference from the research data is that sing
T h e I n t e r a c t io n o f A g e , S ex , a n d V o c a l T a s k in S in g in g C o m p e t e n c y a n d D e v e lo p m e n t
ing pitches, rhythms, and words accurately can be accomAnother feature of the complex nature of singing de velopment is the interaction between age, sex, and vocal task. figure 2: longitudinal singing development (n=184 children)]
For more than fifty years, out-of-tune singing has
been a recurring feature within music education research literature (c/Buckton). Out-of-tune singers have been vari ously labelled as grunters, growlers, monotones, uncertain singers, and poor pitch singers. This form of perceived musical dis ability is believed to characterize the musical behaviours of significant numbers within the population, both child and adult, across all Western-style societies. Although omnipres ent, this disability is known to be variable (Welch & Murao, 1994). For example, the proportion of children who sing
i
t
i
single pitches simple glides singing tasks
i
fragments
out-of-tune, irrespective of definition, is unevenly distrib
songs (pitch)
uted across the primary (elementary) and secondary years of schooling.
A summary comparison of children aged
Figure IV-3-2: Longitudinal singing development in a study of 184 children.
figure 3: mean ratings for song words and music by age
| figure 4: longitudinal com parison of vocal pitch accuracy in songs and elem ents
m melodic elem ents
0 words
B
song melodies
1 1 music
Age 5
Age 5
Age 6
Age 6
Age 7
Age 7
Figure IV-3-3: Mean ratings for song words and music by age.
Figure IV-3-4: Longitudinal comparison of vocal pitch accuracy in songs and melodic elements.
the
d e v e l o p i n g
v o ic e
709
seven and eleven years from many different studies (Welch,
ment in time. Apart from a few adolescent voice studies
1979b, 1983) reveals a general consensus that approximately
(Cooksey, 1993; Chapters 4 and 5), virtually no longitudinal
30% of seven-year-olds in Western cultures sing out-of
evidence has been available to provide a clear empirical
tune in song-tasks, compared to about 4% of eleven-year-
perspective on how singing behaviours develop, persist, and/
olds (see Figure IV-3-5). The studies included in the sum
or transform over time with regard to age and sex. Further
mary comparison did not distinguish preadolescent singers
more, despite a wealth of research literature on the efficacy
from those undergoing the onset of puberty and concomi
of different pedagogical approaches to the remediation of
tant adolescent voice change. Although this research litera
'out-of-tune' singing (Rupp,1992; Phillips, 1992; Young, 1993;
ture summary is not tracking the same children from the
Moore, 1994; Welch, 1994a; Rossiter, 1995), our understand
age of 7 to 11 years, there is an implicit assumption that
ing of the exact nature and variety of in-tune singing
many children are developing and improving their vocal
behaviours has continued to require research, particularly
pitch accuracy with respect to songs as they get older.
if one adopts a model in which sociocultural context, mu
Closer examination of the summative data drawn from the research literature reveals, however, clear sex differences
sical genre, and musical task are critical to definitions of singing development and of singing in-tune.
within each sampled age group, with girls consistently be
An intriguing insight into the complex interaction be
ing rated as more competent 'in-tune' singers than boys
tween age, sex, and vocal task is provided by further analy
(Trollinger, 1994; Welch & Murao, 1994). The relative aver
sis of the longitudinal research data from the early child
age proportions are nearly 40% of boys and 20% of girls at
hood study.
age seven, compared to just over 7% of boys and only 1%
sessed annually during their first three years of schooling
As mentioned earlier, the samples were as
of girls at age eleven (See Figure IV-3-6). Recent research
with various singing tasks. Unlike earlier studies of children's
studies published in Ireland (Ellis, 1993), England (Howard,
singing, the research protocol was specifically designed with
et al., 1994) and Japan (Norioka, 1994) have continued to
a longitudinal perspective, employing a battery of simple,
support these summative findings.
repeatable, vocal pitch matching tasks as well as songs. The
There is an ongoing
consensus in this family of research studies that the pro
resulting data revealed that, in general, the sample girls and
portion of boy to girl out-of-tune singers is 2:1 or 3:1 for
boys were consistently close in all three years, with the great
any given Western age group.
est differences being attributed to the nature of the task and
Almost without exception, however, the available re
the year of testing. At ages five and six, there were no statis
search literature is based on 'snap-shot' studies which have
tically significant sex differences in ratings for vocal pitch
examined particular sample populations at one given mo
accuracy, although girls generally had greater mean ratings for song performance, whilst boys generally had greater means for responses to test items (Welch, et al., 1996b). As
figure 6: percentage of ’out-of-tune’ singers by age and sex
7-year-ofds
I
11-year-olds
age of sample
Figure IV-3-6: Percentage of "out-of-tune" singers by age and sex.
710
b o d y m i n d
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stated above, both sexes sang melodic elements more accu
boys? It could be, for example, that singing had become
rately than song melodies. However, significant sex differ
associated with the sex of the boys' predominantly female
ences emerged in the data between the songs and the bat
primary school music teachers. They were the main vocal
tery test items at age seven, with girls achieving higher rat
role models for singing in the sample schools, implying
ings than boys for vocal pitch accuracy in song singing (see
that boys' increasingly inaccurate vocal pitch matching in
Figure IV-3-7). Yet, there was still no difference between the
songs was a negative by-product of the extent to which
sexes for melodic elements.
these males identified with music as a subject taught by
Closer inspection of this sex difference in song singing
female teachers. The gender effects and bias within school
in year three (age seven) reveals that the mean ratings for
music as a predominantly feminine subject area (with the
the sample boys had declined linearly across all three years.
exception of music technology) have been seen in several
The means for the girls had remained relatively constant
research studies such as Finnegan (1989), Archer & Macrae
(see Figure IV-3-7). Moreover, at age seven, the sex differ
(1991), Bruce & Kemp (1993). An alternative explanation is
ence in song singing between boys and girls is in accord
that, because song-singing combines language with vocal
with the findings elsewhere in the literature, as shown in
pitch matching, the development of boys' song-singing com
Figure IV-3-6. W hat is particularly remarkable, however, is
petency is related in some way with their general linguistic
that such sex differences were not present on entry to school.
development. An equally speculative explanation appears
The boys entered school with the same pitch matching ability
to be that these sex differences in song-singing are mirrored
in songs as the girls, but their performance declined subse
in other research data on an aspect of linguistic develop
quently. It cannot be that seven-year-old boys' vocal pitch
ment (general reading attainment) with boy's reading com
matching abilities perse are worse than girls because, to the
petency being significantly poorer than that for girls at age
contrary, their melodic elements ratings are virtually iden
seven (Sammons, 1995).
tical (or better) than the girls and they improve in each year
tion, the lack of difference between the sexes in more el
of testing.
Notwithstanding such specula
emental vocal pitch matching tasks would seem to suggest
At present, explanations for this finding are highly
that any such difference between the sexes in song-singing
speculative. Was there something about formal schooling
is rather more likely to be cultural in origin than biological.
that commenced an increasing singing incompetence in these
F a c t o r s I n f lu e n c in g S in g in g D e v e lo p m e n t figure 7: the interaction of age, sex and task
A person's physical and social environment can as SJ girls 0
2
o
boys
Â
sist or hinder the development of any vocal behavior in cluding that of singing. Research has demonstrated that the singing development process may be significantly influenced
__ Q
by interaction between the individual and her/his singing
▲
environm ent (Welch, 1985a; Welch, 1985b; Welch & A
A
MacCurtain, 1986; Welch, Howard & Rush, 1989; Welch, 1994a). In order for the individual to become more accom
o melodic elements
o
plished vocally she/he needs to be in an environment which fosters such development. In part, this will be dependent
song melodies
on the quality of available feedback. 3
5
'"i
age 6
■r......... —i
age 7 age 5 longitudinal data
T.... ... age 6
r
age 7
Quality is defined here in terms of the degree to which the individual is able to make sense of the available infor mation about her/his vocal behavior.
Figure IV-3-7: The interaction of age, sex, and task in the performance of melodic elements and song melodies.
For example, was
the singing behavior an accurate reproduction of a given the
d e v e l o p i n g
v o ic e
711
model? Was it an acoustic match to the mental image? Was
continuum.
As mentioned before, those children located
it vocally healthy as judged by proprioceptive feedback
towards the less-accomplished end of the continuum have
from the voice mechanism in the short- and longer-term?
been labelled grunters, growlers, monotones, and more recently,
How have the providers of feedback responded? Did the
uncertain or poor pitch singers. None of these labels, even the
provider of feedback respond in a predictable, positive, in
last two, seems appropriate in the light of our present un
tended manner? Was the feedback on target and accurate?
derstanding and perspective of human-compatible interac
Did it have an enhancing or encouraging effect (see Book V,
tion. The vocal pitch behavior of such children may well
Chapter 6)?
be certain, in that it is intended. To them, their pitch range, though restricted, may be show normal gains in vocal skill
A u d it o r y F e e d b a c k
rather than little or no gains. As an alternative, if the notion of a developmental
If the audience is one's own self, then it is not always
continuum is acceptable and is the most appropriate means
possible to generate qualitative feedback concerning vocal
for the conceptualization of singing behavior, then the term
behavior. Familiarity and habit sometimes create a limited
DEVELOPING SINGERS may be the most appropriate
or restricted perspective in which the individual is unable
and value-free term for describing children and adults who
to make informed judgements about her/his own voice.
are becoming skilled (as opposed to the term 'developed
This can lead to inappropriate or unhealthy vocal behavior
singers' for those who are).
being regarded as acceptable. With adults, a comment from
developed are likely to be less limiting, both for the self and
a friend or colleague or realization of some long-term vocal
for others, than those previously employed. The develop
Such labels as developing and
discomfort may increase awareness to the extent that out
ment-related labels also address our research and "craft
side assistance is sought. Children are less likely to realize
knowledge" evidence that singing behaviours can change
that their vocal behavior is inappropriate or unhealthy due
and are not immutably fixed.
to inexperience. The adult who is charged with the respon
Increasing mastery along the developmental continuum
sibility for increasing singing development must realize the
can be facilitated or hindered by a child's sociocultural en
need for, and provide, high quality feedback.
vironment. In certain cases, retrograde movement on the
Quality of feedback also is linked with the social con
continuum occurs when inefficient vocal skills are learned,
text in which the singing occurs. Singing during the ordi
or when voices become underconditioned due to underuse,
nary home routine, that is, doing work in the kitchen, bath
or when voice disorders occur.
room, and bedroom, in the street, in the school playground, in the school classroom, in the school, in the church, in the
T h e D e v e lo p m e n t a l P r o c e s s
concert hall, and in the ballpark are related, yet possibly quite distinctive activities in terms of 'acceptable' singing behavior.
Each social context provides its own aesthetic
bias.
The development of singing can be traced back to the child's early experiences in sound. The physical and social environment begins to influence the development of those
As far as vocal health is concerned, these variously
areas of the brain associated with voice use from the onset
'appropriate' singing behaviours may be in conflict. If this
of hearing function three to four months before birth. The
is the case, qualitative feedback is necessary in order to pro
amniotic fluid surrounding a foetal baby allows sound to
mote awareness of that which is most healthy and efficient
be conducted and transmuted from the mother and her
vocally, irrespective of social context.
adult world to the developing auditory cortex (Lecanuet, 1996; Chapters 1 and 2).
D e v e lo p in g S in g e r s
At birth, the infant signals arrival and general viabil ity by the coordinated use of lungs and vocal tract to pro
The absence of qualitative feedback can mean that some children cease their progression along the developmental
712
b o d y m i n d
&
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duce cries. These first sustained sounds are the precursors
of future speech and song.
Throughout the early weeks
lowing for the paucity of cross-cultural research studies.
and months, the social world of the infant continues to
Perhaps there is a greater coalescence between the natural
shape and structure the perception and cognition of sound
"melodies" of the spoken language and its cultural transfor
and permits vocal function to be socially located. Parents,
mation into song.
in particular, have been found to be predisposed for
So in our Western cultures the different singing skills
caregiving that embraces an other-than-conscious media
possessed by children entering school reflects differences in
tion of the linguistic and musical culture (Papousek &
cultural patterning between groups and individuals. If chil
Papousek, 1987; M. Papousek, 1996). Other research evi
dren have been in rich, stimulating sound environments in
dence drawn from a sample of 146 infants indicates that the
which varied vocal response has been modelled and ap
overall vocal pitch range can vary from 2.3 octaves above
proved, then they are likely to have progressed significantly
F3 at age seven months to 2.9 octaves at age nineteen months,
along the developmental continuum toward singing mas
with 95% of sustained "singing-like" sounds in an interval
tery. Those from less stimulating, less rich sound environ
of a ninth from A#3 to B4 (Ries, 1987).
ments are more likely to be located more towards the less
If all vocal pitch
sounds are included, the voiced fundamental frequency over
skilled part of the continuum.
the first three years may be even wider. One study reported a low of 30-Hz to a high of 2500-Hz (Keating and Buhr, 1978), approximating the frequency range of a piano.
S in g in g D e v e lo p m e n t a n d th e T e a c h e r
Social and cultural patterning has been shown to in fluence sound perception from as early as the first month
It is normal, therefore, for the large numbers of chil
of postnatal life (Eimas, 1985). This influence becomes even
dren entering our schools to display a wide range of sing
more marked once there has been sufficient physical devel
ing behaviours.
However, the latest research indicates a
opment and coordination of the voice mechanism for the
greater homogeneity in relation to simpler, more generic
onset of speech, usually between the ages of nine to eigh
vocal pitch matching abilities. Such developmental differ
teen months. Some cultures have languages that are pitch-
ences between individuals are not fixed as was once thought.
based.
These cultures generally are categorized as non-
Teachers can hinder or accelerate development by the teach
Western, such as those found in the Southern Sahara region
ing strategies that they adopt. In the past, the labelling of
of Africa and in South East Asia. Intonation and pitch are
children into categories of singer/non-singer led to large
integral to the conveyance of linguistic meaning. For suc
groups of children being denied structured singing activi
cessful interpersonal communication, young children must
ties which were stimulating and purposeful and likely to
develop accurate vocal pitch m ovem ent control.
In
foster development. Children located on the early, less ac
Cantonese, for example, the syllable 'fan' can have six dif
complished part of the continuum were seen as being sing
ferent meanings depending on its pitch contour (Mickey,
ing disabled and lacking in basic musical aptitude. Nega
1986). Effective verbal communication in such cultures re
tive teacher attitudes toward the possibility of development
lies on the development of relatively sophisticated vocal
were nurtured and supported by the research activities of
pitch skills.
some early music psychologists who provided "objective"
In contrast, most Western cultures have languages in
tests to label and rationalize this perceived "disability" These
which denotative meaning is not pitch dependent. Accu
erroneous perceptions, coupled to inadequate and/or in
rate vocal pitch coordination is not socially imperative for
appropriate voice education, have consistently created sub
children growing up in such cultures. This difference in the
class of adults who are embarrassed about their singing
significance of pitch between languages may be the reason
and this "fact" has become part of their self-identity. To all
why out-of-tune singing appears to be more prevalent in
intents and purposes they are singing disabled, being prod
the cultures of European, North American, and other West
ucts of flawed assumptions about human vocal potential.
ernized societies. Out-of-tune singing in Western terms is
The task of the educator, therefore, is to create an en
generally absent in some other parts of the world-even al
vironment that fosters singing development. One facet of the
d e v e l o p i n g
v o ic e
71 3
such an environment will be the sharing and dissemination
It is hypothesized that conscious coordination of pitch move
of current understandings on vocal anatomy, physiology,
ment (as opposed to pitch matching) enables the singing ac
and acoustics of voice production, and vocal health. Shared
tivity to resemble that of speaking in many non-Western
knowledge in an appropriate form can empower students
cultures with pitch-based languages (as mentioned above).
of whatever age to take equal responsibility with the teach
O ther-than-conscious coordination of vocal pitch
ers for voice development and can provide a foundation
movement is likely to be present anyway, but once the de
for the concomitant development of voice education. For
veloping singer has at least conscious coordination of vo
instance, it is fallacious for teachers to assume that encoun
cal pitch movement, the teacher can initiate further activi
tering such knowledge is bound to be confusing or unin
ties which focus on modelling specific patterns of pitches.
teresting to students and, with young would-be professional
goal is for coordination of patterns of pitch movement, being
singers, somehow damaging to a singer's "art" Given ap
similar to the modelling of melodic outlines or shapes. As
propriate teacher language and teaching method (see Book
skill level and self-knowledge increase it will be possible to
I, Chapter 9), it is possible to address issues of voice pro
attach specific target pitches to the end of the vocal pitch
duction and singing in an intellectually honest manner to
movement for the student to model. In this way, the stu
students of all ages, including children of preschool ages.
dent learns to coordinate the pitch smudge/sigh glide so
The
Moreover, intellectual honesty requires teachers to
that it stops at a modelled pitch (Durrant & Welch, 1995).
admit that some areas of our current knowledge about voices
Then simple pitch pattern matching can be attempted on its
continue to be contentious and problematic, such as the
own in a game type of setting .
nature of vocal registers and the appropriate use of falsetto
The sequence of first learning to consciously coordi
by the adult male. The concept of teachers as senior learners
nate vocal pitch movement, then imitating specified pitch
(Jerome Bruner) is a powerful reminder that learning is a
movement patterns, then imitating specified pitch move
lifelong process.
Teachers are not diminished if they ac
ment patterns which end on a particular sustained single
knowledge self-ignorance or uncertainty, but only if they
pitch, to finally matching conventional melodic pitch pat
accept these as inevitable and acquiesce to them. The rela
terns without glissandi should allow singing development
tionship between the skilled teacher and curious student is
to become a successful reality for the vast majority of stu
always symbiotic, with each learning from the other.
dents. Above all, embedded within such a pedagogical se
Teaching method also will be a significant factor in
quence is the research evidence that some children's singing
the promotion of singing development and consequent
d ev elo p m en t m ay be h in d ered u n less songs are
movement along the continuum. Bearing in mind the re
deconstructed to allow the melodic and other musical com
search outlined in the introduction, it would seem sensible
ponents to be explored and practised separately from the
to suggest that those children (and adults) who have had
text. Taking songs apart allows the perceptual and motor
little opportunity to develop their singing coordinations,
vocal tasks to be less complex and more accessible to emerg
will need to undertake activities which are customarily as
ing neuromuscular capabilities.
sociated with early voice exploration and play.
For ex
of the song can be comprehended singly and also in its
ample, sustained vocal sounds can be explored, in a game or
relationship to the whole. Songs are highly complex cul
role-playing setting, to increase variety of voice use and
tural artifacts and should be treated as such, particularly for
develop breath management. These sounds can be on one
the less accomplished developing singer.
Each constituent element
comfortable pitch where the emphasis is on breath coordi
Throughout the planned interaction between teacher
nation and an increased awareness of the breath mecha
and student, an essential feature of learning is the presence
nism. Alongside the sustaining of one vocal sound there
or absence of feedback. In order for the teacher to be suc
also could be singing "across" pitches (termed pitch smudges
cessful in fostering singing development, the feedback pro
or sigh-glides), where the emphasis on moving from high to
vided must be (1) nonthreatening to the learner, and (2) it
low is on breath coordination allied to pitch coordination.
must be meaningful. Using a language of accepting assessment,
714
b o d y m i n d
&
voice
rather than a language of accusative and punitive judge
visual feedback to promote change and development in all
ment, helps establish an environment that facilitates con
aspects of voicing including singing (Welch, 1994b).
structive learning. In other words, when teachers provide
In conclusion, there is much research data now avail
"depersonalized" feedback by describing the singing behav
able to support the concept of a developmental continuum
ior of learners rather than judging it on scales of good-bad,
of singing ability and this is offered to both students and
right-wrong, correct-incorrect, or proper-improper, then the
teachers as an appropriate theoretical perspective for the
learners are much less likely to react in a protective way
classroom, the studio, and life. Although continuing re
(see Book I, Chapter 9, and Book V, Chapter 6).
search is needed to provide more details about singing de
Meaningful feedback enables learners to make sense
velopment and its associations with age, experience, cul
of the vocal task and their own responses to it. Increasing
ture, and education, always treating each student as a client
skill is optimized if each singing activity or task is unam
for development would seem sensible.
biguous so that students have a clear idea whether or not their responses match what was desired or was appropri ate. Paying attention to and noticing how their voices feel,
R e fe re n c e s a n d S e le c t e d B ib lio g r a p h y
as well as how they sound, will be a very valuable source of feedback to the developing singer. This becomes even more significant when singing in a group where auditory feedback is reduced by the sounds of other voices and even more so by traditional musical instruments such as the pi ano. Some methods of teaching singing make use of visual cues to support vocal activity. Hand signs were first de vised by Glover, elaborated by Curwen, and embraced by Kodaly in his adaptation of Tonic Sol-fa. Hand and body movements (Justine Ward) are associated with vocal pitch movements in order that the student may understand rela tive pitch relationships. For some developing singers, how ever, the addition of a system of hand (and body) move ments can cause extra confusion.
Confusion may occur
because learners need opportunities to develop separate skills in making these particular movements, or perhaps they have relatively undeveloped general motor skills. The feedback may become confused and the singing may not develop in the way intended by the teacher. Such developing singers may need to experience less task complexity-not more. Visual feedback, however, is a valuable part of much singing development, whether it be in the form of monitor ing the teacher model, using a mirror to monitor one's own vocal performance, or in the form of Sol-fa hand signs, and it can be particularly helpful in developing vocal pitch co ordination. In the fields of music education, speech science, speech pathology, and rehabilitation, there is now a wide body of research evidence to demonstrate the benefits of
Anderson, T. (1937). Variations in the Normal Range o f Children's Voices, Variations in Range of Tone Audition, Variations in Pitch Discrimination. Unpublished Ph.D. thesis, University of Edinburgh. Archer, J., & Macrae, M. (1991). Gender perceptions of school subjects among 10-11 year olds. British Journal o f Educational Psychology, 61, 99-103 . Barker, A. (1984). Greek Musical Writings: The Musician and his Art. Cambridge: Cambridge University Press. Bruce, R., & Kemp, A. (1993). Sex-stereotyping in children's preferences for musical instruments. British Journal o f Music Education. 10(3), 213 -217. Buckton, R. (1982). Sing a song of six-year-olds. Wellington, New Zealand: Council for Educational Research. Cooksey, J.M. (1993). Do adolescent voices 'break' or do they 'transform ? Voice, 2(1), 15-39. Davidson, L., McKernon, P., & Gardner, H. (1981). The acquisition of song: A developmental approach. In Documentary Report o f the Ann Arbor Symposium. Reston, VA: Music Educators National Conference. Davidson, L. (1994). Songsinging by young and old: A developmental ap proach to music. In R. Aiello & J.A. Sloboda (Eds.), Musical Perceptions (pp. 99-130). Oxford: Oxford University Press. Davies, C. (1986). Say it till a song comes: Reflections on songs invented by children 3-1 3. British Journal o f Music Education, 3 (3), 279-293 . Davies, C. (1992). Listen to my song: A study of songs invented by children aged 5 to 7 years. British Journal o f Music Education, 9(1), 19-48. Davies, C. (1994). The listening teacher: An approach to the collection and study of invented songs of children aged 5 to 7. Musical Connections: Tradition and Change (pp. 120-127). Auckland, New Zealand: International Society for Music Education. Deacon, T.W (1997). The Symbolic Species. New York: W.W Norton. Dowling, WJ. (1984). Development of musical schemata in children's spon taneous singing. In W.R. Crozier & A.J. Chapman (Eds.), Cognitive Processes in the Perception o f Art. Amsterdam: Elsevier.
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Durrant, C. & Welch, G.F. (1995). Making Sense o f Music. London: Cassell. Eimas, P.D. (1985). The perception of speech in early infancy. Scientific Ameri can, 252(1), 34-40.
Mickey, K. (1986). Pitch and voice quality contrasts in language. In Proceed ings (pp. 32-45). London: The Voice Research Society.
Ellis, E. (1993). 'Droners' and Singers. Unpublished D. Phil, thesis, University of Ulster, Jordanstown.
Minami, Y, & Umezawa, Y (1990). The situation in which a child sings an 'original song'. In J. Dobbs (Ed.), Music Education: Facing the Future (pp. 13 1134). Christchurch, New Zealand: International Society for Music Educa tion.
Finnegan, R. (1989). The Hidden Musicians. Cambridge: Cambridge University Press
Moog, H. (1976). The Musical Experience of the Pre-School Child, (trans. C. Clarke). London: Schott.
Fox, D.B. (1982). The Pitch Range and Contour o f Infant Vocalizations. Unpublished Ph.D. thesis, Ohio State University.
Moore, R. (1994). Selected research on children's singing skills. In G.F. Welch, & T. Murao, (Eds.). Onchi and Singing Development (pp. 41-48). London: David Fulton and the Centre for Advanced Studies in Music Education, Roehampton Institute.
Fujita, F. (1990). The intermediate performance between talking and singing from an observational study of Japanese children's music activities in nurs ery schools. InJ. Dobbs (Ed.), Music Education: Facing the Future. Christchurch, New Zealand: International Society for Music Education. Fyk, J. (1985). Vocal pitch-matching ability in children as a function of sound duration. Bulletin o f the Councilfor Research in Music Education, 85, 76-89. Goetze, M. (1985). Factors Affecting Accuracy in Children's Singing. Un published Ph.D. dissertation, University o f Colorado. Greer, R.D., Dorow, L., & Hanser, S. (1973). Music discrimination training and the music selection behavior o f nursery and primary level children. Bulletin o f the Council for Research in Music Education, 35, 30 -4 3 . Hargreaves, D.J. (1986). The Developmental Psychology of Music. Cambridge University Press.
Howard, D.M., Angus, J.A., & Welch, G.F. (1994). Singing pitch accuracy from years 3 to 6 in a primary school. Proceedings, Institute o f Acoustics, 1994 Autumn Conference, Windermere, 24-27 November, 1994, 16(5), 223 23 0. Imada, T. (1994). Escaping the Historical Influences of the West on Japanese Music Education. Unpublished Masters thesis, Simon Fraser University, British Columbia. Joyner, D.R. (1969). The m onotone problem. Journal of Research in Music Education, 17(1), 115-124 Kalmar, M. (1991). Young children's self-invented songs: Effects of age and musical experience in the singing improvisation of 4 -7 year-olds. Canadian Music Educator; 3 3 , 75-86. Keating, P., & Buhr, R. (1978). Fundamental frequency in the speech of infants and children. Journal o f the Acoustical Society o f America, 63, 567-571. Lecanuet, J.P (1996). Prenatal auditory experience. In I. Deliege & J.A. Sloboda (Eds.), Musical Beginnings (pp. 3 - 34). Oxford: Oxford University Press. Levinowitz, L.M. (1989). An investigation of preschool children's compara tive capability to sing songs with and without words. Bulletin of the Councilfor Research in Music Education, 100L 14-19. Madsen, C., Wolfe, D.E., & Madsen, C.H. (1969). The effect of reinforcement and directional scalar methodology on intonational improvement. Bulletin of the Council for Research in Music Education. 18, 2 2 -33 Magnusson, L. B. (1988). W hy do Adam and Eve not Sing? Unpublished masters thesis, Goteborgs Universitet, Goteborg, Sweden.
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Norioka, Y. (1994). A survey o f Japanese school aged poor pitch singers. In G.F. Welch, & T. Murao, (Eds.). Onchi and Singing Development (pp. 49-62). London: David Fulton and the Centre for Advanced Studies in Music Edu cation, Roehampton Institute. Papousek, H. (1996). Musicality in infant research: Biological and cultural origins o f early musicality. In I. Deliege & J.A. Sloboda (Eds.), Musical Begin nings (pp. 37-55). Oxford: Oxford University Press.
Cambridge:
Hargreaves, D.J. (1996). The development of artistic and musical compe tence. In I. Deliege & J.A. Sloboda (Eds.), Musical Beginnings (pp. 145-170). Oxford: Oxford University Press.
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Murao, T. (1994). Concerning the Onchi in a karaoke society: Sociological aspects o f poor pitch singing. In G.F. Welch, & T. Murao, (Eds.). Onchi and Singing Development (pp. 4-7). London: David Fulton and the Centre for Ad vanced Studies in Music Education, Roehampton Institute.
Papousek, M. (1996). Intuitive parenting: A hidden source of musical stimu lation in infancy. In I. Deliege & J.A. Sloboda (Eds.), Musical Beginnings (pp. 88-112). Oxford: Oxford University Press. Papousek, H., & Papousek, M. (1987). Intuitive parenting: A dialectic coun terpart to the infant's integrative competence. In J.D. Osofsky (Ed.), Handbook o f Inf ant Development (pp. 669-720). New York: Wiley. Plumridge, J.M. (1972). The Range and Pitch Levels of Children's Voices in Relation to Published Material for Children's Voices. Unpublished diploma dissertation, University of Reading Phillips, K. (1992). Teaching Kids to Sing. New York: Schirmer Ries, N. L. (1987). An analysis o f the characteristics o f infant-child singing expressions: Replication report. Canadian Journal of Research in Music Education, 29(1), 5-20. Rossiter, D.R. (1995). Real-Time Visual Displays for Voice Tuition. Unpub lished D.Phil. thesis, University o f York. Rupp, C.E. (1992). The Effects of Vocal Modelling and Melodic Direction on Development of Head Voice Placement in 4-Year-Old Nonsinging Children. Unpublished D.M.A. thesis, University of Missouri at Kansas City. [Univer sity Microfilms Order No. 922463 1] Rutkowski, J. (1987). The effect of restricted song range on kindergarten children's use of singing voice and developmental music aptitude. Disserta tion Abstracts International, 47, 2072A. Sammons, P. (1995). Gender, ethnic and socio-econom ic differences in at tainment and progress: A longitudinal analysis of student achievement over 9 years. British Educational Research Journal, 21(4), 465-485. Sergeant, D.C. (1994). Towards a specification for poor-pitch singing. In G.F. Welch & T. M urao (Eds.), Onchi and Singing Development (pp. 63 -7 3). Lon don: David Fulton and the Centre for Advanced Studies in Music Educa tion, Roeham pton Institute.
Trollinger, L.M. (1994). Sex/Gender research in music education: A review. The Quarterly Journal o f Music Teaching and Learning, IV(4)/V(1), 2 2 -3 9 Thurman, L., & Klitzke, C.A. (1993). Voice education and health care for young voices. In M. Benninger, B. Jacobson, & A. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders. New York: Theime Medical Publishers. Walker, A.R. (1994). Will karaoke teach the world to sing in tune? In G.F. Welch, & T. Murao, (Eds.), Onchi and Singing Development (pp. 8-17). London: David Fulton and the Centre for Advanced Studies in Music Education, Roehampton Institute. Welch, G.F. (1979a). Vocal range and poor pitch singing. Psychology o f Music, 7(2), 13 - 3 1. Welch, G.F. (1979b). Poor pitch singing: A review of the literature. Psychology of Music, 7(1), 50-58. Welch, G.F. (1983). Improvability o f Poor Pitch Singing: Experiments in Feed back. Unpublished Ph.D. dissertation, University of London Welch, G.F. (1985a). Variability o f practice and knowledge o f results as fac tors in learning to sing in tune. Bulletin o f the Council for Research in Music Education, 85, 238-247. Welch, G.F. (1985b). A schema theory of how children learn to sing in-tune. Psychology of Music, 13 (1), 3 -18.
Welch, G.F., Sergeant, D.C., & White, P. (1996a). The singing competences of five-year-old developing singers. Proceedings, Fifteenth International Society for Music Education Research Seminar 9-15 July, Miami, USA. Bulletin o f the Council for Research in Music Education, 127, 155-162. Welch, G.F., Sergeant, D.C. and White, P. (1996b). Age, sex and vocal task as factors in singing 'in-tune' during the first years of schooling. Proceedings, Sixteenth International Society for Music Education Research Seminar, 1522 July, Frascati, Italy. In Bulletin o f the Councilfor Research in Music Education, (in press). Wells, G. (1986). The Meaning Makers. London: Heinemann. White, P., Sergeant, D.C., & Welch, G.F. (1996). Some observations on the singing development of five-year-olds. Early Child Development and Care, 118, 27-34 Wurgler, P. (1990). A Perceptual Study of Vocal Registers in the Singing Voices of Children. Unpublished Ph.D. dissertation, The Ohio State University. Yank Porter, S. (1977). The effect o f multiple discrimination training on the pitch-matching behaviour o f uncertain singers. Journal of Research in Music Education, 25(1), 68-81. Young, W.T. (1971). An Investigation into the Singing Abilities o f Kindergarten and First Grade Children in East Texas. ERIC EDO 6943 1. Young, S. (1993). Music in the classroom at key stage 2. In J. Glover & S. Ward (Eds.), Teaching Music in the Primary School (pp. 101-133). London: Cassell.
Welch, G.F. (1986a). A developmental view of children's singing. British Jour nal o f Music Education, 3 (3), 2 9 5 -303 . Welch, G.F. (1986b). Children's singing: A developmental continuum of ability. Journal o f Research in Singing, 9(2), 49-56. Welch, G.F. (1994[a]) The assessment of singing. Psychology o f Music, 22, 3 -19. Welch, G.F. (1994[b]) Onchi and singing development: Pedagogical implica tions. In G.F. Welch, & T. Murao, (Eds.), Onchi and Singing Development (pp. 82-95). London: David Fulton and the Centre for Advanced Studies in Music Education, Roehampton Institute. Welch, G.F., Howard, D.M., & Rush, C. (1989). Real-time visual feedback in the development of vocal pitch accuracy in singing. Psychology o f Music, 17(2), 146-157. Welch, G.F., & MacCurtain, F. (1986). The use of an objective measure (xeroradiographic-electrolaryngographic analysis) in teaching singing: A case study with controls of countertenor voice trauma and rehabilitation. Inter national Journal for Music Education 1986 Yearbook, XIII, 192-199. Welch, G.F., & Murao, T. (Eds.) (1994). Onchi and Singing Development. London: David Fulton and the Centre for Advanced Studies in Music Education, Roehampton Institute. Welch, G.F., Rush, C., & Howard, D.M. (1991). A developmental continuum of singing ability: Evidence from a study of five-year-old developing sing ers. Early Child Development and Care, 69, 107-119. Welch, G.F., & White, P. (1994). The developing voice: Education and vocal efficiency - a physical perspective. Proceedings, Fourteenth International Soci ety for Music Education Research Seminar (pp. 307-3 17), 18-24July, Nagoya, Japan. See also Bulletin o f the Council for Research in Music Education, 119, 146156
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c h ap ter 4 v o ic e tra n s fo r m a t io n in m a le a d o le sc e n ts John Cooksey
ditors' Note: The landmark California Longitudinal Study
others have been concerned about how to help male ado
of male adolescent voice transformation, by Cooksey Beckett,
lescents to optimize their voices for speaking and singing
and Wiseman (1985) was never published in its entirety (see
during puberty.
The anatomic, biochemical, and physi
Editor's Note at the beginning of Book V, Chapter 8). This chapter; in
ological complexity of pubertal processes have generated
the 1997 edition of Bodymind and Voice, was the first published
many controversial points of view about its effects on voice
summary of its findings. Some of this chapter was originally printed
function and voice health. Unfortunately, most of the points
in Voice, the Journal of the British Voice Association, Volume 2,
of view are based on personal interpretations of personal
Number 1, 1993, pages 15-39. Voice has been merged into a new
experiences, because there has been a relative paucity of
European journal, Logopedics Phoniatrics Vocology. Material
scientific research that helps clarify the controversies. The
from Voice is used by permission.
following questions, among others, have been raised.
Two additional notes: (1) Data for the Cooksey-Beckett-Wiseman study were gathered about 20 years ago. The study was written in the
1. Do the vocal growth processes of adolescent males proceed as a sequential continuum?
terminologies that were current about 15 years ago. Much voice sci
2. Do these growth processes occur at a steady spatio-
ence data and findings have accumulated over the intervening time
temporal rate or do they occur in sequential spurts or stage
span. Theoretical formulations and terminologies also have evolved.
categories?
As a result, the scientific terminologies of the Cooksey male adolescent voice classification guidelines have required periodic updating. (2) This chapter's description of Dr. Cooksey's studies have attempted to
3 . If they occur in stages, can the stages be identified and described? 4. Can criteria be developed for:
incorporate vocal terminologies that are used in Book II. The classifi
a. methods of voice classification?
cation labels of New Baritone and Settling Baritone, however, have
b. the assignment of vocal parts in choirs or singing
been retained in this chapter. In Chapter 8 of Book V, they have been changed to Dr. Cooksey's new labels-N ewvoice and Emerging
classes? and c. appropriate pitch ranges that can be used by com posers and arrangers of vocal music that is to be sung by
Adult Voice, respectively.
boys whose voices are transforming?
In t r o d u c t io n
5. Does prolonged singing in the falsetto register affect vocal development, and if so, how?
For many years, music educators, choral conductors, voice scientists, laryngologists, speech pathologists, and
718
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6. Do singing and speaking functions interrelate dur ing voice transformation, and if so, how?
7. Can effective methods of voice education be applied
(b) Singing and speaking are essentially the same process.
to the spoken and sung self-expression of early-adolescent
During the changing period it is essential that voices not
males?
be strained; which means that talking and singing (within a
8. Does singing during voice transformation present a risk to short-term or long-term vocal health, and if so, can
restricted force and compass) are both definitely desirable activities, (cited in McKenzie, 1956, p. 11)
it be managed so that singing is safe?
In the mid-1930s, W Norman Mellalieu (1947) reported the results of his 7-year study of the adolescent changing
H is t o r ic a l P e r s p e c t iv e
voice.
He concluded that the male voice could be exer
cised during the change, and that ways of managing the In the latter part of the 19th century, Manuel Garcia, an
voice change should be devised.
Dr. Herbert Wiseman,
Italian singing teacher, and Sir Morell McKenzie, a well-
Director of Music in the Edinburgh public schools during
known English laryngologist, argued over whether or not
the 1930s, added his support for Mellalieu's approach
the pubescent voice should be exercised (Weiss, 1950).
(McKenzie, 1956).
Garcia proposed that the voice should be rested during its
that the scene in Great Britain had changed, at least in the
time of change, and that no further training be given. All
secondary schools. There seemed to be wider acceptance
Much later, in the 1950s, he reported
singing activity should cease. He thus initiated the tradi
of the idea that boys should sing through adolescence, and
tional voice-break theory, which influenced many choir
that voice change followed a gradual, somewhat predict
masters throughout Europe, and is still prominent today
able pattern.
(Greene & Mathieson, 1989). Sir Morell McKenzie, on the
Probably as a result of the more progressive develop
other hand, saw no difficulty in continuing singing activi
ments in British education, such as the increase in mixed
ties. He viewed the 'break' as a normal developmental pro
voice and male voice choirs and the publication of some
cess; thus the changing voice could, and should, be exer
limited range choral literature, Duncan McKenzie, a Profes
cised during its transformation.
sor from Edinburgh, and an authority on youth choirs,
In the 1930s these issues again arose. Dr. Cyril Winn,
was encouraged to pursue research in America. After ex
Her Majesty's Staff Inspector of Music for the public schools
tensive observation of the American system, McKenzie in
of Great Britain, began to promote a view that music pub
troduced his alto-tenor plan—a new theory for develop
lishers should write music to fit the limits of the male chang
ing and training the male adolescent voice during puberty
ing voice (McKenzie, 1956). He spoke strongly against those
(McKenzie. 1956). This approach set forth specific criteria
proponents of the voice-break theory who, because of prac
for recognizing stages of voice transformation, and clearly
tical considerations, did not want to deal with the prob
described new techniques for exercising the voice during
lem. Many choirmasters preferred to keep boy sopranos
its most active phases of change.
on the top part as long as possible, then bring in replace ments upon the advent of the 'break'.
In the United States, the problems associated with the
In an interesting
male changing voice came into focus when the junior high
description, the London County Council Schools (1933)
school came into existence during the early 1900s (Cooksey,
issued a statement opposing the traditional attitudes asso
1988). The question was not whether the young adoles
ciated with the Voice-break' phenomenon:
cent should sing during puberty, but rather how voices
The "broken voice" is the outstanding problem of the
should be classified and trained during that time.
W.L.
boys' secondary school. But it will be less difficult to deal
Tomkins (1914) and Hollis Dann (1936) introduced music
with the problem if two simple truths are understood and
for changing voices. In the 1930s and 1940s, Mae Nightin
acted on: (a) A boy's voice never breaks. Physiologically
gale (1939) and Genevieve Rorke (1947) recognized some
the vocal cords lengthen at an age that varies with indi
of the problems associated with changing voices such as
viduals. Nothing in the vocal apparatus breaks or does
its breaks and limited range. They attempted to write mu
anything that could reasonably be described by that word.
sic to meet the unique vocal capabilities of adolescent males.
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719
In the 1950s and 1960s, Swanson (1959) and Cooper & Kuersteiner (1965) developed integrated theories and meth odologies for classifying changing male voices.
Cooper
U n re s o lv e d Q u estio n s A renewed interest in the changing male voice phe nomenon occurred in Europe and the United States during
advocated a cambiata plan which took into account range,
the late 1970s and the 1980s.
tessitura, and shifting tonal qualities.
His approach pin
bates generated by the voice-break traditionalists and their
pointed vocal problems in the male of junior high school
progressive counterparts led to the identification of some
age (ages 13 through 15 years). He evolved a method for
specific questions.
composing and arranging choral music for this age group that is distinguishable from the standard SATB voicing (so prano, alto, tenor, bass) and TTBB voicing (two tenor parts, two bass parts). A cambiata or 'C' vocal part was substi tuted for the traditional tenor part, so that arrangements and compositions which use his method are written for
The empirically-based de
• W hat are the stages of voice maturation? How can they be described? • Is there a predictable pattern to the rate, scope, and sequence of voice maturation? • Is the rate of voice maturation erratic and fast, or slow and gradual? • W hat are the ranges and tessiturae of adolescent male
SACB and CCBB voices.
voices as they progress through maturational stages?
[Editors' Note: In this chapter; tessitura always refers to a range of vocal fundamental frequencies, produced at a moderate intensity which are subjectively judged to be produced with the greatest physical and acoustic efficiency Judgments are made by the subject, based on
• How does one classify a voice during maturation? W hat criteria should be used? • Does training affect the outcome of voice classifica tion?
physical sensations of relative effort; and by an expert observer based
• Should one use the falsetto register during matura
on auditory perception of voice quality and visual evaluation of the
tion? If so, how? Can techniques for range extension that
degree of neck-throat effort.]
use this register adversely affect voice health? • Does a "blank spot" occur in the pitch range of male
Swanson, on the other hand, opposed most of Cooper's
adolescents as they initiate their voice maturation?
ideas, and proposed that during mutation, voices change
• Do male adolescent voices "break"? Can that termi
"fast," develop first in the lower part of the bass clef, and
nology suggest a "self-fulfilling prophecy" into existence?
often have a "blank spot" between C4 and F4 where no notes
Can other terms and approaches to voice education reduce
can be produced.
the probability of abrupt register transitions in speaking
He believed that vocalizing a young
man's falsetto register downward could help "bridge" this
and singing?
gap and enable these singers to regain the "lost" notes.
• Can pitch and quality characteristics of voices dur
Swanson stated that boys learn more quickly and are less
ing speech be used as a valid means of assessing voice
self conscious when they sing only with other boys and
maturation? Does the production of adult-like voice quali
no girls are present. He further advocated arranging music
ties during voice transformation reflect the normative di
for a contra-bass classification. Finally, Swanson pressed
mensions of laryngeal and vocal tract anatomy?
for acceptance of the idea that there should be a separate
• Given the fact that male voices are in various stages
voice part appropriate for each stage of voice transforma
of change within any grade level during the junior high
tion.
school years, is unison singing possible or advisable?
In summary, the voice-break traditionalists, mainly con centrated in the British and American church music area, and progressive public school educators who advocated
Laryngologists, speech pathologists, and speech-voice scientists also became interested in such questions as:
some approach for managing voice transformation, cre
• Can vocal dysphonia occur during male adolescent
ated a conflicting and ever changing body of knowledge.
voice transformation that is related only to anatomical
Because the differences were based on anecdotal and em
growth effects?
pirical evidence, controversial issues continued to exist.
720
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• Is the vocal anatomy of pubertal males especially
pitch range. Subsequently, a narrowing of the pitch range
vulnerable to voice-use pathology during voice transfor
occurred during the most active phase of maturation. A
mation?
renewed extension of pitch range occurred after the most
• If so, how might voice-use pathologies be prevented during voice mutation?
active period. Changes in the singing and speaking ways of using voice were correlated with development of the
• How do singing and speaking correlate and what is
primary and secondary sexual characteristics and concomi
their impact upon the biomechanics of voice production
tant developments in the larynx, body height, and weight.
during puberty?
Frank and Sparber (1970a,b) conducted a 10-year study
• How do singing skills develop during male voice
to determine the changes in singing pitch ranges of 5000
change, taking into account scientific measurement of ana
children, aged 7 through 14 years. They found three stages
tomic, physiologic, and acoustic factors?
of voice development that overlapped and extended the
• How should voice education for speaking and sing
stages identified by Naidr and colleagues. These were iden
ing be addressed during puberty from a biomedical (health)
tified as premutational, mutational, and postmutational.
perspective?
Frank and Sparber also used sonographic analysis to iden tify vocal registers (modal, falsetto, and whistle) in chang
Informed music and choral educators recognized that
ing voices.
interdisciplinary cooperation was needed in order to gain information and find answers to the above questions. Anecdotal and empirical data and existing physiological, anatomical, and acoustical data were needed to present hypotheses that could be tested with the greater precision of the scientific method. There also was a need to find a closer correlation between various experimental findings so that more refined theoretical models for voice classifi cation during mutation could be developed.
T h e o re tic a l F ra m e w o rk fo r R e la tin g V o ic e M u ta tio n S tages a n d V o ic e C la ssific a tio n G u id e lin e s Using the then current research data, the empirical ob servations of his professors, and his own years of practical experience, Cooksey (1977b) devised male adolescent voice classification guidelines for adolescent singers (see Figure IV-4-1). His guidelines were consistent with the anatomical and physiological maturation stages that had been articu lated by Frank and Sparber (see Table IV-4-1). In accor
E a r ly S cien tific R e se a rc h In a search for answers to these issues, Cooksey (1977a,b,c; 1978) consolidated the findings of empirical and scientific research in Europe and the United States. Naidr, Zboril and Sevcik (1965) investigated the onset and rate of
dance with the findings of these and other researchers, C ookseys classification guidelines were based on the premise that voice maturation stages follow each other in predictable patterns.
pubertal changes in 100 boys, all of whom were students at a boarding school. Their 5-year longitudinal study re
Table IV-4-1.
ported that maturation occurs in three easily definable
Stages of Voice Maturation and Cooksey's (1977b)
stages, with the maximum number of changes falling dur
Proposed Voice Classification Labels.
ing the ages of 13, 14, and 15 years. Primary voice matura tion began at age 13 in most cases, lasted an average of 13
Voice Maturation Stage
Voice Classification
months, reached a high point or crux of maturation at age 14, then tapered considerably by age 15.
Premutational
The principal
mutational changes occurred in the first half of pubertal growth, paralleling the most significant increases in body height. These changes occurred somewhat in advance of the increase in size of the larynx. Voice changes first be
Unchanged
Stage I: Early M utation Stage II: High M utation Stage III:M utation Climax Stage IV: Post-m utation Stabilization Stage V: Post-m utation Settling and Development
M idvoice I (beginning of change) M idvoice II (middle o f change) M idvoice IIA (climax of change) New Baritone (tapering period) Settling Baritone (expansion/development)
came evident by a lowering of the upper limit of singing
m a l e
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721
Maturational stages and voice classification guidelines were identified and defined using the following criteria:
6. Triggered by hormone secretions, the first stage of voice mutation occurs at different times in different indi
1. total pitch range;
viduals. Detecting the onset of the first stage is challenging
2. tessitura (most 'comfortable' singing pitch range);
at first. Typically, the timbre of the upper register changes
3 . voice quality (degree of constriction, breathiness,
slightly (there is an increase in breathiness and strain), as
and spectral configuration);
the upper range limit is descending.
4. register development; and 5. average fundamental frequency of speech samples.
7. There tends to be more stability and less individual variation in the lower register and lower range limits throughout the different stages of voice mutation. In the
A detailed statement of tenets was also developed re
upper register and range limits, there is great variation
garding the debated issues associated with the male chang
throughout the first three stages, but this stabilizes notice
ing voice (Cooksey, 1977b). These tenets have provided the
ably in the New Baritone classification (maturational stage
foundation and impetus for several subsequent research
III).
studies, and include the following. 1.
Recognizing the individuality and uniqueness of
8. The most noticeable voice changes occur in the Midvoice I, Midvoice II, and Midvoice IIA classifications
people and their voices is the foundation of voice educa
(maturational stages I and II). Their combined time-length
tion with young males who are experiencing voice trans
averages about 14 months.
Healthy concepts about singing arise from a
9. Register definitions (modal, falsetto, whistle) become
young man's experience with, and increased understand
clear during the high mutation period (Midvoice II classi
ing of, his vocal capabilities and limitations. When he is
fication, maturational stage II).
formation.
fully informed about the physical aspects of voice trans form ation and its concom itant effects on pitch range, tessitura, and voice quality, then voice change can be a true adventure—not a fearful nightmare.
10. Age and grade level are not reliable criteria for voice classification. 11. The average speaking fundamental frequency lies near the bottom of the voice pitch range. The Harries, et
2. Voice transformation can be that adventure if young
al., study (1996) recently supported the Cooksey, et al., find
men come to admire the context of their skeletal and mus
ings (1984,1985) regarding the relationship between (1) sing
cular growth and the transformational changes that are
ing pitch range during the most active phases of voice trans-
taking place in their breathing, sound-making, and soundshaping anatomy. 3.
The pubertal stages of sexual development closely
parallel the stages of voice mutation. The most extensive limitations to singing capability occur at the climax of pu berty.
4. Voice mutation proceeds at various rates through a
Unchanged
predictable, sequential pattern of stages, and they affect sing
Stage I
Stage II
Midvoice I
Midvoice II
ing capability differently in each stage. The onset of voice transformation is variable and is presumed to be geneti ^
cally triggered.
5. For most boys, mutation begins at 12-13 years of
■ —
■ :
.......
J g j:::“
ä
..........
*:■.
age, reaches its most active phase between 13 and 14, then
Stage III
Stage IV
tapers off between 15 and 17-or-18 years of age. The newly
Midvoice IIA
New Baritone
changed voice usually appears between 14 and 15, but "settles" and develops for one or two years afterward.
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-
„
1
1
Stage V Settling Baritone
Figure IV-4-1: Index of voice classification in junior high school male adolescents, as formulated by Cooksey, 1977b. [Notes in parentheses indicate exceptional range boundaries, whereas notes in brackets show the limits of the tessitura ranges. In the Settling Baritone classification, the typical variation in low terminal pitches is shown.]
formation, and (2) habitual average speaking fundamental
Barresi and Bless (1984) studied the relationship of se
frequency (ASFF). More research is needed to determine if
lected variables to the perception of tessitura pitches in
the habitual ASFF findings are consistent with physically
adolescent changing voices. In addition to confirming the
and acoustically efficient speaking.
voice maturation stages, average speaking
fundamental
frequency (ASFF) was found to be a significant criterion
R e se a rc h E v a lu a tio n s o f the P r e lim in a r y C la ssific a tio n G u id e lin e s
for voice change. They found that the ASFF was three to
The proposed maturational stages and classification guidelines were investigated by several researchers. Groom (1984) conducted an investigation to document the physi cal and vocal development that occurred in a group of adolescent boys during the summer months.
Variables
observed and recorded, with or without controls, were: age, height, weight, average speaking fundamental frequency, singing pitch range, tessitura, vocal flexibility, rhythmic agility, and vocal maturity. Groom also completed a thor ough survey of research literature related to the male chang ing voice.
She applied the Cooksey classification guide
four semitones above the lowest pitch of the singing range for each voice change classification. In the area of tessiturae identification, the opinions of experts were matched with certain acoustic and aerodynamic measurements. Barresi and Bless concluded that the perception of tessiturae may be enhanced by measuring such parameters as glottal re sistance, air flow control, and sound pressure level.
T h e C a lifo r n ia L o n g it u d in a l S tu d y o f M a le A d o le s c e n t V o ic e M a t u ra tio n : T h e C ook sey, B eck ett, a n d W is e m a n In v e stig a tio n (1977-1980)
lines in her study. She stated some significant conclusions. 1. During the time of puberty in boys, the voice pitch range (speaking and singing) lowers gradually.
John Cooksey, Ralph Beckett, and Richard Wiseman, then professors at California State University at Fullerton,
2. There are varied high treble pitches for an indefinite time period after the new lower tones are attained.
conducted a comprehensive 3-year longitudinal study to investigate "...selected vocal, physiological, and acoustic fac
3 . There is some loss of vocal agility during vocal mutation.
tors associated with voice maturation in the male adoles cent attending junior high school" (partial publication, 1984;
4. The Cooksey ranges and tessiturae for the changing
complete unpublished manuscript, 1985). The study used
male voice are reinforced as being the most appropriate
many of Cooksey s Statement of Tenets (Cooksey, 1977b,c)
for the classifications suggested and adopted.
as hypotheses to be tested by the scientific method, includ
5.
Boys from 12 to 15 years of age exhibit different
ing his proposed voice classification guidelines.
Instru
stages of vocal growth. The mean age of boys experienc
ments were used that were capable of objectively record
ing voice change in 1939 was 14.25 years (Sturdy, 1939). In
ing and categorizing the vocal, physiological, and acoustic
1972 it was 13.8 years (Friesen, 1972), and in 1978 (Groom,
data for subsequent statistical analysis. The following major
unpublished data) it was 13.5 years.
questions were addressed.
6. Age is not a reliable indicator for voice classifica tion.
The most reliable indicators appear to be singing
pitch range and vocal timbre.
1. W hat are the most reliable and valid vocal criteria for identifying and defining different stages of voice matu ration? 2. Is there a predictable pattern to the sequence, distri
In a 3-year longitudinal study, Rutkowski (1984) in
bution, and rate of change for the voice maturation stages?
vestigated the validity of the guidelines for training adoles
3.
Can voice maturation stages be identified and de
cent voices. She found that not only could the classifica
fined according to selected physiological and acoustic fac
tions be confirmed, but also the sequence of growth. She
tors?
noted that most subjects entered the various stages earlier than previously reported.
4.
How can sonographic analysis contribute to in
creased knowledge about voice maturation and vocal dysphonias in boys of this age? m a l e
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72 3
The research project was begun in October 1977, and
During the course of the 3-year study, some 6,500
completed in June 1980. With the cooperation of the Or
sonograms were made from audio recordings that had been
ange Unified School District, Orange County, California, 86
made at the subjects' schools. Low terminal pitches (LTPs)
seventh grade boys, aged 12-13 years, from two junior high
in the lower register and high terminal pitches (HTPs) in
schools were chosen to participate. Forty-one of the sample
the upper register were recorded in order to determine the
were enrolled in a choir, while 45 of the subjects had no
singing F0 range data. Frequency ranges of singing tessiturae
singing experience or training. A research team, consisting
were assessed by analyzing patterns of intensity change
of specialists in vocal-choral music and speech communi
within the F0 ranges displayed in the sonograms.
cation and speech pathology, visited each school once each
two data items were to be used as baseline information for
month, from October to June in each of the three years.
construction of an index of voice classification—one that
During each visit, twenty-two predetermined items of data
was based on hard data gathered during in the study. The
were recorded and analyzed.
criterion of frequency range of singing tessitura was in
The data items that were
gathered from each of the 86 subjects were: 1. singing F0 range;
cluded at first, but the tessitura data displayed such high variance that it was discarded as analysis proceeded.
2. frequency range of singing tessitura; 3 . voice quality (breathiness as indicated by harm onics-to-noise measures and constriction ratings); 4.
These
One aim of the classification index was to determine the extent to which the index data correlated with the maturational stage indices of Frank and Sparber (1970a, b) and
register development (degrees of tonal continuity
Naidr, et al., (1965), and the hypothesized voice classifica
and intensity level when producing lower, upper, and fal
tion guidelines that were published by Cooksey (1977b).
setto register pitches);
Although the subjects' LTPs and HTPs displayed variabil
5. average speaking fundamental frequency;
ity, the variability was comparatively limited as the sub
6. intensity ranges (gross and singing);
jects progressed through the maturational stages. Because
7. a sustained lower register tone;
of its relative stability, singing F0 range was used as the sole
8. a sustained upper register tone;
criterion for creating the study's index of voice classifica
9. a sustained falsetto register tone;
tion. The F0 ranges of the index (see Figure IV-4-3) were
10.
determined by calculating the mean of all subjects' HTPs
noise components in lower range partials (F0 to
4100-Hz);
and LTPs as they proceeded through their maturational
11. noise components in upper range partials (4100Hz to 8,000-Hz);
sideration of exceptional individual cases and overlapping
12. formant frequency regions; 13 . number of formants; 14.
stages. The index was formulated only after careful con pitch ranges in the raw data (see Figure IV-4-2A). Exceptional cases were examined from the standpoint
frequency spread between the first two formantof the degree to which they varied from the most frequent HTPs or LTPs. Although subject HTPs exhibited significant
frequencies F1 and F2; 15. vital capacity;
variability, they never exceeded a general upper boundary
16. phonation time;
frequency range within the Unchanged and Midvoice I and
17. sitting height;
II classifications. There were no exceptional HTP cases in
18. standing height;
the New Baritone and Settling Baritone classifications. Much
19. gross body weight;
less variability occurred among the LTPs. The most fre
20. chest size;
quent LTP exceptional cases were Db3 for Midvoice IIA
21. waist size;
and C3 for the New Baritone classifications.
22. total body fat;
More HTP and LTP exceptions occurred in the Midvoice
23 . percentage of body fat.
II and Midvoice IIA classifications than in any other clas sification. The fewest exceptions occurred in the New Bari
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tone and Settling Baritone classifications. This result was
S u m m a rie s o f the S tu d y ’s D a ta Item s Singing F0 range and frequency range of tessiturae.
not unexpected, as the most active phase of mutation was
A common pattern was observed as the subjects proceeded
completed after the Midvoice IIA classification. Some of the F0 range raw data (see Figure IV-4-2A)
through their maturational stages. The subjects remained
shows that range boundaries for each of the classifications
in one classification until the upper F0 border became un
were fairly wide, but when the six range categories were
stable (generally increased phonational effort such as in
compared, the upper and lower limits did not overlap. When
creased laryngeal constriction and increased use of exter
overlap occurred in the LTP, the HTP compensated by being
nal laryngeal muscles). After the appearance of upper F0
higher. For example, when a subject was in the Midvoice
range instability, the lower F0 border would descend. This
IIA classification, and the HTP was A4 (the same as the HTP
predictable growth pattern proceeds at a somewhat un
for Midvoice II), then the LTP was likely to be E3.
predictable rate, but is reliably sequential.
This pattern
Once all of the F0 range raw data was analyzed, means
became less extensive, however, during the New Baritone
were calculated for each voice classification category, and
classification. F0 range increase (considering both LTPs and
the study's voice classification index was determined (see
HTPs) for nearly all of the subjects occurred only during
Table IV-4-3). All subjects were then classified using the
the final stage of maturation (Settling Baritone classifica
new index. A one-way analysis of variance using the voice
tion). Means, standard deviations, and medians for HTPs
maturation stages and the low terminal pitches (LTPs) and
and LTPs (F0 range), tessiturae, and register transition points
high terminal pitches (HTPs) of the new index was then
were computed in the study. Figure IV-4-3 shows the revised index of mean F0 ranges
completed. The multiple comparisons test (least significant difference—LSD) showed that the voice maturation stages
and tessiturae for the voice change classifications.
and the singing F0 ranges were differentiated to statistically
index closely matches the proposed Cooksey model of 1977
significantly degrees. The five-stage sequence of voice matu
(shown in Figure IV-4-2B). As shown in the study's raw
ration in the male adolescent was confirmed.
data Figure IV-4-2A), there was much more instability and individual variation for HTPs than for LTPs.
This
The lower
border of the singing F0 range descends in ever increasing
(a)
Midvoice I
Unchanged (b)
Stage I Midvoice I
Midvoice .11
Stage II Midvoice II
Midvoice IIA
Stage III Midvoice IIA
New Baritone
Stage IV New Baritone
Settling Bariton
Stage V Settling Baritone
Figure IV-4-2: (A-top) is a presentation of raw data from voice classification procedures used with junior high school male adolescent subjects. The bracketed notes represent the most frequent pitch range boundaries, whereas notes in parentheses represent notable exceptions. In the New Baritone classification, the typical variation in low terminal pitches is shown. (B-bottom) is the original, hypothesized index for voice classification as published in Cooksey, 1977b.
m a l e
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72 5
,___ : J
^
..
Baritone classification). When that stage was reached, the F0 range compass re-expanded to an average of 19.2 semitones (see Table IV-4-2). Frequency range compass of
Unchanged
Stage 1
Stage H
Midvoice i
Midvoice II
tessiturae were essentially unaffected. In summary, much instability was observed in the upper F0 range borders of subjects during the most active
V
*
...
-£L
phases of adolescent voice transformation.
By compari
son, their lower F0 borders were more stable. Changes in F0 range followed a predictable pattern within the voice Stage HI
Stage IV
Midvoice IIA
Stage V
New Baritone
maturation stages, and the frequency range of singing
Settling Baritone
tessiturae seemed to remain in a relatively consistent posi
Figure IV-4-3: The revised index of male adolescent voice classification for singing showing the mean F0ranges and tessiturae ranges for the voice change classifications. Bracketed notes represent tessitura pitch boundaries, whereas notes in parentheses represent significantly frequent exceptions to the norm.
tion within each maturational stage. Finally, once the matu ration process began, the F0 range decreased or became slightly diminished (by about four semitones), but remained stable across the various voice maturation stages.
intervals, while the lowering of the upper border occurs with more variability and inconsistency.
This pattern is
not so obvious in the study's voice classification index (Fig ure IV-4-3) because the HTPs are derived from means of the raw data. Also in all the voice classifications, the vari ance in the tessiturae HTPs (the highest tone in the clearest, most comfortable F0 region) is also more extensive than for the tessiturae LTPs.
This
seems to contradict some of the reports by Weiss (1950) and others who claimed that the changing voice has a very diminished pitch range during maturation.
Vocal registers.
Although the register variable was
not used as a criterion in the development of the study's index of voice classification, it was a very important aspect of the voice maturation process. Register transitions were observed only for the upper register transition to falsetto register, which first emerged in the Midvoice II classifica tion. The crossover frequencies between these two regis
Table IV-4-2.
ters also can be used as an indication of changes in voice
Average Number of Semitones (st) in the F0 Range and the Frequency Range of Tessiturae Classification
Semitones in F0 Range
maturation and voice classification. Crossover frequency areas were highly variable within and across individuals, indicating instability in neuromuscular coordinations of larynx muscles as well as vocal fold mucosal waving. Fig
Unchanged M idvoice I M idvoice II M idvoice IIA New Baritone Settling Baritone
20.6 16.6 15.5 15.5 15.5 19.2
ure IV-4-5, A through F, shows examples of sonographic spectra from sustained upper register F0s from the un changed, Midvoice I, Midvoice II, Midvoice IIA, New Bari tone, and Settling Baritone voice classifications. Sonographic patterns also show the emergence of a falsetto register and a distinct whistle register during the
In subjects whose voices had not yet begun adolescent
Midvoice II classification. Figure IV-4-5, G and H, shows
transformation—unchanged voices—the average F0 range
sonographic examples of a sustained F0s in Midvoice IIA
was about 20 to 21 semitones (half-steps on the piano key
falsetto register and Midvoice II whistle register, respec
board).
In voice maturation stage I (early mutation, or
tively. M ost upper register to falsetto register transitions
voice classification Midvoice I), the F0 range decreased by
occurred for Midvoice II between G4 and D5. For almost
about 4 to 5 semitones. That pitch range compass contin
half the sample, however, the crossover frequency was A4.
ued throughout the transformation process until matura
This is lower than previous research findings on falsetto
tional stage V (postmutational development, the Settling
emergence in adolescent males. In the Midvoice IIA classi
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fication, most boys (74.6%) showed upper-to-falsetto reg
amounts of noise were detected in both the lower and up
ister transitions between E4 and B4, but half changed to
per register tones that were sampled.
falsetto on G4. No whistle register was detected during this
As voice maturation progressed, the sonograms revealed
classification. In the New Baritone classification, there was
an obvious and very strong trend toward an increase of
considerably less variability in the upper-to-falsetto cross
noise components within the F0-to-4100-H z range of har
over frequencies. Over half of the subjects transitioned to
monics, even through the completion of the Settling Bari
falsetto register at E4 and F4. There seemed to be a slightly
tone classification. Increased breathiness and constriction
wider distribution of crossover frequencies during the New
were perceived in all voice change classifications, compared
Baritone classification, indicating a slight extension upward
to trained adult norms of tonal clarity (see Figure IV-4-5, A
in its pitch range. Figure IV -4-4 shows the modal (upper
through F). The noise levels in the lower and upper regis
and lower registers together), falsetto, and whistle registers
ter tones increased significantly from the unchanged to
for the Midvoice II classification.
Midvoice II classifications, and almost doubled in the lower
Voice quality. Sonographic evidence was used to as sess one aspect of voice quality, that is, degrees of air-tur-
register tones from the Midvoice II to Settling Baritone clas sifications.
bulence noise compared to the presence of harmonics (over
In comparing the noise components in the upper and
tones) when subjects were sustaining a lower register tone
lower harmonic ranges, as produced in the lower and up
and an upper register tone. Harmonics were measured in
per register sustained tones, the upper register tones gener
two ranges:
ally showed more noise components and the lower regis
1. from the F0 to 4100-Hz (lower range harmonics);
ter tones generally showed less noise. Sonographic analy sis revealed that the upper harmonics (the 4100-8000-H z
and 2. from 4100-Hz to 8000-Hz (upper range harm on
range) are greatly affected by maturation. Vocal instability first appeared in this range of harmonics after male voices
ics).
began their transformation. Noise components in both the In addition, perceptual rating scales of degrees of
lower harmonic range and the higher harmonic range were
breathiness and laryngeal constriction were completed by
greater in the lower register tones than in the upper register
trained judges.
The sonographic evidence revealed that
tones. Greater constriction of the intrinsic muscles of the
unchanged voices produced noticeably clear harmonics
larynx was observed during the production of lower F0s
with normally small amounts of air-turbulence noise, even
than for higher F0s. Finally, the falsetto register sustained
when they were sustaining upper range F0s (above C5). With
tones had a lower ratio of noise components than both the
the onset of voice transformation, however (Midvoice I),
lower and upper register sustained tones.
the sonograms of F0s at C5 and above showed high ratios
Formant frequency regions, number of formants,
of air-turbulence noise, and the judges perceived the tone
and frequency spread between the first two formants
qualities as effortful, strained, and breathy.
(F1 and F2). When subjects were singing lower register sus
Significant
tained tones, spectrographic analysis revealed that the un changed voices produced the greatest number and the most intense harmonics.
As maturation progressed, the num
ber of upper harmonics decreased and perceived vocal rich ness diminished, although the differences were not drastic. The fewest harmonics were produced during the Midvoice IIA classification, and the intensity level of all harmonics was least. This characteristic of the Midvoice IIA classifi cation indicated that it occurred during the maturational
Modal
Falsetto
Whistle
Figure IV-4-4: Typical ranges of registers in the Midvoice II classification.
stage of greatest vocal instability. Voice quality was per ceived as being the least clear. m a l e
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Figure IV-4-5: Narrow band spectrographic samples. (A) Unchanged voice, (B) Midvoice I, (C) Midvoice II, (D) Midvoice IIA, (E) New Baritone, (F) Settling Baritone, (G) Midvoice IIA falsetto register, (H) Midvoice II whistle register. The vowel /ah/ is sung for all examples.
Adult-like quality is not present in any stage of male
Male adolescent voices cannot be expected to produce a
adolescent voice transformation. During mutation, neither
voice quality that is comparable to an adult baritone, bass,
the amount nor the distribution of formant intensity above
or tenor, unless they produce vocal sound with exagger
4100-Hz was adult-like in nature. When the adult F0 range
ated, inefficient laryngeal and vocal tract coordinations.
was approximated during the Settling Baritone classifica tion, the number and intensity of harmonics did not ap
Average speaking fundamental frequency. There was
proximate adult characteristics. The F1 - F2 statistics also
a very close relationship between changes in average speak
supported this conclusion. In the /ah/ vowel used by the
ing fundamental frequency (ASFF) and the lowest singing
Settling Baritone subjects, the spread between F2 and F2
F0 produced by the research subjects (see Table IV -4-3 and
ranged from about 550-Hz to about 500-Hz (about 220-
Figure IV-4-6). Beginning with Midvoice II, the frequency
Hz to 170-Hz above adult norms). All measurements were
interval difference between the lowest singing F0 and the
moving toward normal adult data, yet were still not close.
ASFF remained stable across the voice change classifica-
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3. Sitting and standing height, weight, chest size, waist size, phonation time, and vital capacity all showed pro
Table IV-4-3.
gressive increases across the voice change stages.
Comparison of Low Terminal Pitch (LTP) With
4. Subcutaneous body fat measurements yielded in
Average Speaking Fundamental Frequency (ASFF)
consistent results; the overall pattern of change indicated a
During Premutation and the Five Mutational Stages
general loss of "baby fat" and increased muscular develop
[Voice classification designations are in parentheses.] Mutational Stage and Classification Premutation (Unchanged) Early M utation (Midvoice I) High M utation (Midvoice II) M utation Climax (Midvoice IIA) Postmutation Stabilization (New Baritone) Postmutation Development (Settling Baritone)
LTP 218-Hz/A3 206-Hz/Ab3 174-Hz/F3 148-Hz/D3 125-Hz/B2 95-Hz/G2
ment in the chest and arm region.
ASFF
5. Maximum phonation times (how long the subject
259-Hz/C4 226-H z/Bb3 210-Hz/Ab3 186-Hz/F#3 151-Hz/D3 120-Hz/B2
could sing a sustained tone on one breathstream) were above established norms for adolescents and approached adult levels. 6. There was decreased glottal efficiency in the last two stages of voice maturation. 7. Within each of the voice change stages, steady in
tions. As voice transformation proceeded through the re
creases of vital capacity seemed to be the most consistent
maining maturational stages, both the lowest sung F0 and
measure of all the physiological variables tested.
the ASFF descended in frequency. Confirming the findings of Groom, (1984), Frank and Sparber (1970a, b), Naidr, et
The 1977-1980 study addressed the effect of voice skill
al. (1965), Hollien and Malcik (1967), and van Oordt and
training on developing vocal anatomy, and the relation
Drost (1963), the ASFF, during and after the most active
ship between (1) laryngeal growth spurts and (2) the inci
stages of voice change, remained at about three to four
dence of true vocal dysphonias.
semitones above the LTP of the singing range (musical in
and singing teachers have wondered if choral singing dur
tervals of the major and minor third).
ing voice change might affect vocal anatomy and physiol
Other Physical Findings. Confirming the findings of
ogy beneficially or adversely.
Some choral educators
The study's findings were
Weiss (1950), Tanner (1972), and Smart, Smart, and Smart
inconclusive. Measures of gross vocal and singing intensi
(1978), chronological age was not a valid or reliable crite
ties, ASFF, singing F0 range, and tessitura limits during the
rion for predicting a specific vocal-physiological stage of
most active phases of voice change showed no particular
maturation. In general terms, however, the most extensive
benefit. Cooksey, et al., concluded that whatever vocal train
changes in vocal maturation took place between 12.5 and
ing the subjects received might have had some positive
14 years of age.
effect in extending their upper range and tessitura limits
This correlates highly with the growth
patterns that have been described by pubertal growth au thorities. According to Tanner (1972), the growth process
Mean speaking voice pitch compared to lower terminal pitch for each of the voice change studies.
proceeds in phases. These conclusions are supported by the findings of this study. The growth spurts were revealed in the measures of the various physiological factors. Each
&
factor seemed to have its own growth rate velocity, but all measures increased over time (decreases in body fat mea sures excepted). 1. Increases in weight and in sitting and standing height
Unchanged
closely paralleled normative charts for chronological age.
2. Increases in weight and in sitting and standing height
Midvoice II
Midvoice IIA
New
Baritone
Settling
Baritone
Whole note: Represents Lower Terminal Pitch of the Singing Range
during the most active voice change stages closely matched statistics given by other researchers.
Midvoice I
^
Quarter note: Represents Mean Speaking Voice Pitch
Figure IV-4-6: Average speaking pitch compared to low terminal pitch for each of the voice transformation classifications.
m a l e
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729
during the most active phases of voice change.
No evi
6. There was a strong upsurge of New Baritones and
dence was found to indicate that their training affected the
Settling Baritones during the spring months of the eighth
rate of change or actual classification category. This ques
grade.
tion needs further study but more stringent research meth odologies are needed.
7. Individual growth rates within and across the voice change classifications were very different, but the average
The cautionary concerns of the voice-break tradition
time spent in the most active phases of mutation closely
alists, otolaryngologists, and speech pathologists regarding
approximated the same measures reported by Naidr, Zboril
the relationship of vocal dysphonia and voice change was
and Sevcik (1965).
not substantiated. The voices in this study did not evi
8. Individuals tended to stay in the Midvoice II classi
dence a normal adult vocal quality and lacked perceived
fication more than twice as long as any other classification
adult richness even during the Settling Baritone classifica
(excluding the unchanged and Settling Baritone categories).
tion. Trained adult vocal production norms include such
9.
Finally, because of the wide and skewed disper
characteristics as little or no breathiness and optimal la
sions, a truly accurate and precise measure of the velocity
ryngeal constriction. Variance from those norms in chang
of growth rate could not be ascertained. Individual vari
ing voices were sometimes statistically significant, but the
ability existed throughout the voice transformation period.
degrees of variation across measurements never proved to
Predictions of how long individuals will remain in each of
be clinically significant.
the voice change classifications were not possible.
A process of anatomical matura
tion was significantly underway, but did not appear to im pact either the voice or the vocalist adversely. This finding implies that, while vocal pathologies do not normally exist
T w o F o llo w - U p P r e d ic t iv e V a lid it y S t u d ie s (1983)
during adolescent voice transformation, singing and speak ing activities and training can be continued as long as effi cient voice use and healthy management occur.
Utilizing the descriptive physiological and acoustical data from the original California Longitudinal Study (1984, 1985), Wiseman, Cooksey, and Beckett (1983a,b) conducted
D is trib u tio n o f S u b je c ts A c ro s s V o ic e C lassificatio n s, S ch o o l G r a d e L e v e l, an d V o ic e T ra n s fo rm a tio n V e lo c ity R ates The following assumptions appeared to be confirmed. 1. M any voices began the diminishing of Fo range as sociated with puberty before the seventh grade (12-13 year olds). 2. All voice classifications in this study were present in the eighth grade (13-14 year olds). 3 . There was more shifting between Midvoice II to Settling Baritone during the summer months between the seventh and eighth grades (13-14 year olds), than for the same period between the eighth and ninth grades (14-15 year olds). 4.
The Midvoice II classification remained strongly
present throughout the seventh and eighth grades (12-14 year olds). 5. Very few boys in the eighth grade (13-14 year olds) were at the Unchanged and Midvoice I classifications
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two predictive validity studies.
The purpose of the first
study was to determine if any of the eight physiological variables that were measured in the original study could be highly correlated with the voice change stages.
Any
variables with high correlation to the stages might be used to predict which change stage the boys were in with rela tively high validity. The eight physiological variables were: (1) standing height, (2) sitting height, (3) chest size, (4) waist size, (5) percentage of body fat, (6) total fat, (7) phonation time, and (8) vital air capacity. Measurements of the variables were taken monthly during the school year.
Both linear and
quadratic discriminant statistical analyses were applied to the original study's data. Using only the physiological vari ables as criteria, only 35.9% of the study's subjects were accurately placed into their voice change stages and classi fications. The best predictor of voice change, however, was standing height, followed by the square of standing height. Basically, extensive but rapid increases in standing height
appeared to be negatively correlated with voice change. This seems contradictory, but during the Midvoice II stage
S t u d ie s S in c e C o o k s e y -B e c k e tt-W is e m a n
(lengthiest stage), the most extensive growth spurt took place among most of the boys; in other stages, height increases were not so extreme.
The third best predictor of voice
V o c a l-A c o u stic a l M e a s u re s o f P ro to ty p ic a l P a tte rn s R e la te d to M a le A d o le sc e n t V o ic e T ra n sfo rm a tio n
change was the interaction between standing height and weight. This was followed by the single variable of weight. When physiological measures are considered independently of each other, they generally appear not to be powerful predictors of voice change stages. Changes in the physi ological measures vary across voice change stages.
The
growth rates of different maturational processes vary across time.
In an effort to test the validity of the Cooksey voice classification guidelines and to compare other acoustic in formation, a prototype investigation was undertaken, us ing more precise acoustic measures (Cooksey, 1985).
Joel Kahane, Professor of Audiology and Speech Pathol ogy at Memphis State University (Memphis, Tennessee, USA) assisted in the planning and implementation of the project. The primary purpose was to test the singing F0 ranges and
The purpose of the second study was to determine if any of the nine acoustical/vocal variables that were mea sured in the original study could be highly correlated with the voice change stages. The nine acoustical/vocal vari ables included: (1) dynamic singing range, (2) breathiness of the voice, (3) constriction of the voice, (4) degree of low frequency noise (i.e., less than 4,000-Hz or 4-kiloHertz), (5)
ASFFs of subjects who could serve as prototypes for the various voice classifications represented in the revised in dex. Three Memphis city schools were chosen for the ini tial testing of 50 subjects. Using the piano and pitch pipe as frequency references, 15 boys who best represented pro totypical pitch range patterns were further tested at the Memphis State University Speech and Hearing Center.
degree of upper frequency noise (i.e., greater than 4-kHz), (6) number of formants, (7) the average center of the upper formants, (8) location of the first formant, and (9) location of the second formant.
In addition, Two other variables
that are closely related to the vocal/acoustical phenomena were studied, that is, phonation time and vital air capacity. By applying quadratic discriminant statistical analysis, 41.1% of the cases could be accurately classified—a result significantly better than chance alone. Four variables were significant predictors of voice change.
The most potent
predictor of voice change was vital air capacity—a physi ological variable that correlated significantly with certain acoustic variables. The interaction between vital air capac ity and perceived breathiness was the next best predictor, while the statistical interaction between the first and sec
Each subject was tested in a soundproof room, and measurements were taken through a one-inch condenser microphone and ReVox A77 Tape Recorder.
and F2 remained constant, supported the percep
tual stability of the phoneme utilized. Low frequency noise
series of readings and vocalizations on prescribed pitch /oo/), results were examined using Kay Elemetrics Visipitch equipment (Model 6087).
A continuously variable
electronic cursor was used to measure the trace patterns appearing on the oscilloscopic screen. Stored recorded traces of the singing and speaking F0 patterns produced by read ings and sung passages were measured by digital readouts. Frequency bands (A,B,C,D) were selected depending upon the subject's F0 range, and settings at 1, 2, 4 or 8 second intervals were employed in an effort to obtain the opti mum tracing patterns on the screen. The schematic representation in Figure IV-4-7 shows how the singing HTP and LTP frequencies were determined. The shape of the tracing patterns show distinctive features.
in the voiced signal also showed significance as a predictor, and increases in the level of noise were also associated
Through a
patterns (including the vowels /ah/, /eh/, /ee/, /oh/, and
ond formants was third best. The fact that the spread be tween
Dr.
1. Each sung pitch was represented by a plateau be tween consecutive transition areas.
with changes in voice stages.
2.
Transition areas were shown by increases or de
creases in frequency (sloped areas) between two adjacent pitches.
m a l e
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731
3.
The beginning boundaries of each pitch were se were somewhat lower than those of the Cooksey, et al.,
lected after the transition increases or decreases were com pleted.
study. Whereas in the Cooksey, et al., study, the ASFFs re mained in a relatively consistent position above the LTPs
These individual pitches represented the component
for each of the voice classifications, the prototype sample
parts of each scale pattern. The digital frequency readout
showed a different trend.
The pitch intervals above the
for each pitch was determined by a cursor-measuring unit
LTPs (beginning with Midvoice I) became wider for succes
which was moved horizontally and positioned over the
sive voice classifications, possibly indicating more rapid
mid-point of each pitch produced.
growth patterns. Further research is needed to determine
In the case of deter
mining the ASFFs, approximately 70 equidistant digital read
the validity of this finding.
ings were made across the various syllables of the recorded
The results of the prototype study were consistent with
passage. A follow-up cursor measure of peaks, low areas,
the sequential continuum in the growth processes associ
and plateau regions also was completed.
ated with male adolescent voice transformation.
Certain
Results indicated that the prototype voices clearly
vocal and acoustic factors followed a sequential pattern of
matched the maturation criteria that were described in the
development, and were measured accurately and precisely.
Cooksey, Beckett, and Wiseman study (1984, 1985). Initial
Based upon the criteria of singing range, register develop-
on-site voice testing procedures were also found to be valid; that is, assignments to the voice classifications were accu rate, and accurate vocal F0 ranges were ascertained. Fur thermore, the mean F0 ranges (averaged HTPs and LTPs) of the 86 subjects in the Cookman-Beckett-Wiseman study were established as valid reference points for voice classi fication.
The prototype voices, when analyzed acousti
cally, did not differ significantly from the Cooksey, et al., measures. Figure IV-4-8 shows a comparison of the mean singing ranges and the ASFFs of the two sample popula tions. There are small pitch differences from the original mean figures of the Cooksey, et al., study, but all fell well within the F0 range boundaries established by the study's voice classification index.
The prototype subjects' ASFFs
Figure IV-4-7: Schematic representation of the oscillographic tracing of recorded sounds from prototypical grade school and junior high school subjects. Displayed on the left is a subject singing a series of ascending pitches to determine high terminal pitch. Displayed on the right is a subject singing a series of descending pitches to determine low terminal pitch.
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Figure IV-4-8: Frequency ranges of singing and speaking at different stages of voice maturation. Range frequency: continuous line = original sample; broken line = new experimental sample, fundamental frequency: (•) = average speaking fundamental frequency pitch pipe analysis; (X )= Visi-pitch analysis of average speaking fundamental frequency. UNCH = unchanged voice; M I = Midvoice I; M II = Midvoice II; M IIA = Midvoice IIA; NB = New Baritone; SB = Settling Baritone.
ment, and average speaking fundamental frequency, the following conclusions were drawn.
A follow-up comparative assessment was completed in June, 1994.
1. There were distinct stages of voice mutation, which can be defined operationally and tested scientifically.
The data were compared to the Index of
Voice Change that was validated in the Cooksey, et.al., 1984 study. That study's subjects were predominantly inexperi
2. The Cooksey, et al., revised voice classification index
enced and untrained in singing. The data examined related
was a useful measure in determining specific voice classifi
to how voices developed as determined by their acoustic
cation assignments.
signals (vocal fold patterning, relative energy levels across
3 . On-site voice assessment procedures were reliable
frequencies of vowel production, closed quotient analysis)
in determining voice classifications. The acoustic measures
and their vocal output (vocal ranges, tessiturae, and regis
supported the preliminary judgments that were based upon
ters).
the range and register criteria. The piano and pitch pipe were useful referents in this process.
The London boys followed the same general sequence of voice transformation stages that had been established in
4. There were varying degrees of vocal stability, de
the Cooksey, et al., study, and pitch ranges and tessiturae
pending upon the particular voice change classification;
were remarkably similar.
for example, Midvoice IIA had the most erratic tracer con
remained the same for stages III-V, but the whistle register
figurations.
was found in a number of unchanged voices, providing an
5. There was a monotonic shift in singing and speak
Falsetto register characteristics
exception to the findings in the California study.
ing pitch ranges as the climax of mutation was approached.
Several interesting cases appeared which illustrate the
The New Baritone and Settling Baritone classifications rep
diversity and complexity (and challenge) of adolescent voice
resented a more stable, tapering period.
development. For example, pupils A and B were close to
6. There were sometimes double- and triple-banded
the same age, 12 years, but pupil A progressed through
frequency areas for the falsetto and whistle registers
three stages of voice change between November, 1992, and
(Midvoice II and IIA) indicating some pitch instability. This
June, 1993. Stage I lasted two months, stage II, three months,
phenomenon did not occur, however, during the New and
and stage III, three months.
Settling Baritone classifications.
(New Baritone) one year later. During this twelve-month
So, pupil A was in stage IV
7. The average speaking fundamental frequency oc
period of rapid change, vocal coordinations were difficult,
curred close to the lowest terminal pitch of the singing pitch
and voice quality was inconsistent. Nevertheless, many of
range. Pitch intervals above the lower borders, however,
these problems did not appear when his voice was reas
became slightly higher with successive voice change classi
sessed in 1994.
fications.
In contrast, pupil B's voice remained unchanged throughout the entire first year of testing. He was able to
T h e L o n d o n O r a to ry S ch o o l Study: C ro s s -C u ltu ra l P e rsp e c tiv e s (1992-1994)
continue a vigorous solo treble schedule, and sang through
Approximately sixty male pupils, aged between seven and eighteen years, from the London Oratory School and the London Oratory Primary School, were subjects in a study of various aspects of male voice development (Cooksey & Welch, 1997). These students sing daily and receive voice training. Data were gathered from each boy once per month over one academic year (1992-1993). A variety of selected singing and speech activities were re corded for subsequent musical, acoustic, and laryngographic analysis (Book II, Chapter 7 describes the latter as
out his pitch range with comfort and ease of production. One year later, 1994, his voice was classified as being at stage II, a much slower progression than pupil A, and with vocal coordination remaining quite stable throughout his pitch range. In general, age continued to be a poor crite rion for establishing voice change stages, and a variety of stages could be found at any point within the 12-14 year age span of the London sample. This finding is quite simi lar to previous studies. Analysis of the study's data contin ues.
electroglottographic analysis).
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T h e C a m b rid g e S tu d y (U K )
rates and distribution of voice "types" are highly variable,
Harries, et al., (1996), conducted a one-year longitudi nal study of 26 boys, ages 13 and 14 years, who resided in
however. 2.
Total pitch range compass is the most important
Cambridge, United Kingdom. Data were gathered once every
vocal criterion in determining a particular voice matura
three months for a total of five data collection periods over
tion stage. HTPs and LTPs are variable within and across
the year. In the data gathering sessions, the boys under
individuals (depending on nervousness and other factors),
went a physical examination by physician researchers, and
nevertheless, this criterion is very reliable.
various vocal tasks were performed, observed, and recorded.
3 . Other important criteria for male changing voice
During the physical exam, various aspects of the physi
classification include tessitura, voice quality, register devel
cal growth and development of the boys were observed
opment, and average speaking fundamental frequency.
and described. They were then classified according to spe
4. One can expect voices representing all stages of matu
cific characteristics of five physical growth stages during
ration during the seventh grade school year (12-13 year
puberty that were designated by Tanner (1984) as G l, G2,
olds), especially at mid-year.
G3, G4, and G5.
5. For most boys, adolescent voice mutation begins at
The boys were asked to speak their name, read two
12-13 years of age, reaches its most active phase between
well known speech passages, sustain a comfortable pitch
13 and 14 years, then tapers off between 15 and 18 years.
in lower register and then create pitched scales from that
Voices continue to mature and expand their pitch ranges
pitch (no fry or falsetto allowed), and sing the song "Happy
during the latter age range.
Birthday" in a self-chosen comfortable key. Voice data were
6. There tends to be more stability and less individual
recorded by various instruments for subsequent analysis,
variation in the lower pitch range limits throughout the
including a laryngograph and a tape recorder.
Average
different stages of voice maturation than in the upper pitch
speaking fundamental frequency and singing pitch range
range limits. There are great variations in the upper range
(within lower and upper registers only) were two promi
areas, but stability comes with the New Baritone classifica
nent measures of the study.
tion, after the high point of voice maturation is passed.
The study's findings were correlated with data from
7. Triggered by hormone secretions, the first stage of
the California Longitudinal Study (Cooksey, et al., 1984,
voice maturation occurs at different times in different indi
1985). Tanner's five physical growth stages correlated highly
viduals. It is challenging to detect. At first, the upper pitch
with the five stages of voice transformation from the Cali
range becomes unstable and more effortful and voice quality
fornia study. The data on speaking and singing pitch range
becomes slightly breathy and constricted.
also correlated highly.
8. The pubertal stages of sexual development closely parallel the stages of voice maturation. The most notice
S u m m a r y a n d C o n c lu s io n s
able changes in singing capability occur at the climax of puberty, when secondary sex characteristics are fully de
European and American research findings reported in this chapter have provided music and choral educators, laryngologists, speech pathologists, voice scientists, and
veloped and reproductive capability begins. 9. On average, the most active period of voice change occurs over about a 13 month period.
others in the medical professions with important informa
10. Adult voice quality should not be expected from
tion about the vocal, acoustic, and physiological charac
the early adolescent male voice, even after the Settling Bari
teristics associated with male adolescent voice transforma
tone classification has been reached.
tion.
11. The width of the comfortable singing pitch range
These studies showed that: 1.
(tessitura) remains fairly stable throughout the stages of
Voice maturation, as revealed in measures of singvoice change, but there is high individual variability. ing capabilities, proceeds at various rates of velocity through a predictable, sequential pattern of stages. Individual growth
734
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12.
The physiological variables of sitting and standingIm p lic a t io n s
height, weight, chest size, waist size, phonation time, and
fo r F u rth e r R esearch
vital capacity show a steady increase across the voice matu Height seems to be closely related to the
The Cooksey, et al., study established a strong theoreti
most extensive voice maturation stages, whereas weight
cal and scientifically tested conceptual framework for un
ration stages.
increases occur more extensively during the Settling Bari
derstanding the processes of male adolescent voice trans
tone classification.
formation as they affect singing and—to some extent—speak
13.
Falsetto register first appears during the most acing. It showed that the interrelationships between all the
tive stage of voice maturation (Midvoice II) and shows
vocal-acoustic-physiological processes are highly complex,
consistent levels of noise in succeeding stages.
and that developing research methodologies for teasing them
14. Average speaking fundamental frequency occurs
out is challenging. For instance, there is strong evidence to
close to the lower end of the singing pitch range through
show that some variables such as AS FF, height and weight,
all of the voice maturation stages, although this finding
vocal quality, and register development are closely associ
does not necessarily reflect efficient voice use.
ated with changes in the singing pitch range. All of these
15. Acoustic data reveal increased breathiness and con
changes occur as a part of the pubertal growth process.
striction during the most active stages of voice maturation
Predictive validity and correlation studies might be useful
(particularly Midvoice IIA), but voice-use pathologies are
in giving additional information, and creating areas for fur
not commonly present.
ther research. As a result of this scientific framework, much progress
More precise knowledge is being gathered about
has been made in developing practical approaches to ado
how the maturational stages affect both singing and speak
lescent voice education and health care. Significant ques
ing functions (Harries, et al., 1996). Rather than seeing the
tions remain, however. Of primary importance is contin
act of singing as detrimental to the healthy development of
ued development of methods for teaching efficient voice
early-adolescent voices, voice medicine scientists are see
skills, optimum vocal conditioning, and voice health pro
ing the singing milieu as an important avenue to gaining
tection. For instance, would vocalises, solo song, and cho
new insights into (1) voice mutation processes, (2) dyspho-
ral literature—carefully composed to fit the Cooksey voice
nic function that may occur only because of mutation pro
classification guidelines—produce more skilled, stronger, and
cesses, and (3) the incidence and treatment of voice-use
healthier adolescent voices?
disorders in pubertal children.
maintain a greater degree of pitch perception and accuracy
Would these male singers
The transformation of the male adolescent voice is a
both during and after voice change? Can frequent "top-
complex phenomenon. With the information at hand, in
down" vocalization be used to strengthen the falsetto and
terested voice educators, voice scientists, speech-language
upper registers, to achieve blended register transitions and
pathologists, and laryngologists can develop guidelines for
efficiently produce "seamless" voice quality families (see
the careful management of singing and speaking functions
Book II, Chapters 10 and 11)? Can the same process be
during the time of mutation and for the treatment of any
used to extend the upper pitch range?
voice disorders that may occur. If singing activities were
ments, such as electroglottographic and spectrographic
continued, and music, choral, and voice educators used
analysis, can measure the effects of such voice education
science-based criteria for voice classification, music selec
methods.
Scientific instru
tion, and vocal part assignment, then perhaps male ado
Measures of vocal function such as singing range,
lescent boys would be more likely to continue expressive
tessitura, register development, and voice quality can give
singing and speaking activities over their entire lifespan.
scientists and medical personnel information on whether or not the vocal mechanism is intact as it develops during adolescence. Variable stability in vocal functions appears
m a l e
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73 5
to occur during the different stages of vocal maturation, particularly in mucosal waving.
Bradley, M. (1953). Prevention and correction o f vocal disorders in sing ers. National Association o f Teachers o f Singing Bulletin, 7(5), 38-49.
Such information could
provide cooperative voice treatment teams with additional
Brodnitz, F.S. (1953). Keep Your Voice Healthy: A Guide to the Intelligent Use and Care o f the Speaking and Singing Voice. New York: Harper & Bros.
important information from which new therapeutic meth odologies and treatments of functional disorders may be
Brodnitz, F.S. (1975). The age of the castrato voice. Journal o f Speech and Hearing Disorders, 40(3), 291-295.
devised. Finally, the vocal-acoustic-physiological factors of voice transformation need to be studied in relation to selective neuropsychobiological and cultural factors.
How might
development of singing skills during adolescent voice trans formation affect myelinization patterns and cognitive growth patterns in males (see Fischer & Rose, 1992; Thatcher, 1992)? Can an understanding and effective practice of healthy voice management during voice change better enable young men to withstand negative peer pressure regarding participa tion in singing activities? If success and stronger self-iden tity occur as a result of expressive vocal experiences, will the adolescent male be more likely to take part in singing and music activities later on in life? It is generally accepted
Brodnitz, F.S. (1958). The pressure test in mutational voice disturbances. Annals o f Otolaryngology Rhinology and Laryngology 67, 235-240. Brodnitz, F.S. (1971). Vocal Rehabilitation (4th Ed.). Rochester, M N : Custom Printing. Brodnitz, F.S. (1983). On the changing voice. National Association o f Teachers o f Singing Bulletin, 40(2), 24-26. Cleveland, T.F. (1977). Acoustic properties of voice timbre types and their influence on voice classification. Journal o f the Acoustical Society o f America, 61(6), 1622-1629. Cooksey, J.M. (1977a). The development of a contemporary, eclectic theory for the training and cultivation o f the junior high school male changing voice: Part I, existing theories. The Choral Journal, 18(2), 5-14. Cooksey, J.M. (1977b). The development o f a contemporary, eclectic theory for the training and cultivation o f the junior high school male changing voice: Part II, scientific and empirical findings: Some tentative solutions. The Choral Journal, 18(3), 5-16.
that adult male participation in choirs and other singing activities is at best minimal in most parts of the Western world. Perhaps if adolescent voices were cultivated, using methodologies based upon scientific findings, more young men would be encouraged to continue their participation in singing activities.
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A Course in Phonetics.
New York: Harcourt, Brace,
Ladefoged, P., Harshman, R., Goldstein, L, & Rice, L. (1978). Generating vocal tract shapes from form ant frequencies. Journal o f the Acoustical Society o f America, 64(4), 1027-1035. Lee, PA. (1980). Normal ages of pubertal events am ong American males and females. Journal o f Adolescent Health Care, 1, 26-29. Lee, P.A., & Migeon, C.J. (1975). Puberty in boys: Correlation of serum levels of gonadotropins (LH, FSH), androgens (testosterone, androstenedione, dehydroepiandrosterone, and its sulfate) estrogens (estrone and estrodiol) and progestins (progesterone, 17-hydroxy-progesterone). Jour nal o f Clinical Endocrinology and Metabolism, 41, 556-562. London County Council Schools (1933). The broken voice. M em oranda on curriculum for senior schools: No. VI, on music. London. McKenzie, D. (1956). Training the Boy's Changing Voice. London: Bradford and Dickens, Drayton House. Mellalieu, W.H. (1947). The Boy's Changing Voice. London: Oxford Univer sity Press. Naidr, J., Zboril, M., & Sevcik, K. (1965). Die pubertalen Veränderungen der Stimme bei Jungen im verlauf von 5 Jahren (Pubertal voice changes in boys over a period o f 5 years). Folia Phoniatrica, 17, 1-18. Nightingale, M. (193 9). Troubadours: A Collection o f Four-Part Choruses. New York: Carl Fischer.
Hollien, H. (1974). On vocal registers. Journal o f Phonetics, 2,125-143 . Hollien, H. (1978). Adolescence and voice change. In B. Weinberg, and V.L. Lawrence (Eds.), Transcripts o f the Seventh Symposium, Care o f the Professional Voice: Part II, Lifespan Changes in the Human Voice (pp. 36 -4 3). New York: The Voice Foundation. Hollien, H., & M oore, G.P (1960). Measurements of the vocal folds during changes in pitch. Journal o f Speech and Hearing Research, 3, 157-165.
Richison, S.R. (1971). A longitudinal analysis o f the vocal maturation patterns of individual adolescents through duration periods o f eight and nine years. Unpublished Ph.D. dissertation, Florida State University. Rorke, G. A. ( 1947). Choral Teaching at the Junior High School Level. Chicago: Hall & McCreary.
Hollien, H., & Malcik, E. (1967). Evaluation of cross-section studies of adolescent voice change in males. Speech Monographs, 34, 80-84.
Rubin, H.J. (1964). Role of the laryngologist in the managem ent o f dys functions of the singing voice. Transcripts o f the Pacific Coast Oto-ophthalmology Society, 45, 57-77.
Howard, D.M., & Lindsey, G.A. (1987). New laryngograms o f the singing voice. Proceedings o f the 11th International Congress o f Phonetic Sciences. USSR: Tallin, 5, 166-169.
Rutkowski, J. (1985). Final results o f a longitudinal study investigating the validity of Cooksey's theory for training the adolescent male voice. Penn sylvania Music Educators Association Bulletin o f Research in Music Education, 16, 3 -
10.
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Rutkowski, J. (1984). Tw o-year results o f a longitudinal study investigat ing the validity of Cooksey's theory for training the adolescent voice. In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice (pp. 86-97). Buffalo, NY: State University of New York at Buffalo Press. Smart, M.S., Smart, R.C., & Smart, L.S. (1978). Adolescents: Development and Relationships. New York: MacMillan. Sturdy, L.A. (193 9). The status o f voice range of junior high boys. Master's thesis, University of Southern California. Swanson, F. (1959). Voice mutation in the adolescent male: An experiment in guiding the voice development of adolescent boys in general music classes. Unpublished Ph.D. dissertation, University of Wisconsin. Swanson, F. (1961). The proper care and feeding of changing voices. Music Educators Journal, 48(2), 63 -66. Swanson, F. (1973). Music Teaching in the Junior High and Middle School. Englewood Cliffs, NJ: Prentice Hall. Swanson, F. (1977). The vanishing basso profundo fry tones. Choral Jour nal, 17(5), 5-10. Tanner, J.M. (1962). Growth at Adolescence. Oxford, United Kingdom: Blackwell Scientific Publishers. Tanner, J.M. (1972). Sequence, tempo, and individual variation in growth and development o f boys and girls aged twelve to sixteen. In J. Kagan, & R. Coles, (Eds.), Twelve to Sixteen: Early Adolescence. New York: Norton. Tanner, J.M. (1984). Physical growth and development. In J.O. Forfar & G.C. Arneil (Eds.), Textbook o f Pediatrics (3rd Ed.). Edinburgh, United King dom: Churchill Livingston. Thatcher, R.W. (1994). Cyclic cortical reorganization: Origins of hum an cognitive development. In G. Dawson & K.W. Fischer (Eds.), Human Behav ior and the Developing Brain (pp. 232-266). New York: Guilford. Timeras, PS. (1972). Developmental Physiology and Aging. New York: Macmillan. Tomkins, W.L. (1914). The Laurel Music Reader. Boston: Birchard Co. Tosi, O., Postan, D., & Bianculli, C. (1976). Longitudinal study o f children's voice at puberty. Proceedings: XVIth International Congress o f Logopedics and Phoniatrics, pp. 486-490. van Oordt, H.W., & Drost, H.A. (1963). Development of the frequency range in children. Folia Phoniatrica, 15, 289-298. von Leden, H., & M oore, P. (1957). The larynx and voice: Laryngeal physi ology under daily stress. Unpublished sound film. Weiss, D.A. (1950). The pubertal change of the human voice. Folia Phoniatrica, 2(3), 26-159. Wiseman, R., Cooksey, J., & Beckett, R. (1983a). The utilization o f physi ological criteria in the prediction and measurement of voice change stages. Unpublished manuscript, California State University at Fullerton. Wiseman, R., Cooksey, J., & Beckett, R. (1983b). T h e utilization of acous tical criteria in the prediction and measurement o f voice change stages. Unpublished manuscript, California State University at Fullerton. Yanagihara, N., Koike, Y. & von Leden, H. (1966). Phonation and respira tion: Function study in norm al subjects. Folia Phoniatrica, 18, 323 - 340.
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Yanagihara, N. & Koike, Y. (1967). The regulation o f sustained phonation. Folia Phoniatrica, 19, 1-18. Yanagihara, N. (1967). Significance o f harm onic changes and noise com ponents in hoarseness. Journal o f Speech and Hearing Research, 10, 5 3 1-541.
ch ap ter 5 u n d e r s t a n d in g v o ic e t r a n s fo r m a t io n in fe m a le a d o le s c e n ts Lynne Gackle
or over a century, the effects of adolescent male voice
In the past 25 years, there has been increasing docu
F
1939); observational study (Cooksey, 1977abc, 1978; Coo
those that take place in males and they are not as extensive
per, 1973; Groom, 1979, 1984; McKenzie, 1956; Swanson,
(Alderson, 1979; Aronson, 1990; Brodnitz, 1983; Kahane,
1977); scientific study (Barresi & Bless, 1982; Cooksey, 1985,
1978, 1982, 1983; Chapter 2 has an overview).
mutation on singing capabilities has been the subject
mentation of the physical changes that occur in the female
of much: speculation (Behnke & Brown, 1885; Finn,
larynx during puberty.
These changes are different from
1993; Cooksey, Beckett & Wiseman, Beckett & Wiseman,
During the past 10 years, the effects of voice change
1984; Frank and Sparber, 1970; Naidr, Zboril and Sevcik,
on the singing capabilities of adolescent female voices has
1965; Rutkowski, 1984, 1985).
become a topic of active observational research (Huff-Gackle,
As a result, much information has been gathered about
1987; Gackle, 1991; Williams, Larson & Price, 1996). A lon
the stages of male voice transformation, the characteristics
gitudinal scientific study is needed, however, in order to
of each stage, methods of voice classification and teaching,
determine the nature of this change and its implications for
and the psychobiological processes that affect boys at this
choral conductors, music educators, church musicians, sing
particular time of their lives (see Chapter 4).
ing teachers, and speech teachers. The scientific studies of
Comparatively minimal information exists, however, about the effects of adolescent female voice mutation on
male voice change listed above can serve as excellent pro totypes for such research.
singing capabilities (Hollien, 1978). One possible reason for this lack of information may be that the voice transforma tion process is not nearly as noticeable in females as it is in
F e m a le P u b e r t a l P r o c e s s e s R e la t e d to V o ic e C h a n g e
males. The speculative assumption was that female voices Observable physical changes in the female adolescent
do not really "change", but instead merely "develop" during the adolescent period.
Finn (1939, p. 21) states that "the
girl's nature will develop rather than undergo change, and
that can be indicators of voice change are (Lee, 1980; Tan ner, 1972; Weiss, 1950): 1. overall physical growth (height, weight, size, and so
her throat will attest this fact by merely growing, escaping the anatomical readjustments of her brother!' Evidence for
forth);
this assumption is the absence of a noticeable change in
2. skeletal and muscular development;
pitch range, as is the case with boys, and the breathy, thin
3. appearance of secondary molars;
quality of many adolescent girl voices. f e m a l e
a d o l e s c e n t
v o ic e
t r a n s f o r m a t i o n
739
4. growth of pubic and axillary hair;
pleted from 11.3 to 17.7 years.
5. breast development (thelarche);
from 8.9 to 14.9 years and adult pubic hair was present
6. onset of menstruation (menarche).
anywhere from 12.4 to 16.8 years. In some females, pubic
Pubic hair first appeared
hair growth begins before breast development had begun. These physical changes are triggered by genetically
In some females, peak height velocity preceded breast de
induced secretions of biochemical growth factors and other
velopment by as much as one year, but in others it oc
endocrinological influences (Lee, et al., 1975; Timeras, 1972;
curred as much as 1.7 years later.
Tosi, et al., 1976).
peak height velocity occurred within 6 months of the first
In all cases, however,
These biochemical events occur in cyclical stages or
appearance of pubic hair. Menarche occurred from 1.2 to
"growth spurts" over several years. [See Chapter 2.] They
2.8 years after breast development became apparent, although
appear to be concomitant with growth spurts in the ner
the interval may be longer, possibly as much as 5.8 years.
vous system that result in increased cognitive capacities
The study's data indicated that some females complete pu
(Fischer & Rose, 1994; see Book I, Chapter 8). Tanner (1972,
berty before others begin. The average female experienced
1984) and Marshall and Tanner (1969) contended that the
the onset of puberty 0.5 to 1.0 year earlier than the average
sequences of change during adolescence have remained rela
male, and completed puberty within the same age differen
tively unchanged. The age at which these changes begin,
tial.
however, has been highly variable among girls in the United
Large-scale survey data on the secondary sexual char
Kingdom and now occurs earlier than previously recorded.
acteristics and menses onset of 17,077 U.S. girls ages 3 through
He noted that in the early 1930s, the average age of British
12 years (Herman-Giddens, et al., 1997) indicated that pu
female menarche was 14-years. In the early 1970s, average
bertal characteristics were occurring at much younger ages
menarche occurred shortly before the thirteenth birthday.
than currently accepted norms. The sample was not scien
Menarcheal age appeared to be occurring three to four
tifically selected and the girls were categorized into two com
months earlier per decade. Earlier maturation was attrib
parison groups-African American (1,639) and white (15,438).
uted to changes in nutrition [for example, higher caloric
By age 7 years, 27.2% of the African-American girls had
intake particularly from proteins during early infancy] and
begun breast and/or pubic hair development compared to
warmer climates. Though scientifically unsubstantiated as
6.7% of the white girls. By age 8 years, 14.7% of the white
yet, earlier menarche also had been attributed to earlier psy-
girls and 48.3% of the African-American girls had begun
chosexual stimulation in Western culture.
development of these secondary sexual characteristics. Mean
Both Tanner (1972) and Weiss (1950) agreed that skel
ages for onset of breast development was 8.87 years for
etal age (the developmental stage of the skeletal system) is a
African-American girls and 9.96 years for white girls. Menses
much more reliable correlate of adolescent development than
occurred at 12.88 years in white girls and 12.16 years in
chronological age.
African-American girls.
Tanner noted that the skeletal age of
The mean age of menses onset
menarche in British females is from 12 to 14.5 years, while
among white girls appears to have remained stable over the
the chronological age of menarche is from 10 to 16.5 years.
past 45 years (Eveleth & Tanner, 1990; Tanner, 1969; Wyshak
According to Tanner, menarche occurred late in the devel
& Frisch, 1982; Zacharias & Wurtman, 1969). The data in
opmental sequence after breast budding and development
this study also indicated that girls are taller and heavier
of pubic hair, and generally after the peak growth spurt in
compared to girls that were described in studies 20 years
height had passed.
ago.
Lee (1980) studied pubertal events in females and males
In addition to increased dietary protein, speculation
in the United States. He found that the physical manifesta
about the source of earlier sexual development in U.S. fe
tions of puberty were the same among all adolescents, but
males includes more frequent home use of hair products
that the sequences of pubertal events were highly variable.
that contain estrogen or placenta (Tiwary, 1994), and in
He found that the onset of breast development occurred at
creased use of certain plastics and insecticides that degrade
various times between 8.0 and 14.4 years, and was com
into compounds that have estrogen-related endocrinologic
740
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&
voice
effects (McKinney & Waller, 1994). Intense athletic training
speaking fundamental frequency (ASFF) in female voices
and exercise delay the onset and progression of pubertal
are simultaneous. He further suggested that the menstrual
growth, including diminished growth of the larynx and its
cycle may produce transient changes in the coordination of
vocal folds (Warren, 1980; Grumbach & Styne, 1992).
voice during singing (1971).
Williams, Larson, and Price
Weiss (1950) and Kahane (1978) noted that the most
(1996) investigated selected singing and speaking character
obvious difference between the pubertal development of
istics of adolescent females by way of comparison of a group
the male and female larynx concerns the overall dimen
of premenarcheal girls to a group of postmenarcheal girls.
sions and the shape of the thyroid cartilage. Prior to pu
No statistically significant physiological differences between
berty, the thyroid cartilage of both sexes is approximately
the two groups were noted in the study.
equal in size.
During puberty, the male thyroid cartilage
however, the postmenarcheal girls showed tendencies to
grows primarily in the "anterior-posterior" (front to back)
ward lower ASFF, lower physiological vocal pitch range
direction, particularly at the superior tip, resulting in a some
measures, and increased breathiness.
In all subjects,
what sharply angular protrusion, thus forming the fabled
Research suggests that the lowering of ASFF may be
'Adam's apple." The female thyroid cartilage remains more
an indicator of the onset and/or completion of puberty.
rounded than angular, and its dimensions increase, but to a
For a review of studies related to changes in male and fe
much smaller degree than in the male, thus becoming dis
male ASFF, see Wilson (1987, pp. 116-124). Hollien (1978)
tinctly different from that of the adolescent male.
noted that over a period of four to five preadolescent and
Kahane (1983) found that the average length of the
early adolescent years, the lowering of ASFF in female voices
prepubertal female vocal folds used in his study was 17.31
is more gradual than in boys, possibly only a semitone per
millimeters (mm). The average length of adult female vocal
year. Duffy (1958) also noted a successive decrease in ASFF
folds was 21.47 mm, thus a 24% increase of 4.16 mm (male
with age. He also suggested that menarcheal development
vocal fold length increased 67%). Luchsinger and Arnold
was more significantly related to change in ASFF than was
(1962) and Alderson (1979) indicated that the vocal folds of
a span of two years of chronological age.
female adolescents increase in size approximately 3-4 mm.
Although Michel, et al. (1966), Hollien & Paul (1969),
This increase in the size of the vocal organs causes a small
and Vuorenkoski, et al. (1978) found that adult ASFF ap
change of capable pitch range.
Seth and Guthrie (1935)
peared to be reached by the age of fifteen years, Duffy (1970)
observed that the lower limit of the girl's vocal range falls
found that the 15-year-old subjects in a previous study
about the interval of a third, and the upper limit rises slightly,
continued to maintain a ASFF that was above an adult norm
while the boy's lower limit falls a whole octave and the
even when they reached 16 years of age. Duffy also noted
upper limit lowers about the interval of a sixth. Weiss noted
a difference of one semitone in ASFF in 13-year-old
that the overall anatomical development of the vocal organ
premenarcheal and 13-year-old postmenarcheal females.
results in the "deepening" of the voice, an increase of "reso
The 13-year-old postmenarcheal females also exhibited a
nance," and in greater voice "power!'
much higher incidence of voice breaks, suggesting that the
Weiss noted other pubertal growth changes related to
onset of menarche may be associated with a period of vo cal instability in addition to a decrease (lowering) of ASFF.
vocal capabilities, such as: 1. a lengthening and increased circumference of the
Cyrier (1981) observed that a female upper register
chest wall and lungs, providing greater breathing capacity;
transitional pitch area ("lift point") tends to be higher in 14-
2. a "descent" of the larynx in relation to the spine,
year-old and 15-year-old females than in 10- and 11-year-
thus increasing the length of the vocal tract; and 3.
old females. This suggests that upper register transitions may
a development of oral-facial structures that are re be higher for older adolescent girls. Empirically, Huff-Gackle
lated to vocal resonance.
has observed an upward trend in the upper register transi
Though no conclusive research exists that directly links female voice change to menarche, Brodnitz (1983) suggested
tion area with age, approximating the typical adult soprano passaggio generally observed at D5-F#5.
that the start of menstruation and a lowering of average f e m a l e
a d o l e s c e n t
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t r a n s f o r m a t i o n
741
Seth and Guthrie (1935) stated that the first indication
Based on the physical changes noted above, Harrison
of voice change is a slight huskiness of the voice due to an
(1978), Alderson (1979), and Huff-Gackle (1985) have pro
incomplete closure of the cartilaginous portion of the vocal
posed the following auditory and kinesthetic signs of fe
folds.
male adolescent voice change:
As early as 1866, Fournier, Flateau, and Glutzman
(cited by Weiss, 1950) described this glottal width, which later was termed the "mutational triangle" or "mutational chink" Vennard (1967) notes that this gap represents a weak
1. increased breathy, husky, or hoarse voice qualities in both speaking and singing; 2. occasional voice "cracking" in speech;
ness of the interarytenoid muscles and is heard as a rustling
3. lowering of mean speaking fundamental frequency;
of "wild air" through the chink.
4. increased pitch inaccuracy during singing;
This incomplete closure
occurs when the membranous portion of the vocal folds are adducted and vibrate normally due to contraction of the lateral cricoarytenoids, while the cartilagenous portion remains relatively abducted due to insufficient contraction of the interarytenoid muscles.
The result is a gap or an
approximate triangular opening at the rear of the vocal folds.
5. decreased and inconsistent pitch range capabilities in singing; 6. increased incidence of abrupt register transitions or "breaks" in singing; 7. generally uncomfortable singing or effortful phonation.
Several medical researchers have noted several physi cal alterations and functional changes that can occur dur
Ingram and Rice (1962) note that an early indication
ing and prior to menstruation, such as swelling, small sub-
of female voice change is the loss of ease in the singing of
mucous hemorrhages, loss of high tones, and uncertainty
high tones, in addition to feelings of "heavy, breathy, or
of pitch (Abitbol, e t al., 1989; Benninger, 1994; Brodnitz, 1979;
rough" tone production. Hoffer (1983, p. 246) cites the
Hirson & Roe, 1993; Luchsinger and Arnold, 1965; Sataloff,
breathy, thin quality of the adolescent girl's voice and claims
1991). These characteristics closely parallel those exhibited
that it is the result of many factors including, "...muscular
by postmenarcheal female adolescent voices. With the ex
immaturity, lack of control and coordination of the breath
ception of menopause or pregnancy, at no other time in a
ing muscles, and insufficient voice development"
woman's life is the hormone/neuropeptide balance in so
Huff-Gackle (1987) examined the effects of selected
great a state of fluctuation as in adolescence (See Book III,
vocalises on the improvement of tone production in junior
Chapter 4).
high school female voices. Although analysis of the data
F e m a le A d o le s c e n t V o ic e C h a n g e
judges' ratings of perceived tone quality, analysis of objec
revealed no statistically significant differences based on tive data revealed significant differences in phonation dura tion and pitch perturbation (jitter). W hat relevance does this information have for those
Vocal efficiency was
inferred from increased phonation duration and decreased
of us who are working with young voices? We may expect
pitch perturbation.
to find voice changes occurring earlier. Teachers are ob
selected vocal skills was effective in improving breath man
serving voice change in elementary school rather than just
agement skills and in promoting more efficient, healthy use
junior high. In a three year longitudinal study, Rutkowski
of junior high school female voices.
Her study concluded that the use of
(1985) observed that boys generally progressed through the
Gackle (1991) proposed guidelines for three mutational
vocal stages outlined by Cooksey (1977) but noted that they
stages and four voice classification categories to aid music
consistently entered classifications Midvoice II , Midvoice
educators, choral conductors and singing teachers in the
IIA and New baritone one year earlier than originally stated
selection of music that is appropriate for adolescent female
by Cooksey. Such evidence further supports the possibility
voices, and in the assignment of vocal parts that have pitch
that voice change is occurring earlier than previously re
ranges that facilitate efficient voice skill development. Book
ported.
V, Chapter 7, presents those recommendations.
742
b o d y m i n d
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This type of knowledge enables a teacher to more readily assess possible onset of voice change based on ob servable physical maturation.
Cooksey, J. M. (1985). Vocal-Acoustical measures of prototypical patterns related to voice maturation in the adolescent male. In V.L. Lawrence (Ed.). Transcripts o f the Thirteenth Symposium, Care o f the Professional Voice; Part II: Vocal Therapeutics and Medicine (pp. 469-480). New York: The Voice Foundation. Cooksey, J. M. (1993). Do adolescent voices 'break' or do they 'transform ? VOICE, The Journal o f the British Voice Association, 2(1), 15-39.
R e fe r e n c e s a n d S e le c t e d B ib lio g r a p h y Abitbol, J., de Brux, J., Millot, G., Masson, M-F., Mimoun, O.L., Pau, H., & Abitbol, B. (1989). Does a horm onal vocal cord cycle exist in women? Study of vocal premenstrual syndrome in voice performers by videostroboscopyglottography and cytology on 38 women. Journal o f Voice, 3, 157-162. Alderson, R. (1979). Complete Handbook o f Voice Training. West Nyack, NY: Parker Publishing. Aronson, A.E. (1990). Clinical Voice Disorders (3rd Ed.). New York: Thieme. Barresi, A.L., & Bless, D. (1982). The relation of selected aerodynamic vari ables to the perception of tessitura pitches in the adolescent changing voice. In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice. Buffalo, NY: State University of New York at Buffalo Press. Behnke, E., & Browne, L. (1885). The Child's Voice: Its Treatment with Regard after Development. London: Sampson, Low, Marston, Searle and Rivington. Benninger, M.S. (1994). Medical disorders in the vocal artist. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 177-215). New York: Thieme Medical Publish ers. Brodnitz, F.S. (1971). Hormones and the hum an voice. National Association o f Teachers o f Singing Bulletin, 28(2), 16-18.
Cooksey, J.M., Beckett, R.L., & Wiseman, R. (1984). A longitudinal investiga tion of selected vocal, physiological, and acoustical factors associated with voice maturation in the junior high school male adolescent. In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice (pp. 4-60). Buf falo, NY: State University of New York at Buffalo Press. Cooper, I.O., & Kuersteiner, K.O. (1973). Teaching Junior High School Music (2nd Ed.). Conway, AR: Cambiata Press. Cyrier, A. (1981). A study of the vocal registers and transitional pitches of the adolescent female. Missouri Journal of Research in Music Education, 4(5), 8486 . Duffy, R.J. (1958). The vocal pitch characteristics of eleven-, thirteen-, and fifteen-year-old female speakers. Unpublished doctoral dissertation, State University of Iowa, 1958. Dissertation Abstracts International, 19, 599. Duffy, R.J. (1970). Fundamental frequency characteristics of adolescent fe males. Language and Speech, 13, 14-24. Eveleth, P.B., & Tanner, J.M. (1990). Sexual development. In PB. Eveleth (Ed.), Worldwide Variation in Human Growth (pp. 161-175). Cambridge, United Kingdom: Cambridge University Press. Finn, W.J. (1939). The Art o f the Choral Conductor (Vol.l). Evanston, IL: SummyBirchard.
Brodnitz, F.S. (1979). Menstrual cycle and voice quality. Annals o f Otolaryn gology, 105, 300.
Fischer, K.W, & Rose, S.P (1994). Dynamic development of coordination of components in brain and behavior: A framework for theory and research. In G. Dawson & K.W Fischer (Eds.), Human Behavior and the Developing Brain (pp. 3-66). New York: Guilford.
Brodnitz, F.S. (1983). On the changing voice. National Association o f Teachers o f Singing Bulletin, 40(2), 24-26.
Gackle, L. (1991). The adolescent female voice: Characteristics of change and stages o f development. Choral Journal, 3 1(8), 17-25.
Brown, WS., & Hollien, H. (1981). Effect of menstruation on fundamental frequency of female voices. In VL. Lawrence (Ed.), Transcripts o f the Tenth Symposium, Care o f the Professional Voice (Part I, pp. 94-101). New York: The Voice Foundation..
Groom, M. (1979). A descriptive analysis of development in adolescent male voices during the summer time period. Unpublished doctoral disser tation, Florida State University. Dissertation Abstracts International, 4 0 , 4946A.
Cooksey, J.M. (1977a). The development of a continuing, eclectic theory for the training and cultivation of the junior high school male changing voice. Part I: Existing theories. Choral Journal, 18(2), 5 -1 3 .
Groom, M. (1984). A descriptive analysis o f development in adolescent male voices during the summer time period. In E.M. Runfola (Ed.), Proceed ings: Research Symposium on the Male Adolescent Voice (pp. 80-85). Buffalo, NY: State University of New York at Buffalo Press.
Cooksey, J.M. (1977b). The development o f a continuing, eclectic theory for the training and cultivation of the junior high school male changing voice. Part II: Scientific and empirical findings; some tentative solutions. Choral Journal, 18(3), 5-16. Cooksey, J.M. (1977c). The development of a continuing, eclectic theory for the training and cultivation of the junior high school male changing voice. Part III: Developing an integrated approach to the care and training of the junior high school male changing voice. Choral Journal, 18(4), 5-15. Cooksey, J.M. (1978). The development of a continuing, eclectic theory for the training and cultivation of the junior high school male changing voice. Part IV: Selecting music for the junior high school male changing voice. Choral Journal, 18(5), 5-17.
Harrison, L. (1978). It's more than just a changing voice. Choral Journal, 19(1), 1418. Herman-Giddens, M.E., Slora, E.J., Wasserman, R.C., Bourdony, C.J., Bhapkar, M.V., Koch, G.G., & Hasemeier, C.M. (1997). Secondary sexual characteris tics and menses in young girls seen in office practice: A study from the Pediatric Research in Office Settings Network. Pediatrics, 99(4), 505-512. Hirson, A., & Roe, S. (1993). Stability o f voice and periodic fluctuations in voice quality through the menstrual cycle. VOICE, The Journal o f the British Voice Association, 2(2), 78-88. Hoffer, C.R. (1983). Teaching Music in Secondary Schoob (3rd Ed.). Belmont, CA: Wadsworth Publishing.
f e m a l e
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Hollien, H. (1978). Adolescence and voice change. In B. Weinberg, and V.L. Lawrence (Eds.), Transcripts of the Seventh Symposium, Care of the Professional Voice: Part II, Lifespan Changes in the Human Voice (pp. 36 -4 3). New York: The Voice Foundation.
Rutkowski, J. (1984). Two-year results of a longitudinal study investigating the validity of Cooksey's theory for training the adolescent voice. In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice (pp. 86-97). Buffalo, NY: State University o f New York at Buffalo Press.
Hollien, H., & Paul, P. (1969). A second evaluation of the speaking funda mental frequency characteristics of postadolescent girls. Language and Speech, 12, 119-124.
Sataloff, R.T. (1991). Endocrine dysfunction. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art o f Clinical Care (pp. 201-206). New York: Raven Press.
Hoover, C.A. (1991). The singing voice: Effects of the menstrual cycle. U n published doctoral dissertation, The Ohio State University. Huff-Gackle, L. (1985). The adolescent female voice (ages 11-15): Classifica tion, placement, and development o f tone. Choral Journal, 25(8), 15-18. Huff-Gackle, M.L. (1987). The effect of selected vocal techniques for breath management, resonation, and vowel unification on tone production in the junior high school female voice. Unpublished doctoral dissertation, Univer sity of Miami (Florida). Ingram, M.D., & Rice, W.D. (1962). Vocal Techniquefor Children and Youth. New York: Abingdon Press. Joseph, WA. (1965). A summation of the research pertaining to vocal growth. Journal o f Research in Music Education, 13 (2), 93-100. Kahane, J.C. (1982). Growth of the hum an prepubertal and pubertal larynx. Journal o f Speech and Hearing, 25, 446-455. Kahane, J.C. (1978). A morphological study of the hum an prepubertal and pubertal larynx. American Journal of Anatomy, 151(1), 11-19. Kahane, J.C. (1983). Postnatal development and aging of the hum an larynx. Seminar in Speech and Language; 4, 189-203 . Lee, P.A. (1980). Normal ages o f pubertal events among American males and females. Journal o f Adolescent Health Care, 1(1), 26-29. Lee, P.A., Xenakis, T, Winer,J., et al.f (1975). Puberty in girls: Correlation of serum levels of gonadotropins, prolactin, androgens, estrogens, and progestins with physi cal changes. Journal of Clinical Endocrinology and Metabolism, 46, 775-784. Luchsinger, R., & Arnold, G.E. (1965). Voice-Speech-Language; Clinical Communicology: Its Physiology and Pathology. Belmont, CA: Wadsworth Pub lishing. Marshall, W.A., & Tanner, J.M. (1969). Variations in the pattern of pubertal changes in girls. Archives o f Diseases in Children, 44, 2 91-303 . McKenzie, D. (1956). Training the Boy's Changing Voice. London: Bradford and Dickens, Drayton House. McKinney, J.D., & Waller, C.L. (1994). Polychlorinated biphenyls as hormonally active structural analogues. Environmental Health Perspectives, 102,290-297. Michel, J.F., Hollien, H., & Moore, P. (1966). Speaking fundamental frequency charac teristics of 15, 16, and 17 year-old girls. Language and Speech, 9 , 46-51. Naidr, J., Zboril, M., & Sevcik, K. (1965). Die pubertalen Veränderungen der stimme bei jungen im verlauf von 5 jahren (Pubertal voice changes in boys over a period of 5 years). Folia Phoniatrica, 17, 1-18. Pederson, M.F., Möller, S., Krabbe, S., Munk, E., Bennett, P., & Kitzing, P. (1984). Change of voice in puberty in choir girls. Acta Otolaryngologica (Supple ment, Stockholm), 102, 46-49 Rutkowski, J. (1985). Final results o f a longitudinal study investigating the validity of Cooksey's theory for training the adolescent male voice. Pennsyl vania Music Educators Association Bulletin o f Research in Music Education, 16, 3 -10. 744
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Seth, G., & Guthrie, D. (1935). Speech in Childhood: Its Development and Disorders. London: Oxford University Press. Swanson, F.J. (1977). The Male Singing Voice Ages Eight to Eighteen. Cedar Rapids, IA: Ingram Press. Tanner, J.M. (1969). Age at onset of puberty and trend toward earlier devel opment. In L.I. Gardiner (Ed.), Endocrine and Genetic Diseases o f Childhood (pp. 51-55). Philadelphia: W.B. Saunders. Tanner, J.M. (1972). Sequencing, tempo and individual variation in growth and development of boys and girls aged twelve to sixteen. In J. Kagan, & R. Coles (Eds.), Twelve to Sixteen: Early Adolescence. New York: W.W Norton. Tanner, J.M. (1984). Physical growth and development. In J.O. Forfar & G.C. Arneil (Eds.), Textbook of Pediatrics (3rd Ed.). Edinburgh, United Kingdom: Churchill Livingston. Thatcher, R.W. (1994). Cyclic cortical reorganization: Origins of hum an cog nitive development. In G. Dawson & K.W. Fischer (Eds.), Human Behavior and the Developing Brain (pp. 232-266). New York: Guilford. Timeras, PS. (1972). Developmental Physiology and Aging. New York: Macmillan. Tiwary, C.M. (1994). Premature sexual development in children following the use o f placenta and/or estrogen containing hair products. Pediatric Re search, 135, 108A (Abstract). Tosi, O., Postan, D., & Bianculli, C. (1976). Longitudinal study of children's voice at puberty. Proceedings: XVIth International Congress o f Logopedics and Phoniatrics, pp. 486-490. Vennard, W (1967). Singing: The Mechanism and the Technic. New York: Carl Fischer. Vuorenkoski, V., Lenko, H.L., Tjernlund, P., Vuorenkoski, L., & Perheentupa, J. (1978). Fundamental voice frequency during normal and abnormal growth, and after androgen treatment. Archives o f the Diseases o f Childhood, 53 , 201-209. Warren, M.P (1980). The effects of exercise on pubertal progression and reproductive function in girls. Journal o f Clinical Endocrinology and Metabolism, 51, 1150-1157. Weiss, D. (1950). The pubertal change of the hum an voice. Folia Phoniatrica, 2(3), 126-159. Williams, B., Larson, G., & Price, D. (1996). An investigation of selected female singing- and speaking-voice characteristics through comparison of a group of pre-menarcheal girls to a group of post-menarcheal girls. Journal of Singing, 52(3), 33-40. Wilson, D.K. (1987). Voice Problems o f Children (3rd Ed.). Baltimore, MD: Will iams and Wilkins. Wyshak, G., & Frisch, R.E. (1982). Evidence for a secular trend in age of menarche. New England Journal o f Medicine, 306, 1033-1035. Zacharias, L., & Wurtman, R.J. (1969). Age at menarche. New England Journal of Medicine, 280, 868-875.
c h ap ter 6 v ita lity , h e a lth , a n d v o c a l s e lf-e x p r e s s io n in o ld e r a d u lt s Graham Welch, Leon Thurman
T
he conventional wisdom in most societies is that as
So, as adults pass into their older years-generally re
people age, their bodily functions and bodymind
garded as 65 and up-com m on observation and geriatric
capabilities deteriorate, and, as a result, they must
research have noted an increased vulnerability to disease, a
curtail their physical, social, and expressive activities. Ag gradual "enfeebling" of the body, and dependence on others
ing means eventual retirement from one's life work, slow
for assistive care. Much of the research was conducted by
ing down, doing only the mundane activities that older adults
human beings who made assumptions about the neuro
are "supposed" to do, and wearing clothes that only older
muscular capabilities of older adults, such that the selection
adults are supposed to wear.
of subjects for study and the research methods and findings
Until recently, geriatric research supported those as
wound up verifying the assumptions.
sumptions. For instance, the following changes have been
The reality is that older adults are capable of being
documented in the nervous and muscle systems of older
vital, healthy, and self-expressive all of their lives. Much of
adults:
that past research was based on some sunset assumptions
1. degeneration of the sense organs of hearing and vision;
and part-elephant perceptions about people who are called older adults (the Fore-Words to this book define those as
2. reductions in the speed and frequency with which
sumptions and perceptions). Research has been, and is be
nerve impulses occur (reduction of conduction velocities),
ing, carried out that does not make such assumptions and
resulting in decreases in the speed, precision, and "smooth
is attempting to observe the "whole elephant" of human
ness" of physical movement;
aging.
3.
decrease of muscle mass and strength and pro
Physiological and metabolic scientists at the U.S. De
gressive loss of the ability to build up muscle mass and
partment of Agriculture's Human Nutrition Research Cen
strength;
ter on Aging (HNRCA) at Tufts University are attempting to
4.
a possible decrease in the number of central ner
vous system neurons, synapses, and spinal cord axons; 5. 6.
reduction of brain weight;
define the degenerative processes that were observed in past research as a disease state similar to other degenerative dis eases such as arthritis (degeneration of joints) and osteoporo
changes in the availability of transmitter mol
sis (reduction of bone density). They refer to this disease as
ecules and their receptor sites in the nervous, endocrine,
sarcopenia (Greek: sarco = flesh, body; peinia = reduction in
neuromuscular, and immune systems.
amount). Their book, Biomarkers, written by William Evans,
o l d e r
a d u l t
v o i c e s
74 5
Ph.D., and Irwin Rosenberg, M.D., (1991), was an applica
mass is muscle. When human beings were calorie-using
tion of scientific research and theory to the prevention of
hunter-gatherers, body-fat mass was important for survival;
sarcopenia in older human beings.
it was a means of calorie storage in case there was a food
Their goal is to help
people live with vitality, good feelings, and health over the
shortage. Taste buds became chemically sensitized to car
entire lifespan.
bohydrate and fat content in foods. Particularly in the in
The parts of bodyminds that produce vocal self-ex
dustrialized countries of today, pleas ant-tasting fatty food
pression depend considerably on the general vitality and
components have been extracted from their complex natu
responsiveness of whole bodyminds. For that reason, the
ral sources and added to foods that have little or no fat, and
larger-scale bodymind picture will be addressed first to
such food is plentifully consumed.
provide a larger context within which the research on aging
duced calorie burning (minimal body movement), and ex
voices can be more fully appreciated. Effective, skilled vo
cessive fat accumulation will occur along with a growing
cal self-expression can be rather commonplace among older
number of adverse health risks.
Couple that with re
The health and vitality need is not just a reduction of
adults whose bodies are active, strong, and well nourished.
body-fat mass, but an appropriate balance between muscle
B io m a r k e r s o f L i f e lo n g V it a lit y a n d H e a lt h
mass and body-fat mass. Muscle use engages larger-scale metabolic activity and uses up caloric fuel far faster than any of the other body tissues.
Appropriate amounts of
Benjamin (1949) distinguished a difference between
muscle use also induce production of transmitter molecules
chronological age and biological age. An older adult who
in organs and systems throughout the body and, thus, is a
has lived 65 to 90 chronological years can have a bodymind
major key to bodymind vitality and health. For instance,
that may be 45 to 70 years old biologically. Montagu (1983)
muscle use activates endocrine production of anabolic hor
has written about "growing young". HNRCA scientists at
mones, such as testosterone, that induce protein synthesis
Tufts have identified ten essential processes that help hu
in the fibers that make up the muscles that are used, so that
man beings maintain optimum vitality and health over their
they increase their mass. In another instance, during pu
lifespan, in other words, relative biological youthfulness.
berty, males increase their production of testosterone and
Based on their own research and extensive reviews of re
develop larger muscle mass than women. Long-term muscle
search in many fields over the past several decades, the
use increases the bodywide metabolic rate even during rest.
Center has determined that ten biomarkers are: (a) "...criti
For vitality and health, appropriate long-term muscle use
cal biological functions that influence vitality;" and (b) bio
can result in a balance of lean-body mass and body-fat
logical functions that can be revived in people in whom
mass.
they have diminished.
The first four biomarkers closely
When people in the United States progress from young
co-influence each other. When little or no attention is paid
adulthood into the middle-age years, they lose an average
to them, then a gradual "erosion" of human capabilities will
of 6.6 pounds (3 kilograms) of lean-body mass during each
occur in any human being.
On the other hand, paying
decade of life, most of which is muscle mass. That rate in
attention to them will produce a maintenance or a "regrowth"
creases after age 45 years, unless appropriate muscle use
of the physio chemical processes that produce vitality, en
occurs. Lifelong body movement increases this biomarker
ergy, optimistic good feelings, and general good health in
of lifelong vitality and health.
people. A presentation of the ten biomarkers follows.
Y o u r M u sc le S tre n g th Y o u r M u sc le M a ss
The motor neurons of your nervous system are con
Human wellness scientists divide the composition of
nected to your skeletal muscles, and together, they move the
the human body into two broad categories: (1) body-fat
necessary parts of your skeleton around when you walk,
mass and (2) lean-body mass. Lean-body mass is every
talk, sing, push, pull, lift, and so forth. Packaged with your
thing that is not fat (bone, muscle, organs). Most of that
motor neurons is a complement of sensory neurons that
746
b o d y m i n d
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voice
give your nervous system feedback about your motor ac
3 . gradual reduction of aerobic capacity;
tivity such as body posture, position of body parts, and
4. reduced blood-sugar tolerance; and
degree of muscle contraction and stretch. Each muscle is
5. gradual reduction of bone density.
supplied with multiple motor units. A motor unit is a single motor neuron whose axons branch into a few or many
Until Frontera et al. (1988), reported the results of their
nerve endings to innervate the muscle fibers that collec
study of muscle strength building in older adults, the exer
tively make up a whole muscle. The more motor units a
cise physiology community had assumed that aging muscles
muscle has, the more it can contribute to intricate and highly
(a) decreased in their capacity to gain strength when lifting
varied neuromuscular coordinations.
heavier objects and (b) that any examples of increased
There are two types of muscle fibers. Generally speak ing, slow-twitch fibers are engaged for postural adjustments
strength were the result of "learning" rather than from muscle hypertrophy.
The study.
and most low-speed, low-intensity movement. Fast-twitch
One way to determine the maximum
fibers are engaged when we do high-speed, high-intensity
strength capacity of a group of muscles is to have people
movement or work the muscles very hard to lift, push, or
lift the absolutely maximum weight they can lift in one try.
pull heavier objects.
In order to improve muscle strength so that it provides
Both fiber types must be present in
muscles that participate in intricate and highly varied neu
significant physical benefits, people must exceed 60% of that
romuscular coordinations.
weight. The Frontera et al., study involved 12 subjects who
Physiologists estimate that between the ages of 30 to
ranged in age from 60 to 72 years. They agreed to engage in
70 years, a relatively large number of motor units gradually
a strength building program in which they exerted the knee-
deteriorate and eventually are lost (Bortz, 1982; Evans &
extensors (the quadriceps) and the knee flexors (the "ham
Rosenberg, 1991, pp. 46,47). For instance, about 20% of the
strings") at 80% of their one repetition maximum (1RM).
motor units in our thigh muscles are lost during that time,
They exercised those muscles three days per week for 12
and similar decreases occur in both large and small muscle
weeks. The amount of weight was increased each week to
groups all over the body. Nearly all of the motor units that
maintain the 80% of 1RM level.
are lost during aging are of the fast-twitch type. The loss of
The results. The strength of the quadriceps more than
motor units of the fast-twitch type results in slower, more
doubled (an average increase of 3.3 percent per day) and the
deliberate movement and reduction of muscle strength. In
strength of the hamstrings tripled (an average increase of
addition, from age 20 to 70 years, about 30% of our muscle
6.5 percent per day). Computed tomography (CT) scans of
fibers gradually deteriorate and eventually are lost.
Those
the men's muscles, taken before and after the study, revealed
that remain gradually become smaller, reducing their mass.
a 12% increase in the size of the two muscles. Microscopic
That process is referred to as muscle atrophy.
examination of muscle biopsies taken before, at midpoint,
With the
loss of fast-twitch motor units, and increase of muscle atro
and at the end of the study indicated that muscle cell size
phy, muscles cannot then contract with as much speed and
had increased at both the study's midpoint and end. Com
intensity as they once did, therefore, we experience decreased
parisons were made to similar studies of young people and
muscle strength.
the following conclusion was reached:
However, strengthening muscles results in the oppo
"...the amount of hypertrophy was as much as we could expect
site of atrophy, that is, muscle hypertrophy or increased
to see in young people doing the same amount of exercise." (italics
muscle mass. According to HNRCA scientists, muscle mass
added)
and strength are the "lead dominoes" in the biomarker lineup. If the lead dominoes start to fall, the other eight will gradu
Fiatarone, et al. (1990) reported a similar study often
ally fall in turn (Evans & Rosenberg, 1991, p. 47). Gradual
87 to 96 year old women and men in a chronic care hospi
loss of muscle mass is the catalyst for:
tal.
1. slowing of metabolic rate;
Their muscle strength almost tripled and their thigh
muscles grew by more than 10%. A 93-year-old study par
2. gradual increase of body fat; o l d e r
a d u l t
v o i c e s
747
ticipant was quoted as saying, "I feel as though I were fifty
been associated strongly with increased risk for developing
again. Now I get up in the middle of the night and I can get
chronic disease (Andres, et al., 1985).
around without using my walker or turning on the light.
such disease (see above).
The program gave me strength I didn't have before. Every day I feel better, more optimistic.
Pills won't do for you
what exercise does"
Sarcopenia is one
Many people try to control weight gain by control ling what they eat. Diet fads frequently result in temporary weight loss. They can be commercially successful ventures
Evans & Rosenberg (1991, p. 52) conclude that "...muscle
for their originators, therefore, but physical and emotional
mass and strength can be regained, no matter what your
roller-coasters for the human beings who engage in them.
age and no matter what the state of your body's muscula
Focusing on weight reduction almost always stops people from focus
ture.." They provide very well worked out, science-based
ing on what can bring them vitality good feelings, health, and zestful
recommendations for optimizing all of the biomarkers that
living.
indicate how healthy and energized you are.
metabolic rate so that fat tissue is more likely to be used
Gaining muscle mass and strength increases basal
even when a person is at rest. In fact, gaining muscle mass
Y o u r B a s a l M e ta b o lic R ate (B M R )
and strength is not likely to result in very much weight loss
The rate at which your body chemistry transforms
because muscle tissue is heavier than fat tissue. Partly for
the results of caloric processing into the making and repair
this reason, charts of estimated height and weight are not
of body tissues, release and/or storage of energy, and the
very useful.
generation of heat, is its metabolic rate. When your body is
Scientists use a Body-Mass Index (BMI) to assess risk
at rest, your metabolic rate is at a minimal or baseline level.
for developing chronic disease. Figure IV-6-1 shows a way
That is your basal metabolic rate.
to calculate your actual BMI.
On average, BMR decreases by about 2% each decade
Table IV-6-1 shows ideal
BMIs for males and females.
of life, starting at age 20 years. The overwhelming reason is
Ideal BMI is the BMI that represents your lowest risk
that, for most people, their muscle mass and strength is
of developing chronic disease or of dying. These ideal BMIs
decreasing, therefore, the demand of the muscles for energy
were calculated by HNRCA scientists based on large-scale
to use up is decreasing, therefore, their BMR decreases. That
epidemiological studies that relate BMIs to the reasons for
also means that the need for food calories decreases, on
premature death. Evans and Rosenberg indicate that if your
average, by about 100 calories with each decade of life.
actual BMI is 20% above your ideal BMI, you are regarded
Unfortunately, many middle-aged and older adults con
as obese and have considerable risk of chronic disease and
tinue to eat the amounts of food that they ate when they
premature death.
were 20 years old, while at the same time they are reducing
ideal BMI, you also have considerable risk of chronic dis
their amount of physical exertion. The result is a decrease
ease and premature death.
of lean-mass tissue and an increase of body-fat tissue (Evans & Rosenberg, 1991, pp. 52, 53).
If your actual BMI is 20% below your
Your BMI, however, does not reveal two key items of information about how your body fat is related to health risks: (1) your percent of body fat, and (2) your body fat
Y o u r B o d y F a t P e rc e n ta g e As we human beings pass through our middle ages and into our older ages, most of us tend to gain weight. For instance, the body of the average 25-year-old woman is about 25% fat tissue, but the sedentary 65-year-old woman's body is about 43% fat tissue (official term: adipose tissue). The body fat percentages in men of the same ages are 18% and 38%, respectively
(Evans & Rosenberg, 1991, p. 53).
Increases in the ratio of lean-body mass to body fat have
748
b o d y m i n d
&
voice
distribution. You can get a reasonable estimate of percent of body fat by purchasing a special caliper and using it as directed.
Medical scientists have studied epidemiological
data and determined that a high percentage of people who have excess fat stored above their hips also have increased risk for heart disease, stroke, and diabetes, as compared to people who store excess fat below their hips.
Height
Weight (kg)
(cm)
(lb)
Z r 340
320 140 300 130 À L 280
BodyMass Index
125-
(W/H2)
130"
120-11. 260
-4p70
150
f h 60
100 - if - 220
70 65
200 190 180 170 160 150
Women
1 -4 0
4035 ■
145
Men
150 Obese
Obese
-6 0
•30
Acceptable
155 Overweight
Overweight
140
55- 1-120
45-
160 Acceptable
165
■20
-65
110
170-3-
100
175
95 .90 85 80
180 -3
-7 0
185 >10
■75
190 «
-70
■75
195 -E
30 - t 65
200-
60 25
•55
140
! r 50
6 0 « : 130
50.
•50
135“
1 1 0 - - 240 95 90 85 80 75
(in)
205-f
55
210
•80
—
-85
50
Figure IV-6-1: Method of calculating Body-Mass Index (BMI). Place a dot beside your current weight and one beside your current height. Draw a straight diagonal line that joins the two dots. The point where the line crosses the central Body-Mass Index is your BMI. [From Bray, G.A., (1979), Obesity in America, National Institutes of Health Publication No. 79-359.1
Table IV-6-1. Ideal Body-Mass Indices for Males and Females [From Evans & Rosenberg, Biomarkers. Copyright © 1991, Fireside Books. Used with permission.]
Age Range
Ideal Body-Mass Index Males Females
20-29
21.4
19.5
30 - 3 9
21.6
23 .4
40-49
22.9
23 .2
50-59
25.8
25.2
60-69
26.6
27.3
70 - 79
27.0
27.8 o l d e r
a d u l t
v o i c e s
749
How do we optimize our Body-Mass Index and per centage of body fat? If we: 1. moderate our caloric intake and attend to its nutri
more oxygen and glucose (Meredith, et al., 1989), and aero bic movement can be quite enjoyable. As an example, plea sure walking is described in Book III, Chapter 13.
tional value; and 2. increase our basal metabolic rate by building muscle mass and strength and by increasing aerobic capacity;
Y o u r B o d y ’s B l o o d - G l u c o s e T o l e r a n c e Along with oxygen, glucose is a primary resource for
then we will experience a sense of vitality and have
bodymind energy production (especially in the brain).
lower risk of chronic disease as we age, and reduce the risk
Uptake of digested glucose from the blood and its process
of dying "before our time".
ing in muscles, with the aid of the hormone insulin, is re ferred to as glucose tolerance. The process involves the main
Y o u r A e r o b ic C a p a c ity
tenance of appropriate ratios of glucose and insulin in the
Aerobic capacity refers to the ability of your cardiopul
blood. When food is digested and glucose enters the blood
monary system (heart, lungs, and circulatory system) to take
stream in larger amounts, the cells within the pancreas are
in air, process its oxygen, and deliver the amounts of oxy
stimulated to introduce insulin into the bloodstream to en
gen that your body's muscles need in any given circum
able glucose uptake by muscles, and to preserve glucose-
stance.
insulin balance.
[ 0 2 is delivered to all of your other tissues, too.]
This capability is described in Book III, Chapter 13.
Another physical characteristic of geriatric aging is a
As we human beings age, our aerobic capacity dimin
reduction of glucose tolerance. About 20% of men and 30%
ishes, largely because the speed of our heartbeat and our
of women have an abnormal glucose tolerance curve by
per-beat blood volume (cardiac output) gradually reduce-
age 70 years.
irreversibly (Chodzko-Zajko, et al., 1985; Evans & Rosenberg,
developing adult-onset or Type II diabetes, or non-insulin
1991, pp. 60-66). In addition to the heart's ability to pump
dependent diabetes mellitus (Book III, Chapter 4 has some
blood volume, there are five aspects of aerobic capacity
details). As stated earlier, with increased age, people tend to
that are subject to extent and intensity of use-the more we
lose muscle mass and gain too much body fat, and muscle
use them, the more we keep them:
cells gradually become less sensitive to insulin's help in pro
This abnormal curve increases the risk of
1. conditioning of the respiratory muscles that expand
cessing glucose. With fewer muscle cells for glucose use
and contract the chest wall and lungs to exchange an opti
and an overabundance of glucose, the pancreas overpro
mum amount of air;
duces insulin. Over time, the capacity of the pancreatic cells
2. the extent and efficiency with which 0 2 is diffused
that produce insulin deteriorates.
into red blood cells;
Gradual increases in blood glucose and gradual de
3 . the strength (and size) of heart muscle;
creases in insulin lead to gradual blood-glucose intolerance and
4. the extent of capillary formation in muscles {capil
insulin insensitivity. Too much glucose and too little insulin
lary density) and the strength of their walls;
result in diabetes.
5. the extent and efficiency with which muscles use
Physical inactivity, body-fat increase, and a high-fat
oxygen to convert carbohydrate and fat products into the
diet are direct causes of insulin insensitivity and possible
form of energy that is necessary for body movement (oxida
diabetes onset.
Increasing muscle mass, aerobic capacity,
and a diet that is appropriately low in fat but high in fi
tive capacity).
brous carbohydrates (vegetables, bread, and fruits) will re When physical activity reduces, so does the extent and efficiency of the above processes. Ultimately, the reduction
verse and optimize those processes (Anderson & Gustafsson, 1986).
of oxidative capacity results in unusual muscular fatigue in older people. Regular aerobic movement reverses low oxi dative capacity because muscle cells become larger and use
Y o u r C h o le s te r o l/H D L L e v e l Atherosclerosis is a term that refers to the accumulation of cholesterol-containing plaque on the walls of blood ves
750
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sels, and the subsequent inhibition of bloodflow and its
muscle mass and aerobic capacity to decrease you basal
efficient delivery of energy resources and nutrients. Although
metabolic rate, (2) optimize your body fat and use of salt
cholesterol is a fatty substance that participates in athero
and alcohol, and (3) phase to zero any use of tobacco.
sclerosis, it also is necessary for such processes as con struction of cell membranes, production of certain sex hor
Y o u r B o n e D e n sity
mones, and so forth. It combines with proteins and circu
As bodies age, the mineral content of bones-espe-
lates in the body as lipoproteins. And there are four classes of
cially calcium-diminishes. On average, bone mass declines
lipoproteins, two of which are (1) high- density lipopro
about one percent per year in normal adults, although it is
teins (HDLs) and (2) low-density lipoproteins (LDLs). The total amount of cholesterol in your blood is not a
accelerated in women following menopause. In older ages, the decline of mineral content and reduction of bone mass
LDLs participate in
result in bones that are less dense, more brittle, and more
plaque buildup in the nooks and crannies of blood vessels.
prone to fracture or breaking. The condition is referred to
relevant health or disease indicator.
HDLs participate in the dissolution of plaque buildup in blood
as osteoporosis and it especially affects both men and
vessels. W hat matters is the ratio of HDL to total choles
women in the geriatric years. It affects the spinal vertebrae,
terol. Genetic makeup, sedentary life-style, obesity, taking
pelvis, and femur (thigh bone) much more than the other
birth control pills, and tobacco smoke can contribute to a
bones, and these are where the most common fractures and
high total cholesterol count and a low HDL count (Evans &
breaks occur among older people. The cause of osteoporo
Rosenberg, 1991, pp. 71-72; Streja & Mymin, 1979).
sis has not been fully determined, but inadequate diet (es
When your HDL cholesterol count is divided into your
pecially inadequate calcium intake), under-absorption of
total cholesterol count, the resulting number is your cho-
calcium, sedentary life-style, and reduction and absence of
lesterol/HDL ratio. The higher your HDL count, relative to
estrogen production in women during and after menopause
your total cholesterol, the lower your ratio number will be.
are known influences. Osteoporosis can be substantially minimized in two
That is the information we need from physicians. Men and women who are in their middle-aged years and older need
ways:
(1) maintaining appropriate levels of dietary cal
to have a ratio of about 4.5 or lower (Gordon & Gibbons,
cium intake, and (2) engaging the weight-bearing muscles
1990, p. 195).
of the limbs and torso. The National Academy of Science's
How can you raise a low HDL count? (1) increase
Recommended Dietary Allowance (RDA) for calcium is 800-
your total muscle mass and aerobic capacity to decrease
mg per day. Accelerated loss of bone mass appears to oc
you basal metabolic rate, (2) lower your body fat, and (3)
cur only in women who consume 500-m g or less per day.
phase to zero any use of tobacco and birth control pills
When women and men of all ages consume the RDA amount
(Streja & Mymin, 1979).
every day, declines of bone mass are significantly inhibited (Dawson-Hughes, et al., 1987). A study of hospitalized patients who underwent pro
Y o u r B lo o d P re s s u re Hypertension is the official term for high blood pres
longed bedrest revealed that their bone mineral loss was
sure. It increases the risk of heart attacks, strokes, and other
accelerated nearly 50 times. Two weeks of continuous bedrest
serious diseases. Usually, there are no symptoms, but the
resulted in the equivalent of one year of bone mineral loss.
identified causes are (1) genetic predisposition, (2) obesity,
The study also found, however, that if the patients just stood
(3) excessive dietary salt, fat, and alcohol, (4) smoking, and
for a few minutes each day-no walking-then the bone min
(5) sedentary life-style.
Managing hypertension may in
eral loss stopped. Gravity causes the postural, respiratory,
volve medications. Many of them have a considerable de
and body-weight bearing muscles to engage and put stress
hydrating effect on the respiratory and vocal mucosa (Book
on most of the skeleton. Somehow, this stress on the skel
III, Chapter 10 has details). By now, you may already know
eton triggers production of bone mineral content (Krolner
what to do to manage hypertension or to lower your risk
& Toft, 1983). Other forms of body-weight bearing move
of developing it in the first place:
ment, such as regular walking, running, cycling, and various
(1) increase your total
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751
games, optimize the absorption of calcium by bones (Nelson, et al., 1988, 1990).
The above brief review of findings from Biomarkers by Evans and Rosenberg (1991) present the important evidence that older adults can retain a very high percentage of their
Y o u r B o d y ’s A b ilit y to R e g u la te In te rn a l T e m p e ra tu re (T h e rm o re g u la tio n ) As mentioned before, basal metabolic rate and car diac output decline in older adults. Because of those de
bodymind capabilities when they maintain: 1. an appropriate ratio of lean-body tissue to fat-body tissue; 2. appropriate muscle mass and strength;
clines and others, bodies are less able to (1) generate heat,
3 . appropriate basal metabolic rate;
(2) shiver when cold, (3) sweat when hot, and (4) generate a
4. appropriate aerobic and cardiac capacities; and
sense of thirst. As a result, older people: 1. are colder in colder weather, especially in thinner
5. other biomarkers that largely derive from the first four.
bodily areas such as hands and feet, and are more suscep tible to hypothermic reactions; 2. are more susceptible to severe heat reactions in very high-temperature weather;
Evans and Rosenberg also present detailed, practical, and pleasant ways to maintain those capabilities. Similarly,
Shepherd (1995) has suggested methods by which older are more likely to dehydrate without conscious adults can maintain physical capabilities. awareness of it (Phillips, et al., 1984). The advantages of the particular diet and physical 3.
In addition, older adults experience a decline in kid ney function. Kidneys filter waste products from the body, but most 70-year-old kidneys filter waste products about half as fast as at age 30 years. They also participate in the regulation of water distribution throughout the body, but they are considerably less efficient at the job, and they are less responsive to changes of fluid intake so that excess fluid tends to be released, thus affecting body temperature. Increased overall fitness, including increased aerobic capacity, can normalize many of the above changes.
In
creased metabolic rate due to optimum muscle strength,
activity that are recommended by Evans and Rosenbergand are briefly described in Book III, Chapter 13-apply to all human beings, including older adults. These advantages include, but are not limited to: 1. general physical and psychological vitality, cogni tive sharpness, improved memory, and a pleasant feeling state (Albert & Moos, 1996; Backman, et al., 1990; Blumenthal, et al., 1988, 1991; Fries & Crapo, 1981; Molloy, et al., 1988; Montagu, 1983; Valliant & Asu, 1986); 2. maintenance of an effective immune system that protects health (Bogen, et al., 1990; Chandra, 1989, 1992, 1997; Meydani, et al., 1997).
lean-body mass, and aerobic capacity, results in greater water retention in the body, more sweat during exertion in warmer temperatures, and more diluted sweat that reduces loss of body salts (electrolytes). All of these processes are related to your body's ability to regulate its internal temperature more favorably.
deterioration and associated psychological perceptions, or we can (literally) draw strength from the recent research vital and strong.
Former assumptions about the extent to which the capabilities of older adults diminished with aging were greatly overstated. Many of those assumptions were backed by past geriatric research that indicated the nearly inevi table enfeeblement of most older people. That research has been invalidated by new empirically-based investigations that have provided new insights and, at the same time, chal lenged the old assumptions. b o d y m i n d
can adopt a life-style that does nothing to inhibit physical
literature to determine that we will feel good, be healthy,
S u m m ary
752
Life is full of choices. As we human beings age, we
&
voice
E ffe c t s o f A g i n g o n V o ic e s In older adults, there are vast stores of life experience and expressive capacity. Conventional wisdom often pre dicts senility and foolish behavior that can be demeaning to people who have struggled with survival for a lifetime and have learned much and felt deeply.
Should older adults in retirement homes be relegated
lowers into middle age, but then rises with advanced age
to "kitchen bands" for expressive fulfillment? Can they play
(Linville, 1996; see Figure IV-6-2).
The physiological rea
real musical instruments? Can older adults sing skillfully?
sons for this speech F0 pattern to middle age are unclear
Can they learn how to speak and sing expressively with their
and conjectured to be the result of general (subclinical)
voices?
trauma as a product of voice use. With advanced age, the
Will they inevitably have huge vibrato wobbles
that will reduce the possibilities for in-tune, flow singing?
rise in speech F0 is associated with predicted anatomical
There are definite changes in voices that are associ
changes such as a reduction in muscle mass, shortening of
ated with aging. The specific research on the effects of aging
the vocal folds and an increased stiffness in underlying tis
on the voice can be seen, however, in the light of the general
sue.
research on aging as reported above. There is also a signifi
In contrast, generally as women get older, their ASFF
cant body of research evidence that indicates what human
remains relatively constant until the onset of the meno
beings can do to have a robust voice for interesting speech
pause, when ASFF drops (Figure IV-6-3). This appears to
and expressive singing all through those so-called geriatric
relate to a thickening of the vocal folds.
years.
vanced age, speech F0again remains relatively constant [al There are acoustic changes associated with aging voices.
Then, with ad
though there are individual differences (Max & Mueller,
With regard to average speaking fundamental frequency
1996)]. The pattern is the same for smokers and nonsmok
(ASFF), there are differences evident between the sexes. As
ers; the principal difference being that smokers have lower
men get older, various studies report that the mean ASFF
ASFF for all age categories (Linville, 1996).
240
230
❖
220 -
210
_
N EC 200 tu h on
* &
$ 0
0
0 0
00 0
190
c eP
0 180
□ 0
0
-
0
0
170
160 20
I
1
1
1
1
1
30
40
50
60
70
80
90
Age in Y ears 50
60
70
A ge in Y ears
0 Sm oking/N onsm oking ^ N onsm oking
Figure IV-6-2, left: Speaking fundamental frequency as a function of age in men (110-Hz is approximately A2in musical pitch). [From S.E. Linville, "The Sound of Senescence," Journal of Voice, Vol. 10, No. 2, p. 191. Copyright © 1996 by The Voice Foundation, Philadelphia, Pennsylvania, USA. Used with permission.] Figure IV-6-3, at right: Speaking fundamental frequency as a function of age in women (smokers and non-smokers) [From S.E. Linville, "The Sound of Senescence," Journal of Voice, Vol. 10, No. 2, p. 191. Copyright © 1996 by The Voice Foundation, Philadelphia, Pennsylvania, USA. Used with permission.] o l d e r
a d u l t
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753
Much of these reported acoustic changes are associ
Table IV-6-3
ated with age-related physical changes, particularly in the
Changes in vocal fold closure
larynx, with a degeneration of muscle and connective tissue
(size of glottal chink) by sex and age grouping
(Kahane, 1983; Hazlett & Ball, 1996) and increased ossifica tion and calcification of the laryngeal cartilages (Sataloff,
male
female
1991; Sataloff, et al., 1997). The vocal folds can deteriorate,
young
old
young
old
losing elastic fibers and changing relative layer size (Hirano,
20°/o-38°/o
up to 670/o
700/o-950/o
580/o-900/o
et al., 1989; see Table IV-6-2). Many aged individuals expe rience degenerative changes in the bony and soft tissues of the vocal tract, that is, dental structures, mandible; but the craniofacial complex continues to grow throughout life in subtle ways.
Mucus secretions onto the respiratory tract
mucosa tend to decrease (Gracco & Kahane, 1989) through atrophy of the acini (secretory units) and replacement of glandular tissue by fat, creating dry mouth (xerostomia) and dry throat and larynx (xerophonia).
There also are
degenerative changes evidenced in the breathing mecha nism, with diminished elastic recoil of lung tissue and re ductions in vital capacity (Linville, 1996). One voicing ef fect associated with these physiological changes is a greater variation in fundamental frequency in tasks which require vowels to be sustained (Linville & Fisher, 1985; Orlikoff, 1990; Linville, 1996).
However, the relationship between
vocal behavior on this task and overall singing quality in the elderly is equivocal (Hazlett & Ball, 1996).
Visual inspection of the larynx during voicing, for various age groups, reveals differences in both age catego ries and between sexes in patterns of vocal fold contact, specifically in relation to changes in vocal fold closure (see Table IV-6-3). In sample males, increasing age is associated with evidence of inadequate vocal fold closure (Linville, 1996), probably related to muscular atrophy. Again, by way of contrast between the sexes, a major proportion of female voices exhibit glottal chinks in phonation across the lifespan, embracing both adolescent girls (see Book IV Chapter 5) and elderly women. However, although the perceptual ef fect of breathiness in voice quality might be common (Sodersten & Lindestad, 1990), inspection of the clinical data reveals that the nature of such glottal chinks is different for the two age categories. Young women frequently exhibit posterior chinks, whilst older women have anterior, spindleshaped glottal chinks. The reasons for these differences are
Table IV-6-2
not clearly understood, but the adolescent female glottal
Degenerative vocal fold changes associated with aging
chink could be due to hyperfunction of the posterior cri
[After Hirano, Kurita, and Sakaguchi, 1989; cited in Hazlett and Ball, 1996]
coarytenoid muscles in relation to the interarytenoid and lateral cricoarytenoid muscles (in effect, an over-abduction). But it may be conjectured that the vocal fold gaps evidenced
In Males • membranous vocal folds progressively shorten • intermediate layer o f lamina propria thins • elastic fibers o f intermediate layer become atrophied • deep layer of lamina propria thickens • collagenous fibers in deep layer are denser and fibrotic
In Females
in elderly women are more likely to be a function of thyroartenoid muscle atrophy. Elderly male speakers exhibit greater subglottal pres sure than their younger counterparts. This phenomenon is likely to be related to greater phonatory effort (that is, in
•m ucosa thickens • cover of the vocal fold thickens
creased adductory force) in order to compensate for inad equate vocal fold closure and increased stiffening of vocal
In Both Sexes • edema develops in the superficial layer of the lamina propria
fold tissues. Increased breathiness and vocal effort (strain) are common outcomes.
754
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"T h e re A r e F a r M o re O ld P e o p le th an ’O ld ’ V oices." (H a b e rm a n n , 1972) During older adulthood, the general stereotypes of bodily aging outlined in the first part of this chapter are reflected in documented changes in voice anatomy, physi ology, and acoustics. For example: 1. a general weakening and atrophy of voice muscu lature, with decreased muscle mass, loss of muscle elasticity, and motor nerve conduction velocity (sarcopenia);
ties to much younger adults (Xue & Mueller, 1997). Much of the early research on the aging voice did not identify subjects who were in good overall physical condi tion, nor those who had well conditioned voices. Recent research suggests that good general levels of fitness and health are likely to be strongly associated with a fit and healthy voice across the lifespan (Michel, et al., 1987). The concept of bodymind as articulated in this volume indicates that a lifelong healthy, good quality voice is associated with gen
2. decrease in mucosal secretions;
eral well-being, embracing aerobic exercise nearly every day, negative changes in voice quality (with increased appropriate rest, a very good overall physical condition, incidence of hoarseness, breathiness, and roughness); healthy diet, regular social interaction, engaging often in lively 4. a reduced functioning of the respiratory system; and thoughtful conversations, laughing, reading books fre and quently, singing in a chorus as well as favorite songs (per 5. other aging-related disorders, such as hearing im haps with a radio or with recordings), and engaging in pro pairment, that interfere with communications. ductive work with short and long term goals. 3.
However, as with the rest of the body and the aging process, a clear distinction needs to be made between bio
logical age and chronological age (von Leden & Alessi, 1993; Xue & Mueller, 1997; Sataloff et al, 1997). Biological age takes into account the anatomical condition and physi ological functioning of the voice and acknowledges the in
Notwithstanding any atrophic physical changes that occur as aging progresses, their impact and effects can be minimized so that the self-expressive potential of older adults can be realized to the full.
R e fe r e n c e s a n d S e le c t e d B ib lio g r a p h y
dividual nature and variation of the voice aging process. There is clear research evidence that well-conditioned and
A g in g a n d G e n e ra l H e a lth
healthy aged voices can exhibit similar attributes as those
Albert, M.S., & Moss, M.B. (1996). Neuropsychology of aging: Findings in humans and monkeys. In E. Schneider & J.W Rowe (Eds.), The Handbook of the Biology of Aging {4th Ed.). San Diego: Academic Press.
that are much younger (Ringel & Chodzko-Zajko, 1987; Orlikoff, 1990; Linville, 1996; Xue & Mueller, 1997). Indeed, in contrast to the data reported earlier (see Table IV-6-2), a recent comparison of an older experienced female singer (aged 60 years) and a young female student of singing (aged 20 years) revealed very few marked differences between the two subjects on a range of measures, despite the smoking habit of the older subject (Hazlett & Ball, 1996). Further more, the older singer had a greater sung vocal pitch range. The researchers concluded that vocal training and experi ence can counteract expected age changes. Appropriate vocal exercise and rest (Titze, 1994; Saxon & Schneider, 1995) will continue to maintain voice muscle tissue and will have associated beneficial effects on respira tory function.
Similarly, research evidence indicates that
Anderson, J.W, & Gustafsson, N.J. (1986). Type II diabetes: Current nutri tion management concepts. Geriatrics, 41, 2 8 -38. Andres, R., Elahi, D., Tobin, J.D., Muller, D.C., & Brant, L. (1985). Impact of age on weight goals. Annals of Internal Medicine, 103, 1030-1 0 33. Backman, L., Mantyla, T., & Herlitz, A. (1990). The optimization of episodic remembering in old age. In P.B. Baltes, & M.M. Baltes (Eds.), Successful Aging: Perspectivesfrom the Behavioral Sciences. Cambridge, United Kingdom: Cambridge University Press. Baltes, P.B., & Baltes, M.M. (Eds.) (1990). Successful Aging: Perspectives from the Behavioral Sciences. Cambridge, United Kingdom: Cambridge University Press. Benjamin, H. (1949). Biologic versus chronologic age. Journal o f Gerontology, 2, 217-227. Blumenthal, J.A., Emery, C.F., Madden, D.J., Schneibolk, S.S., Walsh-Riddle, M.W, George, L.K., McKee, D.C., Higginbotham, M., Cobb, F.R., & Coleman, R.E. (1991). Long term effects of exercise on psychological functioning in older men and women. Journal o f Gerontology, 46, 35 2 -361.
physically active elderly speakers exhibit similar voice quali Blumenthal, J.A., & Madden, D.J. (1988). Effects of aerobic exercise training, age, and physical fitness on m emory-search performance. Psycholoqy and Aging, 3, 280-285.
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Bogen, J.D., Oleske, J.M., Lavenhar, M.A., et al. (1990). Effect of one year of supplementation with zinc and other micronutrients on cellular immunity in the elderly. American Journal o f Nutrition, 9, 214-225.
Molloy, D.W, Beerschoten, D.A., Borrie, M.J., Crilly R.G., & Cape, R.D.T. (1988). Acute effects of exercise on neuropsychological function in elderly subjects. Journal of the American Geriatric Society, 36, 2 9 -33.
Bortz, W.M. (1982). Disuse and aging. Journal o f the American Medical Associa tion, 248(10), 1203 -1208.
Montagu, A. (1983). Growing Young. New York: McGraw-Hill.
Breslow, L., & Enstrom, J.E. (1980). Persistence of health habits and their relationship to mortality. Preventive Medicine, 9, 469-483 . Chandra, R.K. (1989). Nutritional regulation o f the immunity and risk of infection in old age. Immunology, 67, 141-147. Chandra, R.K. (Ed.) (1992). Nutrition and Immunology. St.John's, Newfound land, Canada: ARTS Biomedical. Chandra, R.K. (1997). Graying of the immune system: Can nutrient supple ments improve immunity in the elderly? Journal of the American Medical Asso ciation, 277,(17), 13 98 -1 3 99. Chodzko-Zajko, WJ., Ringel, R.L., & O'Connor, P.J. (1985). Cardiovascular and pulm onary performance and sensory deterioration in aging. Gerontolo gist, 25, 215. Clair, A.A. (1996). Therapeutic Uses o f Music with Older Adults. St. Louis: M M B Music. Evans, W.J., & Rosenberg, I.H. (with Thompson, J.) (1991). Biomarkers. New York: Fireside. Faulkner, J.A., & Brooks, S.V. (1995). Muscle fatigue in old animals: Unique aspects o f fatigue in elderly humans. In S.C. Gandevia, R.M. Enoka, A.J. McComas, D.G. Stuart, & C.K. Thomas (Eds.). Fatigue: Neural and Muscular Mechanisms (pp. 471-480). New York: Plenum. Fiatarone, M.A., Marks, E.C., Ryan, N.D., Meredith, C.N, Lipsitz, L.A., & Evans, WJ. (1990). High-intensity strength training in nonagenarians: Effect on skeletal muscle. Journal o f the American Medical Association, 263, 3029-3024. Fries, J.F., & Crapo, L.M. (1981). Vitality and Aging. San Francisco: Freeman. Frontera, W.R., Meredith, C.M., O'Reilly, K.P., Knuttgen, H.G., & Evans, WJ. (1988). Strength conditioning in older men: Skeletal muscle hypertrophy and improved function. Journal of Applied Physiology, 64, 1038-1044. Gordon, N.F., & Gibbons, N.J. (1990). The Cooper Clinis Cardiac Rehabilitation Program. New York: Simon & Schuster. Hinojosa, R., & Naunton, R.F. (1991). Presbycusis. In M.M. Paparella, D.A. Shumrick, J.L. Gluckman, & W.L. M eyerhoff (Eds.), Otolaryngology (Vol. II: Otology and Neuro-Otology, pp. 1629-1637). Philadelphia: W.B. Saunders.
Nelson, M.E., Meredith, C.N., Dawson-Hughes, B., & Evans, W.J. (1988). Hormone and bone mineral status in endurance-trained and sedentary post m enopausal women. Journal o f Clinical Endocrinology and Metabolism, 66, 92793 3 . Nelson, M.E., Fisher, E.C., & Evans, W.J. (1990). A one-year walking program and increased dietary calcium in postmenopausal women: Effects on bone. Medicine and Science in Sports and Exercise, 22 (supplement), 377. Phillips, P.A., et al., (1984). Reduced thirst after water deprivation in healthy elderly men. New England Journal o f Medicine, 3 11, 753 -759. Phillips, S.K., Rook, K.M., Siddle, N.C., & Woledge, R.C. (1992). Muscle weak ness in wom en occurs at an earlier age than in men, but strength is pre served by horm one replacement therapy. Clinical Science, 84, 95-98. Rosen, S. Bergman, M., Plester, D., El-Mofty, A., & Satti, M.H. (1962). Presby cusis study of a relatively noise-free population in the Sudan. Annals of Otology, 71, 727. Saltin, B., Blomquist, G., Mitchell, J.H., Johnson, R.L., Wildenthal, K., & Chapman, C.B. (1968). Response to submaximal and maximal exercise after bedrest and training. Circulation, 38, Supplement 7. Schneider, E., & Rowe, J.W. (Eds.) (1996). The Handbook o f the Biology o f Aging (4th Ed.). San Diego: Academic Press. Shepherd, R.J. (1995). Exercise prescription for the healthy aged. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 558565). St. Louis: Mosby. Spirduso, W.W (1982). Physical fitness in relation to m otor aging. In J.A. Mortimer, F.J. Pirozzolo, & G.J. Maletta, (Eds.), The Aging Motor System. New York: Praeger Publishers. Streja, D., & Mymin, D. (1979). Moderate exercise and high-density lipo protein cholesterol. Journal of the American Medical Association, 243, 2190-2192. Valliant, P.M., & Asu, M.E. (1986). Exercise and its effects on cognition and physiology in older adults. Perceptual and Motor Skills, 63, 955-961.
A g in g a n d V o ic e Beasley, D.S., & Davis, A. (1981). Aging and Communication Processes and Disor ders. New York: Grune & Stratton.
Krolner, B., & Toft, B. (1983). Vertebral bone loss: An unheeded side effect of therapeutic bed rest. Clinical Science, 64, 537-540.
Chodzko-Zajko, WJ., & Ringel, R.L. (1987). Physiological aspects o f aging. Journal o f Voice, 1(1), 18-26.
Larsson, L., Grimby, G., & Karlsson, J. (1979). Muscle strength and speed of movement in relation to age and muscle morphology. Journal o f Applied Physiology, 46, 451-456.
Gracco, C., & Kahane, J.C. (1989). Age-related changes in the vestibular folds of the hum an larynx: A histomorphometric study. Journal o f Voice, 3 (3), 20 4 212 .
Meredith, C.M., Frontera, WR., Fisher, E.C., Hughes, VA., Herland, J.C., Edwards, J., & Evans, W.J. (1989). Peripheral effects of endurance training in young and old subjects. Journal o f Applied Physiology, 66, 2844-2849.
Habermann, G. (1972). Der alternde larynx: Funktronelle aspekte. HNO (Ber lin), 20, 121-124 (cited in von Leden, H., & Alessi, D.M. (1994). The Aging Voice.)
Meydani, S.N., Meydani, M., Blumberg, J.B., Leka, L.S., Siber, G., Loszewski, R., Thompson, C., Pedrosa, M.C., Diamond, R.D., & Stollar, B.D. (1997). Vi tamin D supplementation and in vivo immune response in healthy elderly subjects. Journal of the American Medical Association, 277,(17), 1380-1386.
Hazlett, D., & Ball, M.J. (1996). An acoustic analysis of the effects of aging on the trained singer's voice. Logopedics, Phoniatrics, and Vocology, 21(2), 101-107.
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Hirano, M., Kurita, S. & Sakaguchi, S. (1989). Aging of the vibratory tissue of hum an vocal folds. Acta Laryngologica, 107, 42 8 -4 33. Hollien, H. (1987). Old voices: W hat do we really know about them? Jour nal o f Voice, 1(1), 2-17. Hull, R.H. (1995). Hearing in Aging. San Diego: Singular. Kahane, J. (1983). Postnatal development and aging of the hum an larynx. Seminars in Speech and Language. 4, 189-203 . Linville, S.E. (1997). The sound of senescence. Journal of Voice, 10(2), 190-200. Linville, S.E., & Fisher, H. (1985). Acoustic characteristics of perceived versus actual vocal age in controlled phonation by adult females. Journal o f the Acous tical Society o f America, 78, 40-48. Lubinski, R., & Higginbotham, D.J. (Eds.) (1997). Communication Technologies for the Elderly. San Diego: Singular. Max, L., & Mueller, PB. (1996). Speaking F0 and cepstral periodicity analysis o f conversational speech in a 105-year-old woman: Variability of aging effects. Journal o f Voice, 10(3), 245-251. Maxim, J., & Bryan, K. (1994). Language o f the Elderly. San Diego: Singular. Michel, J.F., Coleman, R., Guinn, L., Bless, D., Timberlake, C., & Sataloff, R.T. (1987). Aging voice: Panel 2. Journal o f Voice, 1(1), 62-67. Nodar, R.H. (1986). The effects of aging and loud music on hearing. Cleve land Clinic Quarterly, (Spring), 49-92. Orlikoff, R. (1990). The relationship of age and cardiovascular health to certain acoustic characteristics o f male voices. Journal of Speech and Hearing Research, 33, 450-457. Sataloff, R.T., Spiegel, J.R. and Rosen, D.C. (1997). The effects of age on the voice. Professional Voice: The Science and Art o f Clinical Care (2nd Ed., pp. 259-267). San Diego: Singular. Saxon, K.G., & Schneider, C.M. (1995). Vocal Exercise Physiology. San Diego: Singular. Sodersten. M., & Lindestad, P. (1990). Glottal closure and perceived breathiness during phonation in normally speaking subjects. Journal o f Speech and Hearing Research, 33, 601-611. Titze, I.R. (1994). A few thoughts about longevity in singing. Journal o f Sing ing, 50(5), 35 - 36. von Leden, H., & Alessi, D.M. (1994). The Aging Voice. In M.S. Benninger, B.H. Jacobson, A.F. Johnson (Eds.), Vocal Arts Medicine: The Care and Prevention of Professional Voice Disorders (pp. 269-280). New York: Thieme Medical Publish ers. Willott, J.F. (1991). Aging and the Auditory System: Anatomy; Physiology and Psy chophysics. San Diego: Singular. Xue, A., & Mueller, PB. (1997). Acoustic and perceptual characteristics of the voices of sedentary and physically active elderly speakers. Logopedics Phoniatncs Vocology, 22(2), 51-60.
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b o o k fiv e a b rief menu o f practical voice education m ethods
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the big picture ust like a map is not the actual territory, so a menu is
Chapter 7-Female Adolescent Transforming Voices:
not the actual cuisine. Both only suggest the reality that
Classification, Voice Skill Development, and Music Litera
they represent. You have to travel the territory and eat
ture Selection
the meals in order to experience "the real thing".
Chapter 8-Male Adolescent Transforming Voices:
J
This verbal and notational menu of practical voice
Voice
Voice
Classification, Voice Skill Development, and Music Litera
education methods only suggests the actual experiences that
ture Selection
they are intended to convey. The only way to experience
Chapter 9-Redesigning Traditional Conducting Patterns to
them in the way that they are intended would necessitate an
Enhance Vocal Efficiency and Expressive Choral Singing
encounter with the author(s). The authors have intended to base the menu items on: 1. the bodymind concept as described in Book I; 2. the concept of physical and acoustic efficiency and vocal conditioning as presented in Book II; 3 . the concept of voice protection as presented in Book III; and
4.
the developmental concepts that are presented in
Book IV Chapter I-T h e Alexander Technique: Brief History and a Personal Perspective Chapter 2 -Learning Speaking Skills That Are Expressive and Vocally Efficient Chapter 3 -Classifying Voices for Singing: Assigning Choral Parts and Solo Literature Without Limiting Vocal Ability Chapter 4-Vocally Safe "Belted" Singing Skills for Children, Adolescents, and Adults Chapter 5-Design and Use of Voice Skill "Pathfinders" for Target Practice', Vocal Conditioning, and Vocal Warm-up and Cooldown Chapter 6-H elping Children's Voices Develop in General Music Education
the
big
picture
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chap ter 1 the alexander technique: brief history and a personal perspective Alice Pryor
W
hat is this Alexander Technique? W hy are
T h e H isto ry
more and more people becoming interested in it? How does it work? Can it make us better
singers, teachers, performers?
How long does it take to
In the early 1890's, an Australian actor named F. M. Alexander had a vocal problem.
Periodically, Alexander
learn? These are some of the many questions raised about
simply lost his voice while he was performing on stage.
the Alexander Technique. The journey we take in finding
Medical treatment gave only temporary relief. In his writ
the answers leads us through a rediscovery of the "natural
ings, he tells us that he began to suspect that he was using
ness" of ourselves in movement.
his vocal mechanism "incorrectly". He decided to use mir
Before the age of three, most of us moved "naturally".
rors to observe himself while he was speaking. He discov
We had retained the ability to explore movement quite freely
ered that what he thought and felt he was doing was quite
and efficiently. As we progressed through life experiences
different from what he observed in the mirrors.
of injury, emotional trauma, and imitation of family mem
Alexander's usual method of vocal production felt to
bers and admired others, we developed habitual movement
him very "natural, comfortable, and right". But his mirror
patterns that caused us to deviate from our free and easy
observations led him to conclude that his problem stemmed
movement.
from a pattern of malfunctioning that he carried out through
These departures from "naturalness" became
so familiar that they operated outside our conscious aware
out his entire body.
Gradually, he faced the reality that
ness (habit), even though they were less efficient and often
what he thought was acceptable and satisfactory in his sen
harmful.
sations was, in reality, preventing the efficient use of his
In our chosen life work, we may have arranged or
body, including the parts of his body that he used to pro
moved our bodies in ways that resulted in varying degrees
duce voice. Just before he began his habitual performance,
of fatigue, discomfort, or even pain.
he saw in the mirrors that his head compressed downward
We may have then
examined how we moved or arranged our bodies in order
into his neck.
to seek ways to prevent the fatigue or relieve the discomfort
sensations that were produced by the compressing.
or pain. From just such circumstances, the Alexander Tech nique was born and grew.
He then became consciously aware of the
As he experimented with alternative ways to remedy his voice problem, Alexander discovered that by moving his head slightly forward, he released the muscles around his atlas/Occipital (A/O) joint, and then he released his whole
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head upward away from his body He then noticed a re lease of compressive tension not only in his neck but also
Th e T e ch n iq u e : M y P e rsp ectiv e
in many other areas of his body W hat he had done was to I
initiate a reflex pattern in his head-neck area that allowed the muscles in his body especially in his back, to release
believe that the Alexander technique is about "dy
namic posture". It is not about erect position. Most of us
and follow what his head was doing. He came to call this
associate the upright stance with "good posture".
process primary control.
Alexander Technique is about the efficient, comfortable, and
The
He continued his experiments with his physical move
flexible use of our whole body that, in turn, enables effi
ments and eventually returned to the theatre. His improve
cient, flexible use of our voices (See Book II, Chapter 4).
ment so impressed his friends that they asked him to share
The major benefits of using the Alexander Technique can
his discoveries with them. In the process of attempting to
be:
share what he had learned, Alexander developed what has
• an increase in physical efficiency;
since come to be known as the Alexander Technique.
• a reduction in physical stress and an increase in
As interest in Alexander's work spread, he was en couraged by Dr. J.W. Stewart McKay, a physician and sur geon in Sydney, to take his discoveries to London where the work would have wider influence and impact. Although his first students came mainly from theatrical circles, others were drawn to him for help with stiff, painful bodies and various health problems.
physical relaxation; • overall improvement of gestural and vocal self-ex pression; • a greater sense of well-being; • a visual appearance of confidence, ease, and of being in charge of one's self.
Aldous Huxley, John Dewey,
George Bernard Shaw, George Coghill, Sir Stafford Cripps,
The atlas/occipital (A/O) joint joins the spinal apex
and the musicologist Raymond Dart were among his dis
(atlas) to the skull's occipital bone. If we are able to clarify
tinguished students.
how best to use our major body joints, especially the A/O
Alexander first taught his technique in the United States when he was invited to New York in 1914.
He and his
joint and the hip joint, we can make substantial changes in body balance-alignment and movement coordination. Ex
brother A. R. Alexander were invited to teach in Boston in
ercise and stretching provide the toning and support that
1924. He offered his first teacher training course in London
makes the use of the Alexander Technique more effective in
in 1930. My teacher, Marjorie L. Barstow of Lincoln, Ne
everyday living.
braska, was the first graduate of the training course. From
nique when I walk, stretch, exercise, and receive or give
approximately 1933 to 1943, A. R. Alexander and Marjorie
therapeutic massage. The appropriate integration of those
Barstow taught the technique in Boston, New York, and other
experiences has enabled me to move with optimum physi
locations in the Eastern United States.
cal function, to use a more complete range of motion in my
Ms. Barstow's intense desire to understand the essence of what Alexander was attempting to communicate resulted
For instance, I use the Alexander Tech
body movement, and to more consistently live with an alert energy.
in a very skillful, creative teaching technique. In speaking about her teaching, she has said, 'All I try to do is wake
H ow it W o r k s
you...up. Not from bed in the morning, but during the day. I'm trying to teach you to see yourselves and sense what
Alexander's technique is a sensible, practical process,
She understood the im
which can be used when you are singing, or conducting, or
portance of kinesthetic awareness in motivating us to change
during any physical activity. It is practical because you do
our movement habits.
not need to stop when you choose to use it. You just carry
you are doing with yourselves".
on your activities and apply your understanding of the pro cess at that moment. It is sensible because it is so simple
the
a lex an d er
tech n iq u e
761
and straightforward. You either create downward pressures
Do this: Slump once again. But this time, move out of your
on your body that interfere with your flexibility, or you
slump as delicately and easily as you possibly can. Focus on becom
release those pressures by gently lengthening and widening
ing gently lengthened or releasing your body upward freely with seem
and thereby increasing your flexibility in your overall co
ingly no effort or "pushing" to lengthen.
ordination. The improvement can happen in a matter of seconds.
Conduct once again. Observe the movement in your arm-hand and shoulder. Is it different from the other conducting movements? Is
How can this downward pressure be detected? Everyday, you give yourself physical and emotional freedom or you limit your freedom.
the movement lighter or heavier? Is it easier or more restricted? Did you notice a difference? If so, what?
If you begin to feel
heavy, fatigued, or even slightly uncomfortable, this is the time you can look at yourself or become aware of the pos
This "experiment" can illustrate the influence of down
sible presence of downward pressure-what we call a little
ward pressure on your shoulder joint, arm and whole body.
slump.
More importantly, it can illustrate the freedom and ease of
Through the study of the Alexander Technique you
movement that is possible when you can change the qual
can gradually become more and more aware of the varying
ity of your movement from restricted and strained to deli
degrees of slump that occurs in the course of your daily
cate and graceful.
activities. It may be something as simple as what you do
How can you help your movement become flexible,
when you eat, wash dishes, get in and out of your car, brush
delicate, and easy? Remember Alexander's Primary Con
your teeth, lean down to pick up the cat (dog), play the
trol? His term refers to the relationship, in movement, of
piano while conducting your students in a rehearsal, write
your head to your body which controls not only your head-
reports, fill out the daily attendance or talk on the tele
neck movement, but also the quality of movement in your
phone.
whole body. Consequently, it also influences the quality of
In your continuing education as a music educator, choral conductor, church musician, singer, or singing teacher,
your vocal coordinations. You can explore and discover just what relationship
you can explore what it feels like physically when you put
presently exists between your head and your body.
For
downward pressure on yourself.
example, when you move to look at someone who enters the room while you are seated, what kind of pressure do you feel in your head-neck area? W hat do you feel in your
Do this: If you know how to conduct an ensemble with one of the traditional beat patterns, pick one to use. First, go into a major
shoulder area at the same time? And what awareness do you have of where you head pivots on your spine? If you discover heaviness, pressure, and tension, and
slump. Now conduct your beat pattern with one arm. Observe how
sense that you are pivoting from the middle or the base of
your shoulder feels; how your arm feels; how your wrist and hand feel.
your neck, you are utilizing your primary control inefficiently.
What is the current degree of freedom and flexibility in your move
If, however, you become aware of your pivot point at a
ment? How light or how heavy does your arm-hand feel?
location in the middle of your head just in front of your ear
Just observe and take note of your sensations.
canals, and then turn your head, you are likely to sense a release of tension and pressure. Being aware of your head-
Do this: Next, compare those sensations in your shoulder as
neck relationship does not provide all the awareness that
you move out of your slump with great effort so that you stand very
would enable you to balance freedom and energy in body
erect and chest-up-and-out tall. Conduct with the same arm. Observe degrees of freedom and flexibility heaviness or lightness. How were they different?
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movement. Learning how to release unnecessary tension in your whole body is the overall goal. How do you do this?
The process begins with the appropriate alignment of
when you talk to yourself about conducting, are you con
your head with your whole body Alexander's work can
cerned about getting your arm movements "correct," or do
give you a whole new understanding of how to evolve into
you allow your head and body to release upward and ob
improved balance-alignment and increased freedom and
serve the ease and efficiency of your arm movement?
flexibility. The result is a freeing of your vocal and breath
If your words are more active or movement oriented,
ing apparatus. Your vocal strengths and talents will be en
your body may tend to be more efficient in its use of en
hanced, therefore, by the removal of interference in the form
ergy and only use the muscles that are necessary for what
of unnecessary tension and downward pressure.
you are doing.
If most everything you do must be "just
How do you learn this technique? Developing these
right," and your words are more static, set, rigid, or forceful,
abilities is a gradual process. It occurs slowly, at the pace
then your body may tend to be more inefficient, and use
you decide, when you choose to move more gracefully and
unnecessary energy and muscle tension. In this latter case,
create changes. You are in charge. An Alexander teacher
your body requires more effort to move.
guides and suggest the most efficient way for you to change.
Table V -l-1 is a list of active, movement-oriented or
You can study this technique in large or small groups or in
delicate words for you to consider. How do you react to
private one-to-one sessions. Learning in groups provides
them? What do they mean for you?
an opportunity to: • increase your ability to observe movement changes
Table V -l-1
and habits of interference in others; • ponder what is happening; Delicate Words
• internalize what applies to yourself.
Movement and Active Type Words
become
process
suggest/suggestion
ease
move
direct/direction
easy
act
explore/discover
such sessions, the teacher facilitates awareness through a
free
progress
continue
combination of verbal suggestions and hands-on guidance,
graceful
change
improve
while enlisting your active participation through observa
effortless
alter/alternate
better
facile
vary
grow
nique not only presents the theory of what he discovered
simple
modulate
examine
but also his practical application to voice production and
gentle
modify
search
daily activities.
light
transform
invite
plenty of time
upward release
experiment
release allow
buoyant
let
O ne-to-one sessions allow you to address specific personal needs, either through an activity lesson, a table lesson, a video-feedback lesson, or a mixture of these. In all
tion, questions, and application. Voice education that is based on Alexander's Tech
In voice education, relaxation techniques
can be explored that can help you both to free and to ener gize your vocal production. The work of Alexander is sim ply a redirection of your energy so that the release of un necessary tensions and pressures, result in a flexible ap proach to vocal production and an ability to center your energy on vocal expression. As you become more acquainted with Alexander's
Table V -l-2 is a list of static/set and rigid/forceful
principles through your personal experiences, you can be
words. How do you react to them? W hat do they mean
gin to notice the importance and the power of the words
for you?
you use when you "talk to yourself" and give yourself sug gestions for your movement and activities.
For example,
the
a lex an d er
tech n iq u e
76 3
means for providing for ourselves, continually renewing
Table V -l-2
and restoring, moment by moment. The message of the Alexander Technique is simple:
Static/Set Words
Rigid/Forceful Words
set
correct/incorrect
position
right/wrong
fix
proper/improper
keep
good/bad
hold
push
maintain/retain
pull
perfect
lift
inflexible
attack/assault
stiff
stretch
straight
make take
As you become more and more sensitive to yourself, your movements, and your feelings, you may become ex cited about sharing the new things you have learned with others, either students or friends. If you share with an atti tude of invitation, i.e., "inviting" someone to "learn with" you, then I believe that the learning will be pleasurable. "Learning with" is more effective than attempting to "do for" others. The “doing for others" can cause us to think of ourselves last, consequently overextending ourselves physically and emotionally. If we really believe that we have a responsi bility to give as much as possible to others, then it seems sensible to provide for ourselves, so we have something to give. Is this selfish? Why do airline personnel instruct parents-in an emergency-to put their own oxygen masks on first, before as sisting their children? Without providing for ourselves, we are unable to meet fully the responsibility of giving to oth ers. If we care for ourselves first, providing for our own physical, emotional, spiritual needs, then we are much more likely to have something to give, and be less likely to fall prey to burnout. The Alexander Technique is an effective
bodym ind
R efe ren ce s and S ele cte d B ib lio g ra p h y Alexander, F.M. (1955). Constructive Conscious Control o f the Individual (Reprint Ed.). Urbana, IL: NASTAT Books. [To order: NASTAT Books, P.O. Box 517, Urbana, IL, 61801, USA; or call (800) 473-0620] Alexander, F.M. (1985). Use o f the Self (Reprint Ed.). Urbana, IL: NASTAT Books. [To order: NASTAT Books, P.O. Box 517, Urbana, IL, 61801, USA; or call (800) 473-0620] Caplan, D. (1995). Back Trouble. Gainsville, FL: Triad Publishing. [To order: NASTAT Books, P.O. Box 517, Urbana, IL, 61801, USA; or call (800) 4730620] Conable, B.,
Conable, W (1995). How to Learn the Alexander Technique: A (3rd Ed.). Columbus, OH: Andover Press. [To order: Andover Press, 1038 Harrison Avenue, Columbus, OH, 43201, USA]
& Manual for Students
Gelb, M. (1987). Body Learning: An Introduction to the Alexander Technique. New York: Henry Holt. [To order: NASTAT Books, P.O. Box 517, Urbana, IL, 61801, USA; or call (800) 473-0620]
C on clu sion
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"Take care of yourself first and you will be a more effective person, teacher, musician, and conductor!'
&
voice
Grindea, C. (1987). Tensions in the Performance of Music. Urbana, IL: NASTAT Books. [To order: NASTAT Books, P.O. Box 517, Urbana, IL, 61801, USA; or call (800) 473-0620] Rickover, R. (1988). Fitness Without Stress. Portland, OR: Metamorphous Press. [To order: Metamorphous Press, P.O. Box 10616, Portland, OR, 97210 or NASTAT Books, P.O. Box 517, Urbana, IL, 61801; or call (800) 473-0620]
chap ter 2 learning speaking skills that are expressive and vocally efficient Leon Thurman, Carol Klitzke
sing a fiberoptic laryngeal videostroboscope, the
U
tigue and the impact and shearing forces of the colliding
late Van Lawrence, M.D., an internationally re
vocal folds. This coordination is rather common, and es
nowned laryngologist from Houston, Texas, docu
pecially affects people who speak extensively and vigor
mented some laryngeal behaviors that indicate relative la
ously for longer periods of time in their work and non
ryngeal effortlessness and relative laryngeal effortfulness in
work time.
speech. A physically efficient larynx during speech will promi nently display:
P h y sica lly and A c o u stic a lly E fficie n t S p e a k in g S k ills
1. a view of the vocal folds that is not obstructed by In the mid-1980s, a world-class opera tenor noticed
a "squeezing" aryepiglottic sphincter, so the vocal folds are
inconsistencies in the accustomed flow of his singing skills.
easily observable; 2. a pointed "gothic arch" configuration [A] that is
He made an appointment to see Dr. Lawrence, the company
formed by the rear and lateral borders of the aryepiglottic
ear-nose-throat physician for the Houston Grand Opera
sphincter (also called the epilarynx, the laryngopharynx and
and an internationally recognized "voice doctor? Dr. Lawrence examined the tenor's larynx and lower
the laryngeal vestibule).
vocal tract with a flexible, nasal videostroboscope. While A physically inefficient, overworked larynx will promi
the videotape was recording, the tenor was asked to sing a few phrases from opera arias, and after each excerpt, he
nently display: 1. a strongly constricted aryepiglottic sphincter, includ ing the false vocal folds, that nearly covers the vocal folds
conversed with Dr. Lawrence about the vocal inconsisten cies he had been sensing. While reviewing the videotape with the tenor, Dr.
from view; 2. the rear borders of the aryepiglottic sphincter are
Lawrence pointed out that when the tenor was singing, his
flattened or nearly flattened into a horizontal line configu
larynx and vocal tract were configured in a way that re
ration [-].
flected efficient vocal coordinations.
His vocal tract was
appropriately open so his vocal folds were substantially Use of this latter laryngeal coordination for extensive
visible, and the rear borders of his aryepiglottic sphincter
and/or vigorous speech will increase laryngeal muscle fa
were configured in an upside-down "V" shape, like a gothic arch.
expressive
&
efficient
speakin g
skills
765
But when Dr. Lawrence asked him to compare his lar
followed his discoveries increased the probability that he
ynx configuration when singing with its configuration when
would continue target practicing on his new skills. With
he was spontaneously conversing, he noticed the difference
time and persistence, he discovered that his singing incon
right away. His larynx and vocal tract were noticeably con
sistencies resolved, and he called Dr. Lawrence to celebrate
stricted. His aryepiglottic sphincter was especially constricted,
that perception with him.
and its rear border was flattened into a nearly horizontal line instead of the gothic arch configuration. Within a few sessions, Dr. Lawrence and a speech pa thologist colleague helped the tenor learn how to speak with physical and acoustic efficiency. When the tenor talked in the recommended way, he noticed: 1. greater physical ease within his neck-throat area
Prelude to the Use of Your Voice for Speaking Certainly, the fiberoptic laryngeal videostroboscope can be used to provide immediate real-time visual feed back about laryngeal and vocal tract efficiency. That pro cess will not be practical for everyday use by everyday people at anytime in the near future.
when talking; 2. a greater amount of sound emerging from his voice, even in quiet conversation; 3 . a slightly fuller, smoother, and more flowing voice quality, no longer pressed or constricted as before; and
There are computer pro
grams that provide visual feedback about pitch, but the computer programs cannot be optimally helpful without skilled human guidance that helps a person point toward physical and acoustic efficiency.
In the absence of such technology, how may we help as a side effect of the increased efficiency, the com ourselves and others learn how to speak with physical and mon pitch area in which he spoke was higher than the pitch acoustic efficiency? area he had observed during habitual speech. Before presenting a set of steps that can point a per
4.
The tenor continued to pay attention to the efficiency of his speaking coordinations. Within one month, he tele phoned Dr. Lawrence from another region of the United States to exclaim, "The inconsistencies in my singing are gone!" Notice how Dr. Lawrence helped the tenor. Interest ingly, he did not start the process by saying, "You're speak ing too low. You have to raise the pitch of your speaking voice, and that will improve the inconsistencies in your singing voice" He started by helping the singer become con sciously aware of the difference between his speaking and singing coordinations-first visually, then kinesthetically. Target practice was then carried out with the new motor coordinations, and the new configurations, sensations, and sounds were used to establish new vocal coordinations for speech. The singer detected most of the old and new pat terns for himself, with guidance from Dr. Lawrence rather than dictation. As the tenor explored how to speak so that his laryn geal and vocal tract configuration roughly matched that of his singing, he discovered that speaking felt easier, was freer and fuller sounding, and, incidentally, that his average pitch area happened to be higher. The pleasant feeling states that
766
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son toward efficient speaking, a few important qualifica tions need to be stated. Without them, we fear that you will be misled, and that makes us nervous.
Qualification 1:
Without a knowledgeable, experi
enced human being to guide you, we cannot guarantee that the written suggestions in this chapter will result in im provement in your use of voice for speech. The process is intended to be one of exploration and self-discovery (target practice) not us creating a product by telling you what the right answers are or how to do something correctly. These principles of learning and communication are addressed in Book I, Chapters 7 through 9. Every person has a unique history of voice use that has been influenced by such realities as the imitation of parental and prominent-person speech, a "personality" evo lution history, a health-injury-disease history, a life-stresses history, and so forth. As a result, each person has learned unique habitual patterns of spoken self-expression, all tied to unique preferences and biases. That is why "quick-fix gimmicks" for "finding your one optimal speaking pitch" can only help some people improve the efficiency of their speaking coordinations to some extent. The process we use is comparatively slow and takes a longer-term, change-fora-lifetime perspective.
Qualification 2: In order for you or anyone else to
If you choose to follow through on our suggested steps, (1) your
reap the greatest benefit from the following steps toward
voice will become optimally efficient when you speak, and (2) it will
efficient speaking, several fundamental vocal skills are needed
sound normal to other people.
beforehand. In other words, regardless of the current status of your voice skills, going through the steps is likely to help you move toward the bull's-eye of optimum vocal effi ciency in speech. In fact, the process may help you identify which fundamental skills could use improvement.
With
the fundamental skills in place, however, people typically
The process helps you learn what to feel or sense in yourself when you are: 1. speaking inefficiently, that is, establishing what the outside limits of this target are; and 2. speaking efficiently, that is, establishing the bull'seye of this target. (Book I, chapter 9 has details.)
sail right through the process and can begin moving new For voice educators, another skill dimension also is
skills toward habit. Here is a list of what we regard as the prerequisite
presented: what to listen and look for when helping others develop their own efficient speaking skills.
fundamental skills. (Book II has the details.) 1. Learn what speaking feels like when you have re leased from use the muscles that are unnecessary for effi cient voicing. Efficient balance-alignment of your body is the most fundamental of all the voicing skills. Of particular interest is sensory awareness of an easy fluidity in the move
A P r o c e s s fo r L e a r n in g H ow to S p e a k w ith I n c r e a s in g P h y s ic a l E ffic ie n c y : F ir s t S te p s T o w a rd S p e a k in g M o re S k illfu lly , In te r e s tin g ly , a n d E x p r e s s iv e ly
ment and range of motion in your neck-throat, jaw, and tongue areas. 2. Learn what speaking feels like when you allow your
Do this #1: (I) Pretend that you are conversing with someone
efficiently produced, steadily flowing breath-air to gather
you've just met, and they have said to you, "Tell me about what you
up your vocal soundflow and carry it out of you for the
do!' Answer them, but talk out loud in your usual, habitual way and
world to hear. Of particular interest is a sensory awareness
observe the sensations and sounds of your voice, just for the fun of it.
that your necessary larynx muscles are being used only to
Tuck the memory of that experience away for future reference.
the extent that is necessary for the vocal task at hand, and that their use is balanced. 3 . Learn what speaking feels like when your vocal tract is appropriately open, relative to vocal pitch and volume,
Do this #2: (I) Pretend that some people are talking across a
so that your vocal folds do not become acoustically over
room from you, and you ask them to be quiet because someone is
loaded, forcing your larynx muscles into unnecessarily
sleeping. So, with some energy you go: "Shhhhhhhhhhhhhhhh."
harder (inefficient) work.
Notice how easy your neck-throatfeels and how your midsection breath-
4.
Learn what speaking feels like when your louderenergy is up, but the sound is not loud. Invite those easy sensations to
softer volume skills and your lower-upper register coordi nations are well developed. Of particular interest is a sen
go with you through the rest of this process. (2)
How easy and relatively effortless can your neck and throat
sory awareness that the lower end of your upper register is
feel (outside and inside) when you create a sustained downward sigh-
developed with roughly equal strength to your lower regis
glide on "huuuuuuuuuuuuuuuuuuuuh?" Start it in your upper reg
ter, and that your register transition appropriately blends
ister and slide downward well into your lower register-almost to the
or melts so that no one is aware that your larynx coordina
lowermost area of your voice. Let the "full flower" of your mellow-
tion changed.
warm lower register just blossom at the lower end of each sigh-glide.
When we work with people on these speaking skills, we make the following promise:
Do you have a sense of an easy, released openness in your throat and mouth? Do as many of those as you need to do in order to know that all of those skills are happening. If you notice a register flip, then learn
expressive
&
efficient
speakin g
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767
how to smooth it out and melt it before going on. If your voice "goes
without ever stopping the sound of your voice, (A) sigh-glide down,
to breath" in your lower register, and your voice cannot"blossom" then
(B) sustain the sound on the words in the easiest area, and then
learn how to do that before going on.
(C) speak the same words with normal speech inflection, but your speech inflection stays right around your sus tained sound. (Read that through again, if you need to.) Got it? Do it.
Do this #3: After you read the words for this step, do a series of downward sigh-glides-like before-and do as many as you need to
Do it a lot, till you find all of the bull's-eyes, especially the "feels easiest" one.
do. Every time you begin a new sigh-glide, start it in your upper register and slide downward. On each sigh-glide, pay close attention to subtle effort sensations in your neck-throat area. You are searching for an area that feels easiest within
Do this #5: (I) After exploring that easiest way of using your voice, sigh-glide down into that easy area and say with normal speak ing inflection:
each sigh-glide.
NIM 1-NIM 2-N IM 3-N IM 4-N IM 5-N IM 6-N IM 7 -
You may need to repeat several sigh-glides at first, while you
NIM 8-N IM 9-N IM 10.
develop sensitivity to subtle degrees of more effort versus less effort.
Invite breath in...
After you've done several of them, you are likely to have a pretty
...then immediately count NIM 11 through 20.
good idea where the easiest area of the sigh-glide is. If you were to tell someone where the easiest area is with words, you might say "It's
Move your voice around, up and down and around, but close to the "feels easiest" area that you have sensed.
easiest right at the beginning of the slide" or "It's easiest right at the
(2) After doing any of the sigh-glide-to-speaking items, has your
end of it," or "It's easiest somewhere in the middle," or "...in the upper-
voice always stayed around that easiest area when you spoke? After
lower area," or "...in the lower middle," or....
the sigh-glide part, has your voice ever dropped down to a lower area
So, do those sigh-glides now-where does your voice feel
for the speaking? Has it?
easiest? [Remember, each time you finish a sigh-glide, always start the If your voice has dropped lower when speaking the
next one in upper register and slide downward-that's very important.]
syllables and words, pay attention to that.
It means that
your brain is switching your vocal coordinations back to habitual. For the sake of this process, it is important that Do this #4: (1) When you're fairly certain where your voice feels easiest in those sigh-glides, do another sigh-glide and when you're
your speaking always remain in the area that you originally identified as feeling easiest. However...if that easiest way of speaking no longer feels
in that easiest area, just hold a sound out for several seconds in that easiest area. Repeat that again. (2) This time, do the same, but after you've begun sustaining
easiest, or if you are certain that it would not sound normal to other people, then it probably is not efficient vocally.
This
the sound, slide down a little bit and/or up a little bit, just to check
process is not a quick-fix; it is exploration and self-discov
your original observations. Do any of the other sounds seem even
ery.
easier than your original choice? (3) Sigh-glide downward again, go into that easiest area, and, without stopping the sound of your voice, sustain its sound
So, if you strongly suspect that your voice is having to work harder, or it would not sound normal to others, then return to Do this #3 with a curiosity:
as you say; "HuuuuuuuuuuuuuuuuuuhHello, there, how are you?"
Is there another area within your sigh-glides that
When you get to the words, it will almost seem like you are sustaining
feels very easy and is likely to sound more normal to oth
a single pitch.
ers when you speak? As you repeat the process, the goal is
Do that again-several times if you like-to get familiar with it. (4) Do that whole thing again, but this time, add this: Again,
768
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that you gradually discover an area within your voice that
(1) feels physically easy to talk in, and (2) sounds normal to people
2.
Explain and demonstrate your "old" and your "new"
who do not know you and are not familiar with what your
speaking coordinations for two or three family members
voice sounds like. This process is accomplished quickly by
and/or friends-one at a time. The explaining can be a pow
some people, and sometimes is quite challenging to others
erful reinforcement for change, and most people find the
(more information is provided below).
information rather fascinating. Ask them to give you a sig nal when you are using your "old" voice, so you can in crease your conscious awareness of its use, and help "re
Do this #6: (1) Once you have found a way of speaking that
program" your habitual use of voice for speaking.
does feel easiest, and you sense that it would sound normal to other
3 . Make post-it type notes or signs (perhaps in neon
people, then within that easy speaking area, experiment with a variety
bright colors) and put them in places where your eyes go a
of ways to say (inflect) the following word phrases:
lot during your day, and where you use your voice a lot
Many many; many; many many.
Every time you notice a sign, do something with your "new"
Me oh me oh me oh my.
voice, even if only for a few seconds.
during your day-again, to remind and help reprogram.
Whommmmm do you choose. There are many variations of the above Do this tasks.
Many men and women need names. Mmmmonday mornings!
If we were guiding you through the process in person, we
Ffffffflllowing rivers.
would ask other questions and add other tasks, depending
Now, now, now, now.
on what we heard in your voice and what we saw. We
Nattering nabobs of nonconformity.
would be able to prevent confusions or at least resolve them.
Hello, hello, hello!
We wish you well in your explorations and discoveries.
Hey, hey, hey. C o m m o n S ig n s o f P h y s ic a lly E ffic ie n t, E x p r e s s iv e S p e e c h
Hmmmmm, isn't that interesting? Shhhhhow me the way to go home.
Using expressive, physically efficient habitual speak
ing coordinations means that unnecessary neck-throat Pretend that you are conversing with someone else you've muscles are released from use, and the necessary muscles just met, and they have said to you, “Tell me about what you do!' are used with just the appropriate amounts of contraction Answer them, but talk out loud in your habitual way, as though energy for the expressive "tasks" at hand (Titze, 1994, p. 214). you had not experienced the previous explorations. 1. A fairly wide pitch range is available and consis Notice a difference between the sensations and sounds of ha tently used in expressive, interesting speech. bitual speaking versus feels-easiest speaking? 2. An anchor pitch area is detectable that is consistent (2)
with laryngeal and vocal tract dimensions-it sounds and Once you have discovered a way of speaking that feels easiest and sounds normal to others, the next step is establishing the new way of coordinating your voice as your automatic, habitual way. Here are some suggestions:
feels "easy" 3 . Loudness levels are appropriate to the expressive context. 4. Voice quality is firm-clear and mellow-warm, re
gardless of pitch range or volume level, unless the expres Using your feels-easiest voice, read paragraphs sive context induces other voice qualities. aloud from a newspaper, a book, some poems. Remember, 5. Jaw-mouth moves with flexible, "easy" motion and or make up, spoken phrases that you have or might use in with varying distances between upper and lower front teeth your everyday real world, and use the easy speaking. Ob (related to vowel enunciation). serve your breath energy coordination. Experiment with 1.
variations of loudness energy while remaining in a mel low-warm voice quality. expressive
&
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6.
Only necessary muscle movement is visible on
Similarly, were doctors to treat singers, they would
have no reason to attend to how singers' speaking voices
neck-throat surface (very minimal) .
could contribute to a voice disorder, because singing voice
R aise th e P itch o f Y o u r S p e a k in g V o ic e ?
larynx is the one with the problem. They might say, "You have singer's nodules.
No singing for three weeks, then
come back and let's see if they have improved." When the That is advice that is commonly given to people with
person returns, and the nodules show no reduction in size,
distressed voices. You may have noticed that the word pitch
surgery may be suggested for the vocal folds of the singing
was not used in any of the Do this sections. We are genu
larynx.
We
You may recognize that those ways of behaving are
believe that "speaking voice" and "raise the pitch" impede
inely concerned about two parts of that expression.
happening right now, in many cases, because we have the
progress toward efficient, expressive speech, more than they
dichotomous concepts of speaking voice and singing voice. In
help. Here's why.
most singers, especially those with training, speech coordi
"Speaking voice". There is no such thing as a speaking
nations contribute more to the development and mainte
voice and a singing voice. The terms imply that we have two
nance of voice disorders than singing coordinations-in our
different larynges in our necks and two distinctly located
experience.
brain areas that operate them. When we speak, vocal sound
We have one voice, one larynx, and one set of vocal
is triggered out of our speaking brain area and produced
folds, and one set of brain areas that trigger speaking and
by our speaking larynx, and when we sing, vocal sound is
singing. Most of the motor coordinations for speaking and
triggered out of our singing brain area and produced by
singing are the same, but clearly there are differences. The
our singing larynx. Neither is true, of course. The use of
same is true for walking and running coordinations.
such an expression is like saying that we have walking legs and running legs.
How will we relabel them, then? Again, physiologists and athletes do not speak of walking legs and running legs;
But suppose we did have two voices. We would learn
they speak of walking and running, and the use of legs for
to use our speaking larynx as very young children when
both is assumed. Can we just leave the word "voice" out of
our conscious awareness capabilities were minimally on
the expression and talk of speaking and singing?
line. Thus, whatever our voice sounds like in speech would
A more accurate way to talk about voices is to speak
be our "natural voice", genetically endowed, and it never
only of one voice that is used in a speaking way, a singing
would occur to many people that it could be changed.
way, a sound-making way, a shouting way, a whispering
Most people would learn to use their singing larynx
way, and so forth. We can use such expressions as, "When
when conscious awareness capabilities were more substan
you use your voice to speak..." (or sing); or "My singing
tial. They might learn from societal and school music edu
(speaking) has been working my voice box muscles so hard
cation experiences that their singing larynx could be delib
and so much today that they are hurting." Instead of say
erately trained to some extent, but that most larynges are
ing, "I'm going to improve my speaking voice," we could
limited by genetic endowment.
say, "I'm going to improve my speaking skills" Or instead
As a result, when singers perform a speaking passage
of "My singing voice just doesn't feel right today" We could
with some volume, music educators, choral conductors, and
say, "My voice just doesn't feel right when I sing." A teacher
singing teachers may expect the use of the "natural speaking
might ask, "How will you use your voice for speaking to
voice" that is not produced by the singing larynx. The sound
day?" Or "How does my voice sound today when I speak?"
quality produced might be painfully strident and estheti-
"Raise the pitch". In our experience, if people "raise
cally irritating, but there is no reason to train it the way the
the pitch of their speaking voices," two unfortunate conse
singing larynx can be trained.
quences commonly occur.
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Consequence 1: The bodymind language-bound con ceptual categorization of two voices in one person is strengthened.
Consequence 2: When people speak in a way that is recognized as normal by their peers, shortener prominent (lower register) larynx coordinations are used most of the time. When "raising the pitch of the speaking voice" is a focus of voice skill learning, therefore, bodyminds are more likely to inefficiently retain that shortener prominence into upper pitches.
The result is unnecessary effort in larynx
Modisett, N.F., & Luter, J.G. (1988). Speaking Clearly: The Basics o f Voice and (3rd Ed.). Minneapolis: Burgess Printing.
Articulation
Raphael, B.N (1991). Special considerations relating to members of the acting profession. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (pp. 267-299). New York: Raven Press. Stemple, J.C., & Holcombe, B. (1988). Effective Voice and Articulation. Columbus, OH: Merrill. Titze, I.R. (1994). Control of fundamental frequency In I.R. Titze, Principles of Voice Production (pp. 112-135). Englewood Cliffs, NJ: Prentice Hall. Wells, K.K. (1993). The Articulate Voice: An Introduction to Voice and Diction (2nd Ed.). Scottsdale, AZ: Gorsuch Scarisback Publishers.
muscles (higher fatigue rates) and greater than necessary collision-shearing forces on the vocal folds. Habitual voice pitch areas in speech are side effects of relative inefficiency or efficiency in the physical coordina tions that are used when speaking.
"Raising the pitch of
your voice" for speech is dealing with the symptom, rather than the cause of vocal inefficiency. The cause is the unrec ognized, habitual, unnecessary vocal effort. Just "raising the pitch" of your voice may improve its efficiency to some extent, but that will not usually enable you to speak to your peak of expressive efficiency.
R efe re n ce s and S ele cte d B ib lio g ra p h y Balk, H.W. (1985). The Complete Singer-Actor. Minneapolis: University of Min nesota Press. Balk, H.W. (1985). Performing Power: A New Approach. Minneapolis: University of Minnesota Press. Berry, C. (1974).
Voice and the Actor.
New York: Macmillan.
Blu, S., Mullin, M.A. (1992). Word o f Mouth: A Guide to Commercial Voice-Over Los Angeles: Pomegranate Press.
& Excellence.
Boone. D.R. (1991). Is Your Voice Telling on You? How to Find and Use Your Natural Voice. San Diego: Singular. Cronauer, A. (1990).
How to Read Copy: Professional's Guide to Delivering Voice-Overs and Broadcast Commercial
Chicago: Bonus Books.
King, M., Novick, L., & Citrenbaum, C. (1983). Irresistible Communication. Phila delphia: WB. Saunders. Landis, C.F. (1994). Applications of orofacial myofunctional techniques to speech therapy International Journal o f Orofacial Myology, 20,40-51. Lessac, A. (1995).
The Use and Training o f the Human Voice: A Bio-Dynamic Ap
(3rd Ed.). Mountain View, CA: Mayfield Publishing. Linklater, K. (1976). Freeing the Natural Voice. New York: Drama Book Special ists.
proach to Vocal Life
Martin, S., & Darnley, L. (1992). Kingdom:Winslow Press.
The Voice Sourcebook.
Bicester, Oxon, United expressive
&
efficient
speakin g
skills
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chap ter 3 classifying voices for singing: assigning choral parts and solo literature without limiting vocal ability Leon Thurman, Axel Theimer, Elizabeth Grefsheim, Patricia Feit
ikki was classified as an alto in school choirs
V
through
high
sch ool
and
was
an
Table V-3-1.
occasional
Pitch Ranges for the Common Voice
soloist as a senior. She was an English major in college;
Classifications From a Sampling of
but did not sing in choirs. After graduation, marriage, and a job
with an insurance company she began voice lessons to see if she had any potential for becoming an entertainer at the age of twenty-six.
Music and Choral Education Textbooks
Soprano
Alto
Tenor
Bass
The closer she got to singing an E5 at the top of the treble staff, the more she tried to force the pitches out with her neck muscles. She "worked real hard" to get those pitches. And she was frustrated. For about six weeks, she explored her upper register and ways to sing with less and less effort. One evening she floated a high G5just as easily and beautifully as you please. She and her teacher looked at each other in that moment of recognition. She knew she had released that part of her voice for the first time since childhood. “Why don't they teach you that in school?" she said. How do we know if a singer is a soprano or alto, tenor or bass? associated with common voice classifications in music and choral education textbooks. Does the recommended soprano range mean that so pranos cannot, or should not, sing below a middle C4? Are altos incapable of singing higher than a D5? Can young males never sing higher than E4 or G4?
bodym ind
or teen years, the label becomes integrated with their selfidentity. When asked about their voice classification, sing ers never say, "I sing the part marked ('soprano,' 'alto,' 'tenor', or 'bass')" They say, "I am a (soprano, alto, tenor, or bass)." W hat if they aren't what they've been told? W hat if they begin to study singing privately, and the singing teacher
Table V-3-1 presents a sampling of the pitch ranges
772
Once singers' voices are labeled, often in their preteen
&
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asks a "soprano", "I notice that the lower register of your voice is somewhat weak. range very much?"
Have you sung in that pitch
Or an "alto" spontaneously (without
looking at the keyboard) sings to an E6 (!), and when casu ally told that information says, "That's impossible. I'm an alto! I've never sung music that high—not even close to that high!"
Suppose a "tenor" is asked to imitate the shouted word "Hey!" strongly several times before the teacher "draws the vowel out" as a sustained pitch before sliding it quickly
4. Lower speaking pitch range indicates alto and bass voices; higher speaking pitch range indicates soprano and tenor voices. 5. Male and female prepubescent children who can sing a har
down and stopping the shout (but the singer's brain inter
mony part accurately and independently of one or more other vocal
prets it as a prolonged shout, not a sustained pitch). The
parts are classified as altos; other children are more likely to be classi
singer then immediately imitates the shout right back. Then
fied as sopranos.
the singer is told that he just sustained an A4 in a strong, full voice, and he says, "Really? I never knew I could do that. I've always shifted to falsetto on notes that high." Those scenarios are actually quite common. Are there conditions in a singer's voice that can lead us to believe that she or he is one particular classification, when in fact they are more appropriately another?
Are
there choir organizing principles that lead us to classify voices with casual expediency rather than with the long term vocal interests of singers in mind?
Are there ages
when classifying voices in any way would limit vocal po tential? Can the vocal abilities of children, adolescent chang ing voices, adolescent changed voices, and adults be stifled by the voice classification labels that we choral conduc tors, music educators, and singing teachers use? Sometimes, young singers connect the labels first so prano and first tenor with their competitive, be-num ber-one experiences, and interpret those classifications as the "best" singers, and the "second" singers are the "second best" sing ers. On the other hand, Alto II and Bass II singers may become enamored with how low they can sing, and leave their upper range capabilities undeveloped. When singers audition to sing in a choir, what criteria are often used in "the real world"?
C o m m o n ly U sed C rite ria for V o ice C la ssifica tio n in S in g in g 1. Soprano and tenor voices are more capable of singing the higher range pitches that are indicated in Table V-3-1, and alto and bass voices are more capable of singing the lower range pitches.
2. Soprano and tenor voices sing with a generally lighter; brighter; flutier voice quality and alto and bass voices sing with a generally thicker; darker; more full-bodied voice quality. 3. Lower-pitched register transitions indicate alto or bass voices; higher pitched register transitions indicate soprano or tenor voices.
D o th e C o m m o n ly U sed C riteria for V o ic e C la ssifica tio n s R esu lt in R elia b le In d ica to rs o f S in g in g C ap ab ilities?... O r M ig h t T h e y R esu lt in L e a rn e d V o c a l L im ita tio n s? The Singing Pitch Range Criterion The pitch ranges presented in choral and music educa tion methods textbooks, and in choral arranging textbooks, are used by music educators, choral conductors, and some singing teachers for classifying voices and then assigning them to a choral part or to a selection of solo music. To choral composers and arrangers, and to choral music pub lishers, these pitch ranges represent the outer limits for ac ceptable music writing. Many choral composers, arrang ers, and publishers purposefully keep pitch ranges rather small so that they may be more singable by vocally un skilled, inexperienced singers. Publishers of music educa tion classroom textbooks sometimes key songs so that only already-developed pitch-making skills are used. A com mon assumption seems to be that choral conductors and music educators do not know how to help singers sing skillfully in higher pitch ranges. The singing pitch ranges that are commonly used for voice classification and for choral composition and arrang ing may fit most unskilled and inexperienced singers. In that sense, those pitch ranges can be useful, in that singing success may be more readily experienced. Those ranges, however, span no more than about one and one-half oc taves.
The reality is:
People with normal anatomy and
physiology are capable of singing quite well in a three to three and one-half octave pitch range.
The issue is not
capability, but converting the available capability into abil ity—voice skills (Book I, Chapter 8, has some details).
[Sometimes register transitions are called register breaks, lifts, or lift points.] c la ssify in g
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Every normally configured, healthy human voice is
The highest capable pitch for the upper register is higher
richly talented (enormous capability). So, when vocal skills
in every classification than the traditional Table V-3-1 pitch
are taught and learned, the singing pitch ranges for adoles
ranges. The highest capable pitch for the upper register in
cent changed voices, shown in Table V-3-2, more accu
Tables V -3-2 and 3 assume that singers will learn the vocal
rately reflect their capability. Likewise, the pitch ranges for
abilities that will make them possible.
adult singers, shown in Table V-3-3, more accurately re
how to deal with the phenomenon of acoustic overloading
A knowledge of
of the vocal folds will be a key skill (Book II, Chapters 10
flect their capability.
and 12 have details). If singers' vocal folds are swollen and their brains try
Table V-3-2. Typical Pitch Ranges for Vocally Healthy Adolescent Changed Voices That More Accurately Reflect Pitch Range Capabilities
The soprano pitch range is typical for unchanged males and females. The lowest pitch to the middle pitch represents the range compass for both lower and upper registers. The middle pitch to the highest pitch represents only the flute register for females and the falsetto register for males. There is variability between individuals. Soprano
Alto
Tenor
Baritone
Bass
to lengthen the folds for high pitches, the folds will not become thin enough and loose enough to sound those pitches (Book III, Chapter 1 has some details). So, higher pitch ranges will be diminished to some degree, depending on the degree of swelling and stiffening. But, when folds are swollen, they can be thickened more than usual, so that lower pitches can be produced that were not possible be fore. Suppose a young person auditions for a choir when they are just ending a cold or flu during which they coughed a lot. Suppose another young singer has been smoking for one or two years, and another frequently drinks caffeinated
$
beverages and rarely drinks water. And another was yell
Table V-3- 3.
ing recently for a sports team. Suppose one or more of the
Typical Pitch Ranges for Vocally Healthy
auditioners have an undetected vocal fold nodule, or laryn
Adult Voices That More Accurately Reflect
gopharyngeal reflux disease, or is taking medication for acne that produces severe dehydration.
Pitch Range Capabilities
The lowest pitch to the middle pitch represents the range compass for both lower and upper registers. The middle pitch to the highest pitch represents only the flute register for females and the falsetto register for males. There is variability between individuals.
These auditioners will have swollen and/or stiffened vocal folds, and their singing pitch range capabilities will be limited. In other words, they will not be able to sing as high as they are capable of singing, but they are likely to be
Soprano
Tenor
Alto
Baritone
Bass
able to sing lower than their actual anatomical dimensions would enable them to sing. And, if there has been a his tory of those behaviors over some time, their brains will have changed their habitual coordination patterns for the
m
larynx muscles in order to accommodate the larger-stiffer tissue characteristics. They also will be speaking in an av
Those pitch ranges are somewhat wider than most music education and choral conductor professionals are accustomed to seeing. The main reason is that the pitch ranges of the flute register (females) and the falsetto register (males) have never been included.
Traditionally, the as
sumption has been made that sopranos do not need to develop their lower register capability, and that is reflected in the traditional recommended pitch ranges in Table V-3-1.
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erage pitch range that is lower than their genetically pre scribed equipment was built for. When vocal folds are swollen and/or stiffened, the brain must refigure the motor coordinations for the folds in or der to move increased mass, size, and stiffness. Then, even when normal characteristics return, the brain's new habit will continue to produce lower range speaking and singing resulting in more intense vocal fold collision and shearing forces and higher muscle fatigue rates.
Based on the singing pitch range criteria, will those
that, unnoticed by the teacher, the singer sings with a tensed,
auditioners who have swollen vocal folds be altos or basses?
lowered tongue base and larynx, and a pharynx that is
Can auditioners with a history of frequent colds, sore
somewhat enlarged.
throats, bronchitis, laryngopharyngeal reflux disease, smok
Suppose the same scenario occurs when a choral singer
ing, and so forth, be labeled altos, baritones, or basses when
sings for the teacher, declaring that he is a bass, and has
their genetically endowed vocal fold dimensions might in
sung for one of the best college or university choirs in the
dicate otherwise?
W hat about singers from loud-talking,
(name of a region of a country). The singer's voice quality
extroverted families with parents who smoke? W hat about
is rather dark and woofy, like basses are supposed to be,
cheerleaders? W hat about singers who have not been sing
and again, he sings with a tensed, lowered tongue base and
ing or speaking very extensively for three months or more
larynx, and a pharynx that is somewhat enlarged.
and are rather underconditioned?
Do we have a mezzo-soprano (alto) or a bass? Or do
The use of any pitch range voice classification criteria,
we possibly have a soprano or baritone who has learned a
speaking or singing, are only helpful when assessing vo
way of singing that produces a quite aesthetically pleasing
cally healthy singers. The commonly used ranges of Table
voice quality, but a way of singing that (1) predisposes the
V-3-1 might only be helpful when classifying unskilled,
singer to higher rates of neuromuscular fatigue and that
inexperienced, and underconditioned singers, and selecting
will (2) prevent true upper pitch range capabilities from
music for them.
being developed.
So, to what extent are singing and speaking ranges re liable indicators of voice classification? Do we limit the
The Vocal Register Transition Criterion
opportunity for altos to develop their vocal potential by
In simplified, strictly physiological terms, the vocal reg
never allowing them to sing above D5? Do baritone-size
isters that are often referred to as head voice and chest voice,
larynges, singing in tenor ranges, teach excess vocal effort?
are produced by the same basic action that produces pitch
Are some females able to sing in the tenor range only be
changes. Those muscle actions produce vocal fold length-
cause they have a history of chronically swollen vocal folds?
ening-thinning and shortening-thickening and those ac tions produce both pitch changes and voice quality changes (Book II, Chapters 8 and 11 have details). In upper and
The Voice Quality Criterion All voices can produce a palette of healthy, expressive tonal colors (voice qualities).
The vibrating vocal folds
lower registers, both the lengtheners and shorteners are contracted. In upper register, the lengtheners are more pre
and the resonating spaces of the vocal tract both contrib
dominantly contracted than the shorteners, so the folds
ute to various families of vocal quality (Book II, Chapters
are longer and thinner at their margins where they collide.
10 through 13 and 16 have details). Voice quality is origi
In lower register, the shorteners are more predominantly
nated by vocal fold vibratory patterns. When sustaining
contracted than the lengtheners, so the folds are shorter
one pitch, a fundamental frequency and overtones are gen
and thicker at the margins where they collide.
erated in the air column above the vocal folds. The shapes
The transition between upper and lower registers takes
of the resonating spaces above the folds then modify the
place when the predominance of contraction is transferred
original quality by "strengthening" some partials and "weak
from one to the other. If the transfer adjustment happens
ening" others. The overall sound spectra that radiate from
suddenly, we will hear what we call a "break" or "crack" in
a person's lips is the sound of that person's voice.
a voice.
If the muscles involved have learned to make
Suppose a person sings for a singing teacher and de
subtle, complementary adjustments over several pitches,
clares that she is a mezzo-soprano, and admires the beau
there is a blended transition that only trained listeners can
tiful, thicker sound of mezzo-sopranos. She also has been
detect. Brains can learn to make the break or blended tran
an alto in many school and church choirs.
The teacher
sitions habitually at nearly the same pitch points every
listens to her sing and observes, that, sure enough, this
time, and singers can choose to make them at various pitch
singer sings with a beautiful "mezzo alto sound". Suppose
points depending on various circumstances. c la ssify in g
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775
Adjustment in the strength of shortener-lengthener and
person's vocal folds are swollen and/or stiffened, or what
closer-opener muscles also depends on acoustic influences.
if a person's voice health history has induced vocal coor
Acoustic overloading of the vocal folds also can induce
dinations that predispose them to speaking in a somewhat
shortener-lengthener and closer-opener muscle adjustments
low pitch range?
that are reactions to acoustic pressures on the vocal folds and can result in "register breaks" or "cracks" (Book II, Chap ters 11 and 12 have details). With swollen and/or stiffened
The P art Reading Criterion This criterion is used mostly in school choirs or classes
vocal folds, or a history of swollen and/or stiffened vocal
of prepubescent children.
The expediency of preparing
folds, a singer's brain typically refigures the signals that
programs and performances by a deadline date has influ
produce the register transitions to favor transitions in lower
enced its adoption.
pitch areas.
practical; the singer(s) with this ability can "lead" other sing
The value of this criterion is strictly
So, if singers have frequently vocalized and sung from
ers toward singing the alto harm ony part accurately and
lower register larynx coordinations (shortener prominent)
more quickly, thus producing a better choir/class faster.
to upper register coordinations (lengthener prominent), then
Learning the pitches, rhythms, and words of the songs to
they will tend to sing with too much shortener influence
be sung for parents and colleagues drives the decision. The
into their higher pitches. Sooner or later, a "rebalancing" of
long-term development of vocal abilities, especially for the "lead
shortener-lengthener tensions will have to take place if
ers", never begins or comes to a standstill.
higher pitches are desired, and thus, a register break, crack,
Unfortunately, this criterion falls under the heading of
or lift will occur. If singers' larynges also rise to "reach up
quick-fix gimmick that solves an immediate, short-term prob
for the higher pitches," then acoustic overloading is likely
lem, but sacrifices the vocal potential of many young people.
to play a role in the abrupt adjustment of voice register
These youngsters rarely, if ever, have the opportunity to
coordination.
develop their whole voices so they can sing anything during the rest of their lives.
The Optimum Speaking Pitch Criterion People who use this criterion believe that an "optimal speaking pitch" will be four whole steps above the lowest pitch a person can produce.
So, speaking pitch range is
S c ie n ce -B a se d C riteria for C la ssify in g V o ic e s to H elp P eo p le S in g E fficie n tly an d E x p re ssiv e ly
assessed by asking a singer to sustain their lowest possible pitch, and then their optimum speaking pitch is calculated
As Western vocal music evolved, wider vocal pitch
as the fourth whole step above that pitch. This criterion is
ranges (fundamental frequencies) enabled a wider range of
based on research in the fields of speech and speech pa-
emotional expression.
th o lo g y .
range differences between females and males and between
In addition to the obvious pitch
Unfortunately, the research determined what the h a
children and adults, some people could sing higher pitches
bitual average speaking fundamental frequencies (ASFFs)
than others, and some people could sing lower pitches than
were of people in general. It did not seek to determine what
others. In Western culture, therefore, the range of pitches
the most efficient ASFFs were for those people. Those who
that a singer can produce has become a primary criterion
created applications of that research assumed that habitual
when we categorize voices into classes.
was equivalent to efficient, and the following recommen
Variety in voice quality also enabled a wider range of
dation was born: "You should be speaking four whole steps
emotional expression.
above your lowest pitch" While the recommendation may
that were more full-bodied, fuller, and darker than others,
be helpful for some people—perhaps many—it is not a cer
some people had qualities that were lighter, thinner, and
tain means of determining a pitch area that is physically
brighter than others, and some people had mixtures of
and acoustically efficient for speech.
those qualities. Voice quality (spectral characteristics), then,
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Again, what if a
Some people had voice qualities
has become another primary criterion when we categorize
The innate length of the membranous portion of the vocal folds is the best known factor that determines the low-to-high
voices into grouped classifications. The most serious challenge to those who classify voices is to distinguish between:
range of fundamental frequencies (F0s) that a given voice is capable of producing. The membranous portion extends
1. the innate capable pitch range when vocal anatomy is
from their posterior attachment to the tips of the vocal
healthy versus current habitual pitch range when vocal
processes of the arytenoid cartilages, to their anterior com
anatomy is healthy; and
missure—the area where they "fuse" together and attach to
2. the voice qualities that are produced by innate vocal anatomy that is coordinated efficiently and is well conditioned, ver sus vocal anatomy that is coordinated inefficiently and is
the inside of the thyroid cartilage (Book II, Chapter 6, and Book IV Chapter 2 have some details). Vocal fold length increases from birth until about age 20 (see Figure V-3-1). The adult male thyroid cartilage is
underconditioned.
What Determines I n n a t e Fundamental Frequency (Pitch) Range and Voice Quality? Fundamental frequency (pitch) range.
From practi
cal experience and from the science of acoustic physics, larger-sized sound sources are associated with lower fun damental frequencies (F0s) and smaller-sized sound sources are associated with higher fundamental frequencies. Longer strings, for instance, produce lower vibrational frequen cies, and shorter strings produce higher pitches.
(a)
Membranous length, Lm (mm) Figure V-3-1: Illustration of how the growing length of the vocal fold membranous portion is related to the lowering of average speaking fundamental frequency (ASFF). The numbers within the graph are the ages of the subjects when the data were gathered. [From I.R. Titze, Principles of Voice Production. Copyright© 1994, Needham Heights, MA: Allyn & Bacon. Used with permission.]
(b) Figure V-3-2: (A-top) is a comparison of average adult male and female thyroid cartilage dimensions. (B-bottom) is a comparison of the length of adult male and female vocal fold membranous portions. [Adapted from Kahane, 1978; Illustration from I.R. Titze, Principles of Voice Production. Copyright© 1994, Needham Heights, MA: Allyn & Bacon. Used with permission.]
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about 40% longer than the adult female thyroid cartilage
pubertal voice transformation in males and females is that
(see Figure V-3-2A), is more angled than curved, and the
their vocal fold ligament and muscle tissues become thicker,
upper front portion is protruded forward (see Figure V -3-
more dense, and more defined (Hirano, et al., 1983; Kahane,
3). The membranous portion of adult male vocal folds is,
1978, 1982). The vocal folds of some people are innately
on average, approximately 60% longer than the membra
thicker than others, and some are thinner than others. A
nous portion of adult female vocal folds (see Figure V -3-
continuum of this dimension exists among all human be-
2B). These length differences are reflected in the average
ings.
speaking fundamental frequency (ASFF) of:
The innate length and width of the vocal tract is the other
1. infants (about B4 - 500-Hz);
prominent contributor to the unique voice quality "signa
2. 8-year-olds (about D4 - 300-Hz);
tures" of human beings. As presented in Book I, Chapter
3. adult females (about G3 - 200-Hz);
12, the longer a vocal tract is, the lower all of its spectral
4. adult males (about B2 - 125-Hz) (Titze, 1994).
formant frequency regions will be, and the shorter a vocal tract is, the higher all of its formants will be (Dimetriev &
The mass or bulk of the vocal folds also affects F0 range, although there is no known documented evidence to sup
Kiselev, 1979).
The lower the formants are, the more a
voice will produce qualities that are perceived and described
Physically thicker vocal folds are
as fuller, darker, more woofy The higher the formants are, the
capable of producing a lower range of F0s, and thinner
more a voice will produce qualities that are perceived and
vocal folds are capable of producing a higher range of F0s.
described as brighter and more brilliant.
port the claim as yet.
This effect is observed in people whose vocal folds are
Vocal tract length and width increase during early child
Increased bulk
hood, are relatively stabilized during childhood, and begin
also has been observed during the pubertal voice transfor
growing again just before and during puberty. The male
mation of male vocal folds (Titze, 1994), but is only as
vocal tract becomes considerably longer than the female
sumed to occur in female vocal folds, and to a lesser extent
tract during puberty.
(see Figure V-3-4).
about ages 20 to 21 (Crelin, 1987; Hirano, et al.,1983; Kahane,
swollen beyond their innate dimensions.
Adult dimensions are achieved by
Voice quality. The degree of innate thickness and density
1983, 1988; Book IV, Chapter 2 has more details). These
of the membranous portion of vocal fold tissues contribute to the
dimensional changes are reflected in changes of formant
production of voice quality.
frequency regions as described above.
Thicker, more dense vocal
folds are capable of contributing to a richer; more full-bodied voice quality, while thinner, less dense vocal folds are ca pable of contributing to a lighter, flutier quality (Titze, 1994; Book II, Chapter 11 has some details). One result of the
Figure V-3-3: Neck profiles for an adult male (A-left) and an adult female (B-right), showing the typical protrusion of the male thyroid cartilage and the more uniform "evenness" of the female thyroid cartilage. [From I.R. Titze, Principles of Voice Production. Copyright© 1994, Needham Heights, MA: Allyn & Bacon. Used with permission. Photos by Julie Ostrem, University of Iowa.]
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Figure V-3-4: Illustration of increased vocal fold bulk that occurs in a single vocal fold as a result of pubertal growth in males. [From I.R. Titze, Principles of Voice Production. Copyright © 1994, Needham Heights, MA: Allyn & Bacon. Used with permission.
Determining Voice Classification That Enables Efficient Expressive Singing Upon hearing someone sing or speak for the first time, the wise voice educator may choose to reserve judgment about voice classification for some time, and perhaps to consider it of minimal importance at first Taking a voice brief voice health history and assessing physical and acoustic efficiency of voices are crucial at the beginning of voice study or at the beginning of choral singing. The essential benefit of voice classification is the selection of music that does not tax a singer's voice beyond its capabilities for skilled, expressive singing, and beyond its current level of conditioning. Efficient skills mean that the pitch range and voice qualities that a voice produces will be created by innate vocal fold and vocal tract anatomy not by inefficient "manipulations" of the anatomy that are intended to produce a preconceived or preferred pitch range or voice quality fold dimensions and vocal tract dimension usually do not grow in a proportional relationship with each other, espe cially among males. The gene pool is so mixed in human beings, that any given person may have: 1. smaller vocal folds and smaller vocal tract, so that they would produce a higher pitch range with a compara tively thinner-lighter-brighter quality; smaller vocal folds but larger vocal tract, so that
they would produce a comparatively thinner-lighter-fuller quality; 3 . larger vocal folds but smaller vocal tract, so that they would produce a lower pitch range but have a com paratively thicker, more full-bodied, brighter quality;
4.
dimensions of prepubescent children of school age are es sentially the same. To use voice classification labels that were devised for adults is not only misleading, but it sets underway a lifelong self-identity-bound concept that may result in vocally inefficient singing as vocal anatomy ma tures. Typically, that concept results in human beings who are more susceptible to voice disorders and who may never realize the true extent of their capabilities for pitch range and voice quality. Lifelong vocal limitation is not anyone's intent, but the traditional voice classification of children's voices can produce the limitations nonetheless.
Early adolescent young people.
Appropriate voice
classification is absolutely crucial during the pubertal voice transformation. Without it, many youngsters conclude on their own that their voices have become inadequate and they may stop singing—sometimes for the rest of their lives. The work of Cooksey (Book IV Chapter 4, and Book V,
The major voice classification challenge is that vocal
2.
Prepubescent children. The vocal fold and vocal tract
larger vocal folds and larger vocal tract, so that they
would produce a lower pitch range with a comparatively thicker, more full-bodied and fuller quality.
Chapter 8) and Gackle (Book IV, Chapter 5, and Book V Chapter 7) are foundational to the process of adolescent voice classification, voice skill development, and vocal part assignment.
Middle and late adolescent young people.
There
has been very little anatomic and physiologic research on voices from the completion of the pubertal growth spurts to the time when adult anatomic vocal dimensions have been attained at age 20 or 21 years. Because chronological age is not very reliable as a predictor of physical and func tional development of voices, the practical knowledge of experienced and informed voice educators must be relied upon.
That knowledge includes the following principles
for voice classification and vocal capability development. 1.
The anatomy and physiology of young people who
have more recently completed pubertal voice transforma tion are still "settling" (from about the late 14th year to about the early 16th year). For example, smaller degrees of
The keys to voice classification that do not create the possibility of vocal skill limitations, or a possible predisposition to voice disor ders, are: 1. learning physically and acoustically efficient voice skills and developing considerable fundamental skills be fore making a firm decision on voice classification; 2.
developing optimal conditioning, particularly, in
the larynx muscles and vocal fold tissues.
growth are occurring, especially in the vocal tract. Also, motor and auditory feedback programs for voice skill co ordinations are still adjusting their neural networks to ac commodate larger and more dense anatomic tissues, larger vocal tract dimensions, and different voice qualities. These adjustments are more extensive and may take longer in males than in females because male growth is
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779
more extensive than female growth. A few females, how
(1993a,b,c) that have recommended science-based voice
ever, may experience longer adjustment periods too, be
classification procedures.
cause, perhaps, their hormonal recipes during puberty were skewed away from norms.
Measuring actual vocal fold length and bulk, and vo
The boys are in Cookseys
cal tract length and circumferences, in live human beings is
Emerging Adult Voice classification and the girls are in Gackle's
challenging. A consistent and reliable way of doing so has
Young Adult Female classification.
not yet been devised. M ost of the scientific data has been
2.
Generally speaking, the voices of young people who based on inferences about vocal tract dimensions from
are ages 16 to 18, have continued to sing, and are in their
acoustic measures or on assumed vocal tract lengths.
junior and senior years of high school, will have substan
Among all adult males and all adult females, however, there
tially completed the adjustments to their motor and audi
clearly are differences of vocal fold length and bulk, and
tory feedback neural networks. Fundamental vocal capa
vocal tract length and width. The differences could be placed
bilities can begin to shine, especially with appropriate con
on a continuum from the shortest-thinnest vocal folds to
ditioning of respiratory and laryngeal muscles and vocal
the longest-thickest vocal folds, and from the longest-wid
fold tissues. But middle adolescents still have not finished
est vocal tracts to the shortest-narrowest vocal tracts.
the details of their vocal anatomy and physiology (see Book IV, Chapter 2). The adult classification terms of soprano, alto, tenor and bass can be used with more assurance dur ing these ages. Yet those terms can still place psychomotor limits on young people who rarely, if ever, have the op
R ed u cin g or E lim in a tin g L im ita tio n s to V o ice S k ills B eca u se o f V o ic e C la ssifica tio n in Y o u n g P eop le
portunity to make music with their entire capable pitch, vocal volume, and voice quality range. 3 . From ages 18 to about 20-21 years, late adolescents
When classifying voices, the fragile vocal future of a human being is in our hands. Suggestions:
are still completing the tissue definition and final dimen
• Devise a short vocal health history form that each
sions of their vocal anatomy, especially the vocal tract. Their
singer or student (or parent) completes before being lis
vocal tract adjustments for avoiding acoustic loading of
tened to individually or before rehearsals begin. The form
the vocal folds, especially in the passaggio areas of their
that is printed at the end of Chapter 9 in Book II may be a
voices, are still in need of fine tuning. Then, at about age
source of ideas. Listen to people during casual conversa
21 years, they begin the ossification and calcification pro
tion and as they sing to assess habitual skills and degree of
cess in their laryngeal cartilages that last until the late twen
vocal health. This helps us get to know them as human
ties for males and the early 30's for females (Book IV Chapter
beings and helps us get to know how they use their voices.
2 has some details).
Look and listen for any indications of abnormal voice qual
During the college undergraduate years, therefore, voices
ity such as hoarseness. As a voice educator, you may be
are capable of developing high levels of vocal skill, but
able to make recommendations to the singer or to parents
they still have not finished anatomic and physiologic de
about how to get help.
velopment. "Pushing" voices of this age beyond their ana
• When classifying unchanged children's voices, label
tomic and physiologic limits, to the point of significant
no one as a soprano or alto. "We are human beings who
vocal fatigue and vocal fold swelling—especially on a regular
have voices, and we sing everything." When singers must
basis—can have potentially harmful consequences to a
be grouped, random or chance assignment can be used
young person's vocal future (Book III, Chapter 1 has some
and the soprano, alto, and/or treble parts can be rotated
details).
among the different groups when new selections are first
Near-adults and adults.
Cleveland (1977, 1978) and
rehearsed. If the groups need labels, be creative.
Cleveland and Sundberg (1983) have completed studies that
• With adolescent voices, voice classification guidelines
have provided a scientific basis for classification of near
are necessary and, in fact, crucial to the development of
adult and adult voices. Cleveland also has written articles
physically efficient voice use. When young changing voices
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are assigned vocal parts that exceed the vocal capabilities
them to future voice disorders and limited speaking
of their maturing anatomy, they are learning to use their
expressivity, then let females sing the tenor part.
voices with excess effort, and their future vocal potential
In other words—no.
and health are being compromised.
2. Should baritones sing the tenor part?
The work of John
Cooksey and Lynne Gackle represent a departure from past
What happens when middle-sized vocal folds and vocal
methods of formulating classification guidelines for chang
tracts are asked to sing music that requires them to sing
ing voices.
pitches that are in pitch ranges that are easy for small-sized
In the past, highly respected ear-nose-throat
doctors recommended no singing at all during voice change.
vocal folds and vocal tracts?
They were unaware of the work of Cooksey and Gackle.
muscles fatigue faster and begin to habitually overwork.]
Now they are.
Doing so occasionally would actually be a great idea if the
•
[Larynx and vocal tract
When young people have completed their pubertalsingers know how to avoid the effects of acoustic over
growth spurt, their voices continue to grow and change,
loading (Book II, Chapters 12 and 15).
but the rate is considerably slower. The larynx and vocal
3 . Should choir tenors (or baritones who are singing the tenor
tract continue to increase in some of their dimensions, vo
part) always sing in falsetto register when musical pitches rise above
cal fold tissues continue to become defined, and brains
comfortable voice use?
continue to adjust to the changes that occurred during pu
Typically, the conductor does not know how to help
berty. Some tissue studies indicate that adult laryngeal di
young men sing with their "full voice" in higher pitch ranges.
mensions are reached by about age twenty. Even then, the
Basically, the answer is no—unless that quality is what the
calcification and ossification of the laryngeal cartilages be
music needs for optimum expressiveness.
gins and is not complete until the late twenties or early
4. What is the true pitch range capability of human voices? Are
thirties (Book IV, Chapter 2 has some details). There is no
untrained singers limited to pitch ranges of one to one and one-half
scientific evidence for it yet, but many singing teachers be
octaves? Are trained singers limited to pitch ranges of two to two and
lieve that vocal capabilities are enhanced by the more bone
one-half octaves?
like rigidity of the laryngeal cartilages.
Can adolescent sopranos never sing higher than an A5 above the
All of the above is reviewed in order to say this: The
treble staff (880 Hz), or lower than an A3 below the staff (220 Hz)?
health and longevity of junior high, high school, and col-
Can altos never sing above a D5 above Middle-C (585 Hz)? Can
lege-age voices can be compromised if they are asked to
tenors and basses never sing beyond the pitch ranges indicated in
sound like older, more physically mature voices.
To do
that, they have to drive their larynges harder and enlarge their smaller vocal tracts beyond what—for them—is physi cally and acoustically efficient. Young voices have a right to sound young.
choral methods textbooks? Can only exceptionally talented singers sing pitches beyond those ranges? The capable pitch ranges of prepubescent and adult human beings are presented in Tables V -3-2 and 3, earlier in this chapter. Guidelines for pitch ranges for adolescent male and female changing voices are presented in the
Issu e s an d P o ssib ilitie s A b o u t V o ic e C la ssifica tio n
Cooksey and Gackle chapters mentioned earlier. 5. How does overall body size relate to voice classification? A popular, but inaccurate assumption about voices is
1. Should females sing the tenor part in choirs?
that people with larger-sized bodies will have lower or
If a choral conductor wants to make sure that female
fuller-sounding voices and people with smaller-sized bodies
singers are likely to never develop their upper registers and
will have higher or lighter-sounding voices. Overall body
to develop about half of their true vocal capability, then let
size is not a 100% reliable predictor of laryngeal and vocal
females sing the tenor part. If a choral conductor wants to
tract dimensions, but it can be an inexact indicator. People
make sure that female singers will develop an inefficient,
w hose bodies are classified as ectom orphic are thin
overly-effortful speaking coordination that will predispose
("skinny"), regardless of body height. Their cell structures also tend to be thin, including muscle and fat cells. Gain c la ssify in g
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781
ing weight and increasing muscle mass is challenging for them.
Endomorphic body types, on the other hand, are
comparatively large and thick, as are their cellular struc tures.
They find it somewhat easier to gain weight and
muscle mass. Mesomorphic bodies are a middle ground between the other two body types (meso = middle).
Be
cause the human gene pool is so widely diverse, all man ner of dimensions and configurations exist in the laryngeal and vocal tract areas that result in a wide range of unique voice qualities, capable pitch ranges, and so on. There are no-doubt-about-it tenors who are 6'7", 260 lbs. and basses who are 5'10", 175 lbs. Within genetically endowed differences there can be great variations of vocal coordination that can produce a wide variety of vocal qualities.
Singers with generally
smaller dimensions and an inherently lighter voice quality will be able to learn vocal coordinations that can produce both lighter-thinner and more full-bodied-thicker vocal timbres within their inherent "governing" voice quality. Singers with larger dimensions also can learn vocal coordinations that produce the lighter-darker timbre range within their "gov erning" voice quality. Speakers and singers with normal but generally smaller genetically endowed laryngeal and vocal tract dimensions will tend to have an inherently lighter-brighter voice quality as compared to singers with generally larger dimensions. They will tend to be more comfortable speaking and sing ing in a generally higher average pitch range or tessitura. They are more likely to be labeled sopranos or tenors. Speakers and singers with normal but generally larger genetically endowed laryngeal and vocal tract dimensions will tend to have an inherently more full-bodied-fuller voice quality compared to singers with generally smaller dimen sions.
They will tend to be more comfortable speaking
and singing in a generally lower average pitch range or tessitura. They are more likely to be labeled mezzo-sopranos, altos, contraltos, baritones or basses.
R eferen ces and S elected B ib lio g ra p h y Cleveland, T.F. (1977). Acoustic properties of voice timbre types and their influences on voice classification. Journal o f the Acoustical Society o f America, 61(6), 1622-1629.
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Cleveland, T.F. (1978). Estimating voice classification from speech sound measures. In V.L. Lawrence (Ed.), Transcripts o f the Seventh Symposium: Care of the Professional Voice (Part I, p. 100). New York: Voice Foundation. Cleveland, T.F. (1993a). Toward a theory of voice classification (part I). The National Association o f Teachers o f Singing Journal, 49(3), 30-31. Cleveland, T.F. (1993b). Toward a theory of voice classification (part II). The National Association o f Teachers o f Singing Journal, 49(4), 37-40. Cleveland, T.F. (1993c). The importance of range and timbre in the deter mination of voice classification. The National Association o f Teachers o f Singing Journal, 49(5), 30-31. Cleveland, T.F., & Sundberg, J. (1983). Acoustic analysis of three male voices of different quality. In A. Askenfelt, S. Felicetti, E. Jansson, & J. Sundberg (Eds.), Proceedings o f the Stockholm Music Acoustics Conference 1983. Stockholm: Royal Sweedish Academy of Music. Crelin, E.S. (1987).
The Human Vocal Tract.
New York: Vantage Press.
Dimetriev, L., & Kiselev, A. (1979). Relationship between the formant struc ture of different types of singing voices and the dimension of supraglottal cavities. Folia Phoniatrica, 31, 238-241. Hirano, M., Kurita, S., & Nakashima, T. (1981). The structure of the vocal folds. In M. Hirano (Ed), Vocal Fold Physiology. Tokyo: University of Tokyo Press. Hirano, M., Kurita, S., & Nakashima, T. (1983). Growth, development and aging of human vocal folds. In D.M. Bless & J.H. Abbs (Eds), Vocal Fold Physiology: Contemporary Research and Clinical Issues. San Diego: College-Hill Press. Kahane, J.C. (1978). A morphological study of the human prepubertal and pubertal larynx. American Journal o f Anatomy, 151(1), 11-19. Kahane, J.C. (1982). Growth of the human prepubertal and pubertal lar ynx. Journal o f Speech and Hearing, 25, 446-455. Kahane, J.C. (1988). Anatomy and physiology of the organs of the pe ripheral speech mechanism. In N.J. Lass, L.V. McReynolds, J.L. Northern, & D.E. Handbook of Speech-Language Pathology and Audiology. Philadelphia: B.C. Decker. Sundberg, J. (1973). The source spectrum in professional singing. 25, 71-90.
Folia
Phoniatrica,
Titze, I. (1988). Physiologic and acoustic differences between male and female voices. Journal o f the Acoustical Society o f America, 85(4), 1699-1707. Titze, I. R. (1994c). Voice classification and life-span changes. In Principles o f Voice Production (pp. 169-190). Needham Heights, MA: Allyn & Bacon.
chap ter 4 vocally safe “belted” singing skills for children, adolescents, and adults Leon Thurman, Patricia Feit
excerpt
sian) children's choir sing folk music in that belted way (or
from:Thurman, L., & Klitzke, C.A. (1994). Voice education
a South African song about freedom sung in upper regis
and
health care for young voices. In M.S. Benninger,
ter)? How do we react when we hear a gospel choir sing?
B.H. Jacobson, & A.F. Johnson (Eds), Vocal Arts Medicine: The
W hat do African-American music educators believe about
Care and Prevention of Professional Voice Disorders (pp.
belted singing and voice health?
ditors' Note:
This
chapter is an updated
226-268). New York: Thieme Medical Publishers. Used with permis
Voice scientists have not discovered all of the details about the vocal coordinations that produce belting voice
sion.
quality and its acoustic characteristics. Enough informa The term "belting" or "belt voice" was coined in the
tion has been discovered, however, to permit very informed
musical theatre of the United States, and was popularized
descriptions and the initiation of voice education methods
among Caucasian Americans by the singing of Ethel Merman
(see Book II, Chapter 16).
in the 1940s and 1950s. But for thousands of years, children, adolescents, and adults of nearly all the world's cultures
C h a ra cte ristics o f B elte d S in g in g
have sung their folk and popular music in a strong, "belted" way. That way of singing the music is at the heart of its
Singing the music of many cultures the way those cul
expressive style. Current popular and religious musical styles
tures sing it, with expressive and stylistic accuracy, can be
that have roots in the African-American experience (spiri
vocally safe. By definition, strong, belted singing involves
tual, blues, jazz, gospel, rock, and so forth) preponderantly
strenuous laryngeal muscle use and high collision and shear
use belted singing.
ing forces on the vocal folds. These conditions are mini
M any Western civilization "classical" singing teachers
mized the more the vocal coordinations are efficient and
and music educators strongly object to this way of singing,
when the larynx muscles and vocal fold tissues are well
however, because of a belief that it is injurious to voices,
conditioned. In singers who belt frequently, lifetime vocal
especially young voices. Is it?
health is possible when:
Remember "the Annie syndrome", and how it was used (and still is) to frighten "classically trained" teachers about
1. voices are coordinated with fundamental physical and acoustic efficiency;
the "permanent damage" that belted singing causes in chil
2. the laryngeal muscles are well conditioned;
dren? How do we react when we hear a (nearly all-Cauca
3 . singers know how to protect their voices.
vocally
safe
“b e l t e d “
singing
skills
783
There are inefficient, overly strenuous ways to produce
ever, are not inevitable. When teaching, learning, and using
belting quality, and there are efficient but also strenuous
the belt coordinations, great care can be exercised to pro
ways, according to voice scientist Jo Estill. When produc
tect vocal health.
ing this quality efficiently, singers remark how easy it feels,
Voice protection skills that belt singers need in order to
yet how powerful it sounds. First time belters sometimes
prevent voice disorders, and the limits that disorders place
comment on the "cathartic" quality of the experience. Com
on vocal capability, are:
pared to the coordinations used for operatic singing, gen eral physiological and acoustic characteristics of belting
1. development and maintenance of all fundamental vocal skills;
appear to involve:
2. development and maintenance of a well conditioned
1. comparatively intense muscular stabilization of the torso and back of neck:
upper or head register, and a falsetto register (for men) or flute register (for women)—absolutely vital to vocal longevity
2. comparatively intense contraction of abdominal wall
and health (Book II, Chapters 11 and 15 have details);
muscles during phonation, with strong checking force from inhalation muscles—primarily the diaphragm muscle; 3 . comparatively intense vocal fold closure with com paratively intense vibratory collision and shearing forces,
3.
tissue compliance—drink five to seven 8-ounce glasses of water per day (child-sized bodies) or seven to ten 8-ounce glasses (more adult-sized bodies);
and comparatively high-percentage closed phase during each vocal fold vibratory cycle (brassy but not pressed-edgy); 4. comparatively intense simultaneous contraction of
continual maintenance of larynx lubrication and
4. always warm up larynx muscles before extended sing ing; 5. balance voice use time and voice restoration time
the vocal fold shortener and lengthener muscles as they
(silence) based on monitoring of larynx sensations and vo
adjust to produce pitch changes;
cal capabilities (regular use of swelling detector pitch pat
5. comparatively intense stabilization of the larynx in a location that is slightly above its at-rest location; 6.
terns that are described in Book III, Chapter 11; Figure III-
11- 12);
comparatively narrow lower vocal tract, particu
6. continuous maintenance of general body condition
larly the larynx vestibule (aryepiglottic sphincter), but with
ing and, most importantly, vocal fold tissue and larynx muscle
a very open jaw/mouth;
conditioning;
7. comparatively intense stabilization of the soft palate in an arched upward location; 8. comparatively higher and more forward tongue on
7. balance of personal energy expenditure with energy restoration, in other words, manage commitments and dis tressful circumstances.
all vowels, particularly the normally tongue back vowels; 9. high intensity sound waves—it is loud;
Is belting appropriate for youngsters whose vocal
10. comparatively greater upper partial/formant am
anatomy is still developing and may be more vulnerable to
plification than is present in non-belted singing—it is no
the effects of intense collision and shearing forces? Even in
ticeably bright and brassy, but retains a less prominent but
childhood, the larynx muscles and tissues exhibit a strong
appropriate degree of fullness.
degree of resilience and strength. Even though that is true, there are limits to the number of forceful collisions that the
V o ic e P ro te c tio n S k ills for S in g e rs W h o B elt
vocal fold tissues can take before they will react to protect themselves; and there are limits to the amount of strenuous voice use before symptoms of vocal fatigue syndrome be
Singers who belt regularly and inefficiently can easily
gin to appear.
develop chronic vocal fold swelling, voice misuse dyspho-
After gathering considerable information about the
nia, and the more serious vocal abnormalities that are de
physical and acoustic realities of belting; after directly expe
scribed in Book III, Chapter 1. These consequences, how
riencing efficient belting, and teaching the skills for several
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years (or observing them being taught); after observing and
Children singing safely in a belted way depends on—
teaching prepubertal children these skills; after considering
you guessed it—how they do it, what the level of laryngeal
health and ethical factors; we believe we can support the
conditioning is, how long they do it, and how much voice
following beliefs:
recovery time there is until the next time.
Preventing belted singing by children and adolescents
There are good indications that, for many children—
will happen on the day playground yelling is prevented.
perhaps m ost—waiting until the anatom ical m aturity
Both are forms of strong, cathartic self-expression. Prepu
achieved by about ages 7 or 8 would be a good idea.
bertal children can learn to belt effectively and safely when
3.
Can young people who are going through the respi
their parents and vocal music teachers are thoroughly edu
ratory, laryngeal and vocal tract transformations that occur
cated about its use.
during the pubertal growth spurt sing in a belted way with
Belting by pubertal youngsters is a more delicate mat
vocal safety?
ter. We believe it can be done safely if there is precedent
Qualified Yes—especially IF they have experienced in
voice education and if the amount of time spent belting is
grades K-6 a school music education program in which
moderated even more than for children, particularly during
they have learned:
the climactic time of pubertal voice change. General music educators and choral conductors can
a. how to use their voices with reasonable physical and acoustic efficiency;
learn methods of teaching efficient belting in both one-to-
b. how to track themselves through the scientifically
one and group settings, but current, deep-background train
verified voice change stages (see Book IV, Chapters 4 and 5;
ing in voice education and voice care is requisite. The voice
and Book V, Chapters 7 and 8);
qualities that represent inefficient belting and efficient belt
c. what the common effects are of extensive and vigor
ing can be distinguished aurally by teachers, and methods
ous voice use—high impact and shearing forces and larynx
for remediating the inefficient coordinations can be learned.
muscle fatigue; and
These methods are not tricks or gimmicks for producing a
d. how to closely monitor their voices during belted
short term musical effect. Using the methods well, involves
use and to reduce—preferably eliminate—belted singing
long term goals, persistence, and patience.
during the climactic period of voice change—Midvoice IIA (Cooksey) and Stage IIB (Gackle)—see Book IV, Chapters 4
B a sic Q u e stio n s
and 5, and Book V, Chapters 7 and 8. Limitations to lifelong voice use are possible in some children if
Here are some honest questions that the title of this
these matters are not attended to.
chapter might raise in some people, and our personal an swers after years of research review, personal experiences with belted singing, and much serious contemplation:
1. Can singing in a belted way reduce a person's capa bility for expressive singing and speaking? Yes and no—depends on how you do it, what your
We are reluctant to present suggestions for efficient belt ing in printed form. We prefer to present them live. We have the same reluctance about presenting suggestions for efficient operatic singing in printed form. The variables are too extensive, and the potential risks for misunderstanding
level of laryngeal conditioning is, how long you do it, and
are too great. Our firm conviction is, however, that all hu
how much voice recovery time there is until the next time.
man beings who have normal anatomy and physiology for
2.
Can "delicate," anatomically unfinished children's
voices sing in a belted way with vocal safety?
voicing are capable of a very wide variety of voice coordi nations that can produce a very wide array of voice quali
First of all, the voices of anatomically normal children
ties, volumes, pitches, and timings with vocal safety. And
are not "delicate;" the anatomy is quite resilient and strong.
that includes belted singing, operatic singing, twang sing
Their anatomy is not as resilient and strong, however, as the
ing, the singing of Middle Eastern music, Tibetan monk
anatomy of fully mature adults. (Review how vocal and
chanting—you name it.
auditory anatomy grow up in Book IV Chapter 2). vocally
safe
“b e lt e d “
singing
skills
785
chap ter 5 design and use of voice skill ’pathfinders’ for ’target practice,’ vocal conditioning, and vocal warmup and cooldown Leon Thurman, Axel Theimer, Carol Klitzke, Elizabeth Grefsheim, Patricia Feit
I
magine a game of darts. You hold up the dart in front of you, point it toward the target, make sev
L e a rn in g F u n d a m e n ta l V o ice S k ills an d M a k in g th e m H a b itu a l
eral aiming motions as you visually calculate dis
Speaking and singing are much more complex be
tance and trajectory to the bull's eye, kinesthetically calcu
haviors than playing darts. Human beings cannot see, touch,
late the weight of the dart, the amount of thrust that will be
or sense the spatial location of most of the moving parts of
needed to propel it to the bull's eye, and the degree of arch
their voices. Learning to "play" a voice is like learning to
that will be needed to account for gravity. That is pathfind-
play a keyboard instrument or guitar without being able to
ing behavior (Book I, Chapter 9 has some details).
see, touch, or sense the spatial location of one's hands. It's
Imagine a molecular biology professor. He is a quiet,
definitely possible. One would rely heavily on "secondary"
soft-spoken person. Most of his work is research that in
kinesthetic sensations in the arms and on the auditory sense.
volves a minimal amount of conversational talking. He
Developing simplified template sensorimotor coor
teaches two classes. One class meets on Tuesdays for two
dinations would be the equivalent of "sensing the bull's
hours and once on Thursday for two hours. The other meets
eye" of a targeted skill. Knowledge of results and feedback
on Mondays for two hours and on Wednesday for two
in a dart game is immediate and self-perceived.
hours. His voice gradually weakens and becomes hoarse.
edge of results and feedback in voice skills is more com
On which day does he frequently become aphonic? Is this a
plicated and subtle. Voice educators can: (1) provide safe,
voice conditioning issue (and vocal efficiency)?
engaging exploratory experiences, (2) enable identification
Knowl
Imagine two equally fast runners before a race. One
of goal targets and a sense for their visual, auditory, and
runner slowly then speedily walks, stretches, massages, and
sensorimotor bull's eye skills, (3) invite self-mastery-based,
imagines starting the race well and running it with easy
non-coercive target practice, and (4) facilitate development
extension and speed. The other runner just stands around
of accurate, self-perceived feedback (initially by posing ques
and does nothing before the race. Which one is most likely
tions). The brains of learners, then, will almost always cre
to run fastest? Why?
ate constructive perceptual, value-emotive, and conceptual categorizations-and behavioral expressions-that add to the development of constructive self-identity and self-reliance (Book I, Chapters 7 through 9 present details).
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This process also could be referred to as developing fundamental voice skills and evolving them toward increas ingly refined skills. Once the less complex neural networks
P re p a ra tio n for S k ille d , E x te n siv e , V ig o r o u s, and E x p re ssiv e V o ic in g
that operate a template skill are established, then it can be Preparation for athletic speaking and singing can in
attempted in more and more complex situations so that increasing mastery is developed (more global mapping of
clude: 1. stimulation of whole bodymind neural alert states
the template skill with other networked skills). In psychol ogy, this process has been referred to as elaborative encoding
and attentional focus (see Book I, Chapter 7); and
and transfer of learning. The process is like gradually making
2. unloading of previously loaded memories from
target bull's eyes smaller and smaller over time, and com
working memory, while loading it with currently needed
bining the features of two or more targets into one.
voice skill and expressive music memories (often referred
When first attempting a new skill, or one that is differ
to as "getting in the zone"; Book I, Chapter 7).
ent from an habitual skill, the first sign of progress is confu sion. In other words, the prefrontal cortex is engaging many neural networks that might apply to mastering this skill,
Do This: Stand up. Always arrange your body in such a way
and when all of those possibilities engage at once, confu
that efficient speaking and singing are possible (see Book II, Chapter
sion happens in the first attempts at the bull's eye skill. In
4).
addition, any related habitual neural networks will com
(1) Raise one arm upward as though you were reaching for a
pete with the new orientation. When a person consciously
piece of sweet fruit that was on a tree and just out of reach. Be therefor
attempts the skill, sometimes the bull's eye is almost hit, but
a few seconds, lower that arm and reach upward for another piece of
most of the time it is missed in many different ways. Dur
fruit with the other arm. Now do swimming motions with your
ing this stage of learning, direct bull's eye hits are truly
arms and shoulders.
beginner's luck.
(2) Extend your arms forward as though you were standing
After a number of "goes" at the bull's eye (the beginning
behind a fence and reaching for some sweet berries. Continue the arm
of elaborative encoding), then a second stage of mastery is
reaching and flex your hands backward and spread your fingers apart
reached. The bull's eye is regularly hit when a learner is
for several seconds. Then, rotate your hands so that your palms are
consciously focused on it, but when conscious attention is
facing upward (continue that for a few seconds), and then rotate your
not focused on it, confusion returns. The final stage occurs
hands in the other direction so that your palms are facing outward.
when the bull's eye is regularly hit whether the learner is
(3) Easily rotate just your head to your left or right and let it
thinking about it or not. The neural networks that produce
remain therefor a few seconds; then easily rotate it to the other side for
the skill are increasingly full of long-term potentiation. In
a few seconds. Allow just your head to "fall" easily forward. Gently
other words, the desired template skill has been mastered
rotate just your head to your left or right and let it remain therefor a
to habit. (Book I, Chapter 7 has a review).
few seconds; then rotate it to the other side for a few seconds. Gently
Most of the Do This experiences of Book II provide
rotate it back and forth several times.
examples of how template skills might be developed so
(4) With your left arm-hand pointing the way allow just
that learners evolve self-mastery, rather than being told what
your torso to rotate rightward as you gently extend your left arm-hand
is "correct". They are premised on the principle that brains
outward from your right side. Continue therefor several seconds and
learn by taking target practice. There is no such thing as
release. Then, with your right arm-hand leading the way allow just
mistakes, errors, or doing something wrong, incorrectly,
your torso to rotate rightward as your gently extend your right arm-
improperly, or badly. It's just brains taking target practice
hand outward from your left side. Continue therefor several seconds
on a new target's bull's eye (explained in Book I, Chapter 9).
and release. (5) Breathe in and raise your shoulders up onto your neck. Hold your breath and keep you shoulders up for several seconds. Then,
voice
skill
‘p a th fin d ers'
787
completely release your shoulders as you make a breathy sigh-glide
(2) Gently bring together the four fingers of one of your hands,
with your voice. Do the same thing, but on the breathy sigh-glide say
and then the fingers of your other hand. Place your fingertips on top of
"Shhhowers from the sky’! Repeat again and say "My oh my oh my
the rear part of your cheek bones, just above your jaw joint. Allow
oh my!'
your teeth to separate and your jaw to "float". Using a predominantly
(6) While continuously shaking both of your arms-hands, shake
(not exclusively) circular motion, firmly massage your teeth-clinching
one leg for several seconds, then the other leg, back and forth two or
muscles from top to bottom, then back up, and then down and up a
three times. Slap your legs with your hands. Slap your right arm and
few times. Take your time and cover the whole muscle on both sides of
shoulder with your left hand and then your left arm and shoulder
your head.
with your right hand. Slap your abdomen. Slap your face.
Remove your hands. Do you feel sensations in your jaw area
(7) As though you were accepting a standing ovation, energeti
that are different from sensations in surrounding head and neck areas?
cally raise your arms above your head in a large "V" shape and "spread
(3) The rest of your head and neck muscles are now accusing
open" your face and mouth as widely as you comfortably can with a
you of favoritism, so you'd better massage them, too, if you know
smile; continue for several seconds.
what's good for you. Remove eyeglasses if you're wearing them. Place the brought-together fingers of your two hands onto your forehead, up near your actual or former hairline. Again, with predominantly cir cular motions, massage your forehead, temples, eyebrows, closed eye
Do This: Be aware of muscle sensations in your midsection as you...
lids, nose, cheeks, upper lip area, lower lip area, and chin. [Smeared makeup is hip and "in", so why not? WelL.massage your face before
(1)...very softly sustain a long-lasting/shhhhhhhhhhhhhhh/
putting makeup on, or skip over areas that you do not wish to dis
(2) Sustain it again, but very loudly
sage your face.
sound.
turb.] Make easy, soft, hummed, downward sigh-glides as you mas Did you notice a difference in what your midsection muscles
did? Did you sense the different degrees of energizing in your midsec tion that sends your breathflow through the small opening at your front teeth?
(4) Use the fingers of one or both of your hands to massage the skin and muscles that are located underneath your chin. (5) Hold the palm of one hand in front of your face. Move it to the opposite side of your face and place your index finger just under
(3) This time, start the sound softly and crescendo it to a loud sound over about 10 seconds.
neath the earlobe on that side of your head. Spread your fingers so that your shortest or "pinky" finger is touching the base of your neck
(4) Then, start loudly and decrescendo to soft.
and your two middle fingers are evenly spaced between your index and
Was the energizing of your midsection muscles evenly gradual,
pinky fingers. Predominantly massage with circular motions and
or did they surge unevenly along the way? Did your /shhh/soundflow
gradually move to the front of your throat. Then, repeat with your
reflect your midsection actions?
other hand on the other side of your neck.
(5) Finally sustain the Ifl sound for about two seconds and
(6) Both hands to the base of your skull. Massage the back of
say "Ffffffly me to the moon" on a downward sigh-glide that begins
your neck and upper shoulders with-you guessed it-predominantly
in upper register.
circular motions. (7) With your teeth separated and your jaw "floating", move your jaw easily and flexibly with small left-right excursions, so you
Do This: (1) Place the palm of your right hand on your right
can sense that your up-down jaw muscles are "at rest".
facial cheek, and the palm of your left hand on your left facial cheek, so
(8) On a downward sigh-glide, speak "Shah, yah, yah, yah,
that your index fingers are up next to your ears. Now, clinch your teeth
yah," so you can sense an easy, flow-like range of up-down jaw mo
two or three times.
tion. Repeat, a few times and move the pitch inflections around.
Feel your primary teeth-clinching muscles (the masseters) bulge up under your hands? They extend verticallyfrom the rear part of your cheek bones downward to the lower rear areas of your jaw bone (see Figure 11-12-13).
788
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use in that situation (see Chapters 7 and 8). The pitch pat
Do This: (1) Like you did before, begin with a sustained middle-
terns can be used for three voice education purposes: (1)
loud /shhhhhh/for about two seconds, and then, while your jaw and
voice skill building, (2) neuromuscular and vocal fold tis
tongue easily remain where they are; allow your voice to just melt into
sue conditioning, and (3) neuromuscular and vocal fold
your breathflow for a /shhhhh+zzhhhhhhhh/ sustained sound. Do
tissue warmup and cooldown. Non-melodic pathfinder pitch patterns are compara
that at least two or three times to get familiar with the melting. Feel the vibrations of your voice in your neck, mouth, and face?
tively uninteresting because they have no melodic content.
Did your neck-throat area feel easy as though the flowing breath-air
Quasi-melodic pathfinder pitch patterns are a little more
was gathering up your voice and flowing it out of you? Did the
interesting. Melodic pathfinder pitch patterns are the most
breathflow feel steady and even? Was the sound of your voice steady
interesting and they can be selected from such sources as
and even?
folk music or composed music. Music that is being pre
Do a few of those again, and can you slide your voice's steady even sound up and down and around some? Can you include both
pared for sharing with other human beings might be a good source. The pitch patterns are intended to provide simpler
your lower and your upper registers in the sliding? (2) OK, now repeat the two-second /shhhh/ sound, then melt
settings for developing and elaborating template vocal
into two seconds of /zzhhhhh/ and then allow your jaw-mouth to
coordinations (fundamental voice skills). Singing the pat
just fall open into an /ahhhhhh/ sound that slides downward in a
terns with a template coordination in mind (a targeted bull's
sigh-glide. Notice your neck-throat sensations and do that several times.
eye) will help brains develop the neural networks that are
(3) Two seconds of/shhhhh/, melt into two seconds of/zzhhhhh/
necessary to find a skill path.
Fundamental body align-
, then think of that /zzhhhhh/ as the first sound in a famous person's
ment-balance, efficient breathflow-to-soundflow, and vo
name, and speak it on a downward sigh-glide, sustaining the vowel of
cal sound-shaping skills are included. The first three simple
the last syllable: /zzhh+ahh zzhh+ahh Gah-boohhhhhhhr [Zsa
patterns to revisit the sensations of physical ease, flow of
Zsa Gabor].
movement, and potential flexibility and range of motion. Examples of other skills (in no order of preference)
(4) Two seconds of/shhhhh/, melt into two seconds of/zzhhhhh/ that flows immediately into Zsa Zsa Gabor on a 5-4-3-2-1 major scale in your most comfortable pitch range.
are: • extent of closer-opener muscle contraction intensi ties relative to vocal volume and voice quality (Book II,
Experiment with this process. For example, speak sigh-glides
Chapters 9 and 10 have some details);
with words that begin with the/shh/ sound, such as shadow, shining,
• extent of shortener-lengthener muscle contraction
show, shoe, and so forth. Use the /zzzz/ and the /ffff/ sounds and say
intensities relative to pitch range, legato pitch connected
words and phrases that begin with those consonants, such as zinc,
ness, and the voice qualities we refer to as registers and
xylophone, fly away, flowing rivers of light.
their transitions (Book II, Chapters 8 and 11 have some
Is your breathflow steady and even? Are your neck-throat muscles easy even though your jaw-mouth, tongue, and lips are moving to form the words?
details); • extent of vocal tract adjustments (particularly the lips, jaw, tongue, pharynx, and larynx) relative to voice qualities, vowel qualities, and consonants as sung through
The Use of Pitch Patterns for Voice Skill Development, Voice Conditioning, and Vocal Warmup and Cooldown
out the pitch and volume ranges (Book II, Chapters 12 through 15 have some details).
Two types of pathfinder pitch patterns are presented
The pitch patterns also can be used for voice condi
below: (1) non-melodic, and (2) quasi-melodic. They are
tioning. As presented in Book II, Chapter 15, increasingly
intended for prepubescent children and adults, but not
strenuous voicing over gradually longer time periods is the
changing voices, although some of them can be adapted for
general conditioning pattern. Strenuousness in voice use is (1) higher and higher pitches, (2) louder and louder vol voice
skill
‘p a th fin d ers '
789
umes, (3) faster and faster speeds of laryngeal and vocal
becomes moderated and an evenness of voice quality is
tract muscle movement, and (4) the lowest four or five pro
more likely throughout the vocal pitch range. So, most of the pitch patterns below begin in upper
ducible pitches. All of those factors can be built into pitch pattern sequences, except the gradual vocal volume increases.
register larynx coordinations and then gradually descend
Singers have to add that feature when performing them.
into lower register coordinations. This can bring three ben
The warmup process for vocal athletes is the same as
efits to efficient vocal skills: 1. establishment and conditioning of upper register
for sports athletes: (1) always pay close attention to coor dination efficiency, (2) begin at relatively minimal degrees
coordinations in a variety of vocal volumes and voice quali
of strenuousness, and (3) gradually increase the degree of
ties (shortener-lengthener adjustments with the lengtheners
strenuousness. About 15 to 20 minutes of steadily increas
being more prominent, see Book II, Chapter 11, along with
ing strenuousness is needed before vocal muscles and vo
increased closer muscle strength, see Book II, Chapter 10);
cal fold tissues are primed for optimum strength, range of
2. establishment and conditioning of vocal tract ad
motion, speed, and precision of use. One vocal warmup
justments for length and circumference, in relation to pitch,
sequence for a singing setting can be: (1) begin with about
volume, and consonant-vowel combinations (see Book II,
5 to 7 minutes of sound and pitch patterns that proceed
Chapters 12, 13), so that voice quality and amount of sound
from minimal to moderate strenuousness, (2) continue with
are consistent, and so that acoustic overloading of the vocal
music that is moderately strenuous and proceeds to fairly
folds does not occur, thus avoiding overworked larynx
strong strenuousness, then (3) sing a few quite strenuous
muscles and a tendency toward pressed-edgy voice quali
pitch patterns, and finally (4) sing music that includes some
ties (see Book II, Chapters 11, 12, and 15); and 3. establishment and conditioning of blended or
quite strenuous passages.
"melted" transitions between upper, lower and flute-falsetto
Suggestions for Use of the Non-Melodic Pathfinder Pitch Patterns General suggestions.
The printed version of each
pitch pattern suggests an appropriate beginning pitch for laryngeal muscle and vocal fold tissue warmup. Each rep etition of the pattern begins one-half step lower than the previous one, or one whole-step lower, or a random mix ture of halves and wholes. The patterns that are to be re peated in gradually higher keys are indicated by **.
The
patterns are printed in the treble staff, so changed-voice males would sing them one octave lower, of course. Habitual speech coordinations, and lower register sing ing, help keep lower register coordinations relatively strong in most people. When most, if not all, pitch patterns are begun in lower register and the pitches ascend higher and higher, many singers tend to retain too much shortener muscle influence into the upper register pitches.
Such a
singing history can be detected by abrupt, audible register "breaks" or "cracks", and by a tendency toward some ver sion of the pressed-edgy family of voice qualities as pitches ascend. When singers begin in upper register and invite it to extend downward until lower register coordinations hap pen "on their own," then the shortener muscle influence
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voice
When these pitch patterns are used for vocal warmup, the first three are sung rather softly, a bit slowly, and just a little "on the breathy side" of voice quality. Singing them that way can help you "massage" your vocal folds into use, thus eliciting (1) optimum compliance-elasticity-flexibility in ligament, tendon, and other connective tissues; (2) opti mal sensorimotor nerve reactivity and conduction veloci ties; and (3) optimal joint flexibility and range of motion. These patterns will recruit the slow, fatigue resistant motor units in the laryngeal muscles (see Book II, Chapters 7 and 15). The first three patterns also can be an occasion to "gather your fundamental voice skill family home" (check body alignment-balance, breathing coordinations, steadi ness and ease of breathflow-to-soundflow, sense of appro priate released openness in the throat and mouth areas, and so on). Beginning with the fourth pattern, gradually raise the volume levels with each new pattern, so that by the final patterns the volume levels can be at least at forte.
Except for the difference in pitch borders, the first and
third pitch patterns are sung the same way. A sustained
(i)
/m/ consonant ("humming" sound) is used, and you slide
r
t
----------------- 1
hmmmm
very obviously from the upper pitch border to the lower bor der, then slide back to the upper border, and then back to the lower one again, followed by a breath. Allow your lips to be "easy" so that they just touch each other (no tensing or
|-3 -|
(2)
jL ( * >
h
1
3_1 1
3~1 r
—
-h —
v i
r~ 3 n k ...
w J 1 '« » —
nee-uhm neeuhm neeuhim neeuhm nee - uhm
pursing). Allow your jaw muscles to release so that your teeth are separated and your jaw is "floating". Allow your tongue to lie at rest in the bottom of your mouth. To initiate these pitch patterns, a short, gentle "blow ing" o f air through your nose precedes initiation of
(3)
'
j
,
hmmmm-
soundflow. It's like starting the pattern by making an /h/ consonant with your mouth closed. Breathflow, therefore, is initiated immediately before vocal soundflow "melts" into that already flowing breathstream. Occasionally, move your
All of the repetitions of the fourth pitch pattern can
jaw in a gentle left-right motion, so that the distance trav
be sung with a little more volume than the first three pat
eled is very small. When the muscles that move your jaw
terns. It also is the first pattern that includes a moderate
left-right are activated, your up-dow n teeth-clinching
degree of speed in the lengthener and shortener muscle ad
muscles have to release, otherwise, your will feel their resis
justments for pitch change, and thus the fast, intermediate
tance to the left-right movement. Too much vigor in the
fatigue resistant laryngeal motor units may be engaged. This
left-right motion has the potential for compromising the
pattern also is used for easy range of jaw motion while the
health of your jaw joint (temporomandibular joint or TMJ;
tongue moves up and forward for the /ee/ semi-vowel that
see Book III, Chapter 6).
creates the /y/ consonant, and then downward and back to
In the second pitch pattern, easy soft palate raising
a middle location for the /ah/ vowel. A relatively inflexible
and lowering occurs as the nasal consonants /n/ and /m/
tongue results in some degree of distorted vowel integrity.
alternate with the vowels /ee/ and /uh. It is lowered on the
An inflexible jaw results in some degree of distorted vowel
nasal consonants and rises for the /ee/ vowel and the /uh/
integrity and a stifling of "amount" and quality of vocal
vowel. Pitches can be sustained on the nasal consonants, so
sound, largely due to acoustic overloading of the vocal folds
the first pitch of the pattern is initiated on the /n/ conso
(see Book II, Chapters 11 and 12).
nant, and that same pitch is sustained into the /ee/ vowel. Inexperienced singers may initiate the /n/-pitch below the /ee/-vowel pitch and produce a quick slide-up or pitch smear.
Performing pitch smears is an important skill for
expressively selected pitches in many popular musics and in
yah yah yah yah yah yah yah yah yah yah yah yah yah
operatic arias. When singing syllables that begin with voiced consonants (such as /nee/), the consonant usually is sung with the same pitch as the subsequent vowel.
*
m
may oh may oh may oh may oh may oh may oh may
voice
skill
‘p a th fin d ers
791
All of the repetitions of the fifth pitch pattern can be
of the pitches, and (3) the pitch changes are made by high
sung with a little more volume than the fourth pattern, and
speed changes of vocal fold length so that very fast pitch
it involves down-up jaw movement and lip closing and
slides occur.
opening along with lip-rounding and releasing. Front and
listening brains never detect the sliding. They just hear very
back tongue movement also occurs with the vowel changes.
smooth "connectedness" between discrete pitches. Italians call
Jaw is lowered and lips are released for the /ay/ vowel. The
this way of singing, legato (see Book II, Chapter 15). When
jaw is lowered a bit more and the lips are rounded for the
coordinated well, efficient larynx muscle and vocal fold tis
/oh/ vowel, and then the lips are released for the next /m/. The
sue use is optimized. This vocal skill enables the musical
/ay/ vowel is a moderately tongue front vowel and the
skills of rhythmic precision, pitch accuracy, consistency of
/oh/ vowel is a moderately tongue back vowel.
voice quality, and flow of musical phrasing. This paatern
All of the repetitions of the sixth pitch pattern can be sung with a little more volume than the fifth pattern, and it
In fact, the pitch slides happen so fast that
also lays a foundation for singing fast melissmatic passages with physical efficiency.
is the first one that involves interval skips between pitches. That means that neuromuscular movement must be faster so that pitch interval speed and agility is increased.
Pre
sumably the fast, fatigue resistant laryngeal motor units are
i
(6) fly—
recruited (larynx muscles are the second fastest muscles in
a - w ay
the body; see Book II, Chapter 7). This pattern is shown below with two different word groups. Begin the (a) group
i
with an elongated /f/ consonant-/ffflah-ee/-to establish steady breathflow between open vocal folds, followed by easy closure into the already-flowing breathstream.
p la y -
the show
That
action helps the learning of efficient cooperation between breathflow and vocal fold closure for easy voice onset.
All of the repetitions of the seventh and eighth pitch
Singing several pitches are sung on one vowel pre
patterns can be sung with increasing vocal volume. They
sents challenges to the brain's operation of larynx muscle
span one octave and include wider pitch intervals at the
coordinations.
How does a singer "define" the instant in
same tempo as pattern six. Presumably, the greater vocal
time that each new pitch begins and ends? Some inexperi
volume and faster speeds of movement begin to recruit the
enced singers resolve the challenge by opening and closing
fast-fatigable laryngeal motor units and they are given a
the vocal folds very rapidly just before each pitch begins,
chance to increase their conditioning (Book II, Chapters 7
thus creating a glottal fricative or /h/ consonant sound be
and 15 have some details). Pitch interval speed and agility
fore each pitch-/flah-hah-hah/. So, an inexperienced singer
are thus extended. These patterns begin with a slightly elon
would sing the opening phrase of the Irish folk song, "Dah-
gated /shhh/ consonant to establish breathflow between
hown by thuh-huh sal-lee-hee gar-dens..." Another popu
two open vocal folds, followed by an easy closure into the
lar "strategy" that inexperienced singers use for "singing the
already-flowing breath. It also helps set up the larynx for
absolutely correct pitches" and "at exactly the correct time"
efficient, legato singing. A "core flow of vocal sound" is con
is to jerk the internal and external larynx muscles into the
tinuous through all of the pitches and pitch transitions are
new "settings" for each pitch. This movement can be seen
the high-speed slides that are described at end of the pre
easily in videostroboscopic views of singers who sing pitches
ceding paragraph.
that way. There are more efficient ways to sing such pitch
and front and back tongue movement also occur.
patterns in marcato style.
patterns provide an opportunity to observe any tendencies
Rounding and unrounding of the lips These
To sing this pattern with optimum efficiency, rhyth
to "reach up and squeeze for higher notes", and to take tar
mic precision, and pitch accuracy, (1) breathflow remains
get practice on the bull's eye of a "released open and down
steady, therefore (2) soundflow remains steady through all
throat" that occurs on the breath inflow and just continues to
792
bodym ind
&
voice
occur while the pitches flow through. Continuing a sense
gradually rising pitch sequences, (4) blend or "melt" the up-
of "easy vertical space" in the throat is another possible
per-to-lower and lower-to-upper register transition coor
kinesthetic image. This is but one skill of pharyngeal coor
dinations, (5) develop their vocal tract adjustment skills for
dination, but an important, fundamental one.
higher versus lower pitches, and (6) develop their vocal tract adjustment skills for melting the secondo and primo passaggio transitions (presented in Book II, Chapter 11).
(7)
l$ V
J sho
-
ay
J' J -
oh
ay
For males, patterns 11 and 12 begin in pure falsetto register (shortener muscle contraction is absent and the vocal folds are at their relative thinnest).
Falsetto is continued
into lower and lower pitches to the point where a register transition cannot be avoided, usually somewhere around F3.
f J u J r ir p J ij . sho - ay - oh - ay - oh - ay - oh - ay - oh - ay
A melted transition is a desirable skill, followed by a lighter version of lower register. As the falsetto pitches descend, a gradually breathier voice quality (with softer volumes) be comes necessary, although skilled and well conditioned sing ers (for example, male falsettists or countertenors) can cre
All of the repetitions of the ninth and tenth patterns can be sung with increasing vocal volume. The pitch inter
ate very clear voice qualities and a variety of vocal volumes in nearly all pitches of this register. The goals of these pitch
vals widen the pitch intervals to fourths, fifths, and octaves,
patterns for males are to (1) develop fine sensorimotor pitch-
while continuing the same tempo. Even stronger and faster
making and volume-making skills in the lengthener muscles
neuromuscular movements are necessary and pitch inter
and the primary closer muscles, (2) condition those muscles,
val speed and agility are increased further. Using the "core
(3) learn fine tuned register transition skills (between fal
flow of vocal sound" and the high-speed pitch slides con
setto and lower register), and (4) stretch all of the vocal fold
tinuously through all of the pitches in the patterns increase
tissues and ligaments to increase their flexibility, agility, and
the speed and agility challenge and the conditioning of the
resilience.
fast motor units. Movement of the tongue tip (the /n/ con
These patterns also can be used to introduce minimal
sonant), and the tongue body (/oh/ and /ee/ vowel changes)
to moderate degrees of shortener muscle contraction and a
help "flexible-ize" and condition the tongue muscles.
transition into a very soft, light, but clear upper register. Pure falsetto register would then not be sung into its lowest capable pitch areas. The goals of these pitch patterns for males are to (1) develop fine sensorimotor pitch-making
nohee-oh-ee oh-ee-oh-ee ol>ee-oh-ee oh-ee-oh-ee oh-ee ol>ee oh-ee-oh-ee oh-ee-oh-ee
and volume-making skills in the lengthener muscles and the primary closer muscles, (2) condition those muscles, (3) learn fine tuned register transition skills between falsetto
noh-ee-oh-ee o h -e e -o h -e e
oh-ee-oh -ee
o h -e e -o h -ee
and lower register and between falsetto and upper register, and (4) stretch all of the vocal fold tissues and ligaments to increase their flexibility, agility, and resilience.
All of the repetitions of patterns 11, 12, and 13 can
For novice male vocalists, pattern 13 ends when the
be sung with increasing vocal volume. These patterns pro
highest pitch is F4. It provides males an opportunity to (1)
vide females an opportunity to (1) condition their high-end
blend their shortener-lengthener larynx muscle coordina
upper register pitch coordinations, (2) stretch all of the vo
tions with gradually rising and then lowering pitch sequences,
cal fold tissues and ligaments to increase their flexibility,
(2) blend or "melt" the lower-to-upper and then upper-to-
agility, and resilience, (3) blend their shortener-lengthener
lower register transition coordinations, (3) develop vocal
larynx muscle coordinations with gradually lowering and
tract adjustment skills for higher then lower pitches that voice
skill
‘p a th fin d ers'
793
gradually ascend by half-steps, and (4) develop their vocal
Patterns 14 through 19 can be sung at a variety of
tract adjustment skills for melting the primo passaggio transi
vocal volumes. They especially target the language articula
tion but not the secondo transition.
tion muscles of the vocal tract, but respiratory and laryn
(ii)
mm
geal neuromuscular warmup continues, along with the vo cal fold cover tissues. These patterns also provide opportu nities to practice vowel modification skills when they are sung in varied vocal volumes (see Book II, Chapter 13). The /gl/ sounds of pattern 14 automatically "limberize"
no - ay - oh - ay
the tongue by "rocking" it from back to front to back to front and so forth. The focus of conscious awareness would be on an easy, flowing range of jaw motion.
(12)
Patterns 15 through 17 target the soft palate, but the other articulators also are involved. In pattern 15, the soft
noh- nee- nah
palate is raised for the /b/ consonant and the /uh/ vowel, **
(13)
then lowers for the /m/ nasal consonant.
n?
There is not
enough time for the palate to lower for the A W vowel,
noh-ee-oh-ee oh-ee-oh-ee oh-ee-of>ee oh-ee-oh-ee
oh-ee-oh-ee
because it has to be lowered for the /n/ consonant that quickly follows, and then it raises for the final vowel. Pattern 16 is sung with the lip and tongue tip articula
1 3 ||--:3-- , rr\mr w' ## 3 = mmm
FJ'BJi -K- —*— -4 —
tor muscles forming all of the consonant sounds rather strongly. The soft palate is raised rather strongly on all of these consonants and vowels.
m' - go- lly m - go- lly m - go- lly m 1- go- lly m' - go- lly
There is only a one-consonant difference between ____
1
3 _ 1
I---------3 — 1 |----------3
|
patterns 15 and 17. When pitch pattern 17 follows patterns
r r r JJ I
(15)
15 and 16, people with underskilled and underconditioned articulator muscles often substitute the /b/ or /p/ conso
buh-m i- ni b u h -m i- ni bu h -m i- ni bu h -m i- ni b u h -m i- ni
nants for the /m/ consonant, and/or the /t/ or /n/ conso nants for the /d/ consonant. A reasonably strong /d/ con sonant is the goal. To sing the language sounds in pattern 18 accurately and with speed, the tongue has to make many very fast,
buh puh-tee buh pub-tee buh puh-tee buh puh-tee buh puh-tee
very subtle movements. The fun of this pattern is that sing ers' tongues commonly trip over themselves when singing it faster than their neuromuscular coordinations are ready
b u h -m i-d i b u h -m i-d i b u h -m i-d i b u h -m i-d i b u h -m i-d i
j j
(18) ye-H ow lea-th e r ye -H o w le a -th e r
p»M i l W rr r
r
\ i
m
Jr m
y e -H o w le a -th e r y e - How- le a -th e r
ye-llow lea-ther
n
w a lla wa-lla w ashing ton w a lia w a lla w ashing ton w a lla w a lla w ashing ton wa-lla w a lla w ashing ton
794
bodym ind
&
voice
for. Begin slowly, and gradually increase the tempo. Also
Pattern 21 can be used to develop the larynx and vo
pay attention to the lip-rounding on the final syllables of
cal tract coordination profiles that produce the thicker, more
yellow and leather.
full-bodied voice qualities of basic or "legitimate" lower reg
All of the vocal tract language articulator muscles are
ister (see Book II, Chapters 11 and 16). The brain's vocal
used in pattern 19. Pay attention to lip-rounding for the
sensorimotor networks can learn how to: (1) close the vo
semi-vowel /w/ consonants (really an /oo/ vowel), and to
cal folds with an optimum tissue mass (especially their lower
creating a clear /ng/ consonant in Washington. The goals in these patterns are to warm up and condition those articula
or inferior areas; see Figure II-11-8), and (2) include an op timum depth of vocal fold tissue mass in the ripple-waving
tor muscles, not to teach over-pronunciation of words.
vocal folds.
Those characteristics of vocal fold vibration
Patterns 20 and 21 ascend by half steps from the
increase the intensity of the lowest partials of the voice source
notated start pitches. They provide an opportunity to learn
spectra, especially the fundamental frequency. Voice qual
the skill of maintaining the clear-richer and balanced reso
ity, therefore, is perceived as comparatively thicker and more
nance families of voice quality while:
full-bodied.
1. singing louder vocal volumes and avoiding (a) the
If the larynx's closer muscles produce the clear-richer
pressed-edgy family of voice qualities (presented in Book
family of voice qualities and the vocal tract produces a
II, Chapter 10) and (b) the overbright and overdark families
middle-ground balanced resonance (larynx stabilized slightly
of voice qualities (presented in Book II, Chapter 12); and
below at-rest location, and pharynx and ary-epiglottic
2. singing lower and higher pitch ranges, also avoid ing the pressed-edgy, overdark, and overbright families of voice qualities. These patterns can be performed at a vocal volume level that contracts the closer muscles with an intensity that is near the maximum of current conditioning level (generally, from forte to fortissimo). Pattern 20 begins in upper register (the larynx's lengthener muscles are more prominently con tracted than the shorteners) and ascends to the highest ca pable pitches within a person's current voice skill and conditioning level, assuming healthy vocal fold tissues (vocal register co ordinations are presented in Book II, Chapter 11, and are described and detailed at the end of Chapter 15). In females, flute register coordinations will be "exer cised" in the highest-most pitches (lengtheners only) and the vocal folds will be lengthened and thinned toward their maximums. In males, pattern 20 can be sung: (1) only in upper register (so-called "full-voice" singing) until the highest-most capable pitches are sung while both the lengthener and shortener muscles are engaged, or (2) only in falsetto register until its highest-most capable pitches are sung with the lengtheners-only coordination. Pattern 21 begins in lower register (shortener muscles are more prominently contracted than the lengtheners) and ascends as far into upper and flute or falsetto register as is desired.
sphincter relatively opened), then the basic, "legit" lower reg ister voice quality will be heard. As pattern 21 rises in pitch range, the basic vocal coordinations will gradually transi tion into upper register in the primo passaggio pitch area (usu ally Eb3 to F#3 in males; Eb4 to F#4in females), and continue through the secondo passaggio pitch area (one octave higher). Pattern 21 also can be used to develop the larynx and vocal tract coordination profiles that produce belted voice qualities (see Book II, Chapters 11 and 16 and Book V, Chapter 4). In an efficiently produced belted quality: 1. the vocal folds are strongly closed so that they pro duce higher vocal volume and more upper overtones to contribute to a brassier aspect of voice quality; 2. the stronger vocal fold shortener contraction pro duces comparatively increased tissue mass and depth of vibration that strengthens the fundamental frequency and the lowest overtones, thus contributing to a thicker, more full-bodied aspect of voice quality; 3. the larynx is slightly elevated above its at-rest lo cation to shorten the vocal tract and diminish the intensity of the lower partials; 4. pharyngeal circumference is more narrow than it is in the basic vocal coordinations (but not too narrow) and contributes to diminishing the intensity in the lower partials, but the ary-epiglottic sphincter is quite narrow so that it greatly amplifies partials around 3,000-Hz and con tributes a prominent brightness to voice quality (singer's voice
skill
‘p a th fin d ers'
795
5.
and volume are two other skill goals that "free" the neces the jaw-mouth is somewhat widely open on all
vowels to allow the higher-pressure sound waves to dissi
sary larynx muscles to produce the pitches efficiently. After the pattern's pitch sequence is mastered, pattern
pate through and out, thus avoiding acoustic overloading of the vocal folds; a megaphone effect is created. The widely
11-B is sung at the same tempo, so that the larynx muscles
opened jaw-mouth also contributes to the more narrowed
must move at twice the original speed with the same length-
pharyngeal circumference.
ener-shortener adjustments in order to perform the pitches accurately. The same tempo also is used for pattern 11-C,
**
doubling again the speed that is necessary to perform accu
(20)
rate pitches.
Repetition of pattern 11 with efficiency and
increased speed and agility place greater demand on the neuromuscular systems that are involved, so that condi
**
(21)
tioning also increases. As basic tempi, vocal volume, and pitch range are increased, so do the skills and conditioning.
ay - oh - ay - oh - ay
*
Simple harmonization for these pitch patterns was
created by composer Philip Rizzo of Minneapolis, Minne sota. Used with permission. An excellent source for additional sound and pitch
Q u a si-M e lo d ic P a th fin d e r P itch P a tte rn s*
patterns is Oren Brown's book, Discover Your Voice (1996, pp. 265-282; samples on the included compact disk). His simple sound patterns progress to increasingly more strenuous and
The following pitch patterns are elaborations of some
agile voice use.
of the non-melodic patterns. Pattern 11, however, is new. When singing these patterns, a variety of vowels, conso nants, syllables, words, or word phrases may be used to accomplish various goals. All patterns progress downward
(i) ^
K ___ 4r "..... \ ___J.
-J "
o ----- u
from the written pitches by half or whole steps, or mixtures of same, except patterns eight and nine. They progress up
§
ward. The patterns can certainly be used in pitch ranges
*
. .....
:* = ] b =
“O
^
--M =
other than the written ones if fundamental skills have been reasonably mastered. Pattern 11 combines pitch accuracy skills with pitch interval and pitch speed agility skills.
It is presented in
three versions to facilitate the learning of the pitch sequence with pitch accuracy first, and to enable slow-to-fast motor u n it
recru itm en t.
A v o c a lly
in e x p e rie n ce d
and
underconditioned person may begin by singing pattern 11A at the rate of one quarter note every second. The brain, then, has an opportunity to learn how to arrange the vocal fold shortener and lengthener muscles (and others) so that vocal fold ripple-waving rates match the vibratory rates of, for instance, piano strings that are sounding those pitches.
(3)
y
^
r r r r n
yr. L £ v .p ? ? p y - * r r r r u
iJ
j m
=
i
i •j ~ ]
n *n
i= — r
•
Paying attention to releasing unnecessary neck-throat muscles or to vocal tract adjustments related to vocal pitch
796
bodym ind
&
voice
I
—
1
f —
1
(4)
.JUU.
J] 1
f 4 !lc P D hm f i
(10)
q ♦ j . q■# - n -#
l
p i -n J --4 4 - = * = * =
J
ndH
h* 1 1
J? L V J ;
L
'¡T-*Tfr=F
II-Q
_ _ _
1 » ----- 11 ^ 1
,
-r -h r ~
1
r
J
\ \ T d i ......
i
*
- a - -----
i
f
f -----
1
-j-h j-
4 = = - j = •H n F= j= -■ J - j
r ^
n
i
j
± j =
-i.
t -------------
---- f-----
1 s t ---------
\
r
m
b
n
--------- ---------
I s ? -----------------f~
\ ± v w - 4 ...
jii
1 "¡1
- ...... g
.J "1"
1
-
^1
...
( Lpl ------*------Ji------ *----- -j------J t.^ ~ j------J '^ ~ f----= a: \
L c _ r
L jf
.
r.. r - r J
U se o f L a n g u a g e S o u n d s to E n h a n ce V o ic e S k ills One of the fundamental skills of vocal tract shaping **
(9)
in expressive singing is the integration of (1) shaping that
p j 1H H ji—J Jj—JIIJ—JI= j Uu. j b-
contributes to the balanced resonance family of voice quali
11
ties with (2) shaping that produces intelligible vowels and consonants (Book II, Chapter 13 presents vowel articula tion, and Chapter 14 presents consonant articulation).
i
The articulation of any consonant or vowel can alter the exact articulatory "shape" of consonants or vowels ei ther before or after it. In speech circles, this is called the principle of co-articulation. voice
For instance, when speaking
skill
‘p a th fin d ers
797
the word yes [ee-ehs], if an overly narrow tongue-palate vocal tract constriction is articulated on the semi-vowel con
U sin g V o w e ls T o E n h a n ce B a la n ce d R eso n a n ce
sonant [y], a continuation of that overly narrow tonguepalate constriction may occur in the formation of the sub
Using the tongue-centered vowels /u h / and /ah /.
sequent [eh] vowel. The voice quality for both sounds is
When helping inexperienced singers learn how their neck-
likely to be relatively pinched. When, however, the same [eh]
throat area feels when they have released unnecessary neck-
vowel is preceded by a different semi-vowel-the conso
throat muscle tension, the tongue-central and tongue-lax
nant [w], as in the word west [oo-ehst]-that consonant's
vowel [uh] can be used to optimize that sensation. That
brief [oo] articulation will not be as narrow as the constric
vowel is commonly referred to as the "neutral" vowel be
tion on [y], and a more open, fuller, "free-sounding" [eh] is
cause that is the vowel quality that emerges when people
more likely.
just allow their jaws to fall open and tongues to go limp
Suppose that a person's habitual programming for
while they generate vocal sound. It also can be used when
tone quality favors a depressed larynx and tongue-back
the goal is to experience a "released open throat". The [uh]
configuration in order to create a rather dark overall voice
vowel articulation feels most like an "at rest" neutral, "muscle-
quality. In that circumstance, most if not all of that person's
less" way to shape the vocal tract.
vowel articulation programs will include that depressed lar
Alternating [uh] and [ah] by continuing the released
ynx and tongue back configuration. When initiating a change
openness of the [uh] and lowering the jaw to form [ah], and
of bodymind programming to favor more "forward" vowel
noticing no tongue base contraction when changing from
formations, the most neuromuscular "confusions" will oc
[uh] to [ah], can help a singer develop a comfortable, physi
cur on the vowels in which the tongue is necessarily in a
cally efficient [ah] vowel. Noting the relative openness of
more back configuration
the [ah] vowel articulation, and inviting that openness to be
Once a vocalist's tongue-front vowels no longer have a larynx-down-tongue-back orientation, they can be used
a guide, an alternation with [ee] can help avoid or repro gram any tendencies toward a pinched-sounding [ee].
to help the tongue-back vowels toward a more normal,
Using the tongue-front vowels. The [ee] vowel can
more tongue-forward formation. The nearby Do This ex
be used to influence any excessively tongue-back articula
perience is an orientation to using the principle of co-ar
tion, and change them toward a more tongue-forward ar
ticulation to aid in the development of physically efficient
ticulation. The high forward direction of the tongue on [ee]
articulation, balanced" resonance, and clear diction.
can help the [ah] vowel articulation avoid or reprogram any tendencies toward too much "tongue-back darkness" in its quality. In the process, the [ee] vowel can help orient
Do This: (1) Sustain a single comfortable pitch on an easy [eel
[ah] articulation toward higher formant frequencies, and
vowel for a few seconds. Become familiar with your mouth sensations
more sensations of facial vibration and high-frequency tonal
as they have formed the [eel vowel. Then breathe and restart the [eel
"presence" without sounding edgy. The [ih] and [ay] vowels
vowel for about two seconds before you articulate a very slow-
are close in articulatory shape to [ee].
motion transition to an [ah] vowel. As you move into the /ah/,
sounding, both [ih] and [ay] often sound pinched as well.
If [ee] is pinched
allow the back of your tongue to go too far back so that your
Alternating the [ay] and [aw] vowels can help a tongue-
epiglottis covers over your focal folds and a tongue-backward, "bottled
too-far-back (dark sounding) [aw] vowel to become more
up" voice quality is heard.
tongue-forward, meaning that the excessively lowered first
(2)
two formant frequencies are normalized. Then, do the same thing, but this time, allow your tongue's
[eel sensations to lead you toward an optimally tongue-forward [ah], without distorting the [ah]. The easy [ee] can then be used to help your
Rounded and
unrounded lip articulations also may be explored.
Using the tongue-back vowels. Inexperienced sing
brain learn to bring any vowel more "forward" if it is too far "back".
ers, even those that use lip rounding, may not open the
Do that several times; feel and listen.
pharyngeal area enough, and produce a somewhat "pinched"
798
bodym ind
&
voice
sounding [oo] vowel. "Releasing open" the pharyngeal area during [oo] will make possible its use with the tongue-front
(8)
Finally; sing [mah], [moh], [moo], [meh], [mee] several times,
and feel all those sensations flow into each other.
vowels, to help them become less "pinched." The same prin ciple applies in the use of all the tongue-back vowels. When a singer displays a narrow or pinched sound quality while singing rather "high" pitch range passages, a suggestion to "think" an [oo] or [oh] quality into the sound may help open the pharyngeal area in a helpful way.
Using Consonants to Develop Skilled Vocal Coordinations The glottal fricative [h] can be used to help people who have a tendency to create pressed-edgy voice qualities or who use the so-called glottal attack excessively. The vocal folds remain slightly open before they begin ripple-waving
Do This:
Let's assume that you already have explored the
release of unnecessary muscles in your neck-throat area, and some bal ances in your necessary muscles. (1) Open your mouth and softly sustain any comfortable pitch on the vowel [ah]. When you run out of breath-air, bring some more air in and resume the sustained [ah]. While sustaining the pitch, allow your jaw to release open-gently wiggle it left-right-and mas sage the jaw muscles that are located in front of your ears. The goal is an easy [ah] vowel with a flexible, free jaw. (2) Now just touch your lips together (teeth remain separated, jaw floating) and continuously sustain the [m] sound. Breathe when ever you need to, then resume. (3) Next, place your index fingers lightly to the left-right sides of your lips. While sustaining the [ml sound, release your mouth/jaw open into the [ah]. Then "pucker" your lips forward as you change into an [oh] vowel. Did your fingertips feel your lip corners move in and forward? (4) Now change back and forth from [mah] to [moh] several times. Notice the feelings and the sounds, make whatever adjustments are necessaryfor vowel clarity. As you explore, overdo and underdo the shapings on purpose so you can get an improved sense of what is necessary and what is unnecessary for shaping those two vowels with clarity. (5) Now add [moo] to the series and sing [mah], [moh], [moo]. What happens to your jaw and your lip rounding when you change to [moo]? (6) Sing [mah], then sing [meh] and sustain it. Do you feel your throat tube beingfairly open behind your tongue. (7) Now sing [mah], then [meh], and continue the released open throat-tube feeling as you change to [mee] and sustain it. Is it possible to shape a clear [ee] vowel with that open feeling in your throat tube? Many less skilled singers tend to squeeze their throat tube on [ee] but not on other vowels. Their [ee] vowels tend to be overbright and pressed-edgy and distract from musical expressiveness.
to initiate vocal sound. When the nasal consonants [ml, [n] and [ng] occur in an ongoing flow of language, they can be used as connectors of pitch-rhythm-syllable units in speech and singing. They also can be used for resonance balancing in any vowels that follow them-assuming that they are formed with physi cal efficiency in the first place. The nasal consonants are the least audible of all the consonants because they are sounded with the mouth closed, and the nasal cavity diminishes all of their sound wave amplitudes.
When given split-second greater duration
(greater than conversational duration), they have a better chance of being audible at some distance. When they occur in mid-word or are the last sound in words, they can be elongated more than when they initiate words. Another advantage of the extra duration is that the nasal conso nants can be used as brief reminders for a fluent, legato flow of word sounds, and for continuity of balanced resonation within succeeding vowels. Excessive duration of the nasal consonants, however, can easily be overdone to create over articulation that can leave an impression of pretentious ness. The nasal consonants also can be used to develop greater speed and agility in soft palate movement. Alter nating nasal consonants with various non-nasal conso nants and vowels, as in the nonsense word bumini, or an alteration of that word such as bumidi, can further those skills. The [m] consonant, formed efficiently with teeth sepa rated, jaw "floating", and tongue "limp", can help develop an easy, flexible tongue sensation; a released open pharynx; and appropriate facial vibration sensations into the vowels that follow. These are all signs of physical efficiency and balanced resonance.
voice
skill
‘p a th fin d ers
799
The /n/ consonant, formed efficiently, with tongue tip
each pitch can be performed on a consonant-vowel syl
touching the gum ridge above the upper teeth (alveolar ridge),
lable such as /vah/ or /zah/ without destabilizing the steady
can highlight the nasal area vibration sensations even more
soundflow. Singers then can learn how to transfer the steady,
than the [m] consonant The tongue tip's touching to the
more energized midsection breath energy to the speaking
alveolar ridge prevents direct sound wave transmission onto
or singing of a complete phrase with appropriate lung-air
teeth and lips and seems to intensify sound wave impacts
pressure to create increased vocal volume.
in the front nasal area.
fricatives also can enhance the facial vibratory sensations
The voiced
The /ng/ consonant, formed efficiently, prevents di
associated with "forward resonance". The [z] consonant is
rect sound wave transmission onto all mouth surfaces be
preferable with beginning speakers and singers because its
cause mouth closure occurs at the rear oropharyngeal area
articulation is closest to a neutral, at rest formation of the
by a connection of tongue body with the lowered soft pal
vocal tract, and offers the least possibility for introducing
ate. The [ng] formation can be very helpful in helping nov
unnecessary muscular involvement in the neck-throat area.
ice speakers and singers sense a releasing open of the oropha
The stop consonants create an increased "back pressure" on the
ryngeal area. Using a word that ends with [ng], such as
vocal folds and, when articulated efficiently can help teach the vocal
sung, and sustaining the [ng] sound for a second or two, a
folds to adduct more firmly.
Because seven of the nine stop
singer then can learn how to release it into any vowel that
consonants involve a plosive release of airflow and vocal
would be helped by greater openness in the mouth-throat
sound into or from the front of the mouth, they can aid in
area. This co-articulation can be especially helpful in mas
developing the sensations of "forward resonance" in suc
tering a more open formation of vowels that are habitually
ceeding vowel sounds. The /p/ and /b/ consonants are
formed with an excessively narrow tongue-pharynx, or on
preferable with beginning speakers and singers because their
vowels that need more openness for the release of higher
articulation is closest to a neutral, at rest formation of the
pitches and greater vocal volumes.
The sensation of the
vocal tract, and offer the most potential for establishing the
tongue and soft palate letting go and releasing open can help
sensations of ease and a sense of released openness in the
this skill.
throat area. The /t/ and /d/ consonants can be helpful in
In people who tend to speak or sing with a relatively
developing tongue flexibility.
soft vocal volume, several of the fricative consonants can
Among the stop consonants, /g/ and /k/ involve the
be used to learn energized vocal sound-making. Learning
most displacement of the articulators from at-rest. When
to coordinate their articulation efficiently would be the first
articulated with excessive effort, they can influence the vo
step, of course. Energetic initiation of two of the unvoiced
cal tract to become excessively narrowed on the succeeding
fricatives /f/, and /sh/, followed by any vowel, can high
vowels. When articulated with physical efficiency and the
light awareness of midsection muscle involvement when
sense of releasing completely into a succeeding vowel-/kah/
speaking or singing energetically. With beginning singers,
for instance-they can be quite helpful in developing a re
the /f/ and /sh/ sounds offer the least possibility for intro
leasing open sensation in the oropharyngeal area.
ducing excessive muscular involvement in the neck-throat
also can help develop efficient soft palate coordination on
area.
vowels.
They
The voiced fricatives /v/, /z/ and /zh/ can be sus
Many children imitate the sound of car or truck m o
tained while performing all of the pitches of any spoken
tor by performing a voiced lip buzz. Typically, their lips are in
pitch inflection or sung pitch pattern or song phase. Be
a basic /b/-consonant formation, and their tongue tip is in
cause of breathflow resistance at both the vocal folds and
a basic A / location behind the upper front teeth. Lip buzzes
in the mouth, energetic sustaining of these consonants can
also can be unvoiced, with the /p/ consonant as the articula
help speakers and singers increase their sense of steady,
tory point of departure. During these sounds, the lips flap
continuous, energized breathflow-to-soundflow. After sus
very rapidly in response to a steady flow of pressurized air,
taining melodic patterns on a voiced fricative sound, then
and the co o rd in atio n s and sensation s o f energized
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breathflow are necessary in order to maintain the flapping.
1. The one-tap, single tongue-flip version is repre
The formation of the vocal tract during lip buzzes also in
sented in the International Phonetics Alphabet (IPA) with
cludes a relatively wide pharynx and a larynx that is stabi
the symbol /r/. In classical styles of singing, when the single
lized in a slightly lowered location. Many inexperienced,
letter "r" appears in a word, this /r/ sound is used in those
relatively over-effortful singers will experience a release of
languages in which it is the formal practice to do so, includ
much of their unnecessary muscular involvement when
ing British English.
performing lip buzzes, and often achieve register melting
2. The multi-tap, trilled or "rolled" version is repre
when the "motor sound" slides up and down through their
sented in the I PA with the symbol /r/. In classical styles of
upper and lower voice pitch ranges.
singing, when two consecutive r's ("rr") appear in a word,
The liquid and glide consonants HJ, Irl, ly l and /w/, can he used to develop tongue and lip flexibility and agility. In a syllable
this sound is used in those languages in which it is the formal practice to do so.
such as /lah/, the A / consonant, when efficiently articu
3. The semi-vowel version (/er/-like) with a rapid
lated, involves a quick, agile flicking of the tongue tip onto
tongue retroflex (front-to-back movement), as used in the
the alveolar ridge above the upper teeth. The quickness of
United States, is represented by the I PA symbol [j ]. When
that movement may be inhibited by unnecessary muscular
singing a text or lyric that was written by a U.S. writer, the
involvement in the neck-throat area and the jaw.
In the
articulation of /l/, inexperienced speakers and singers may
"r" letter is always articulated in the General American En glish way.
have programmed habitual interfering jaw movement with the necessary tongue movement. The interference reduces
All of the M /r/Marticulations can be paired with con
tongue speed and agility. Isolating jaw muscle action from
sonants that precede them to increase tongue flexibility, as
tongue muscle action will be helpful. Allow your jaw to
in the words train, price, grain, crane, drain, thrill, shrill, and so
hang flexibly from its hinges (almost never moving) while
on.
rapidly repeating spoken /lah/ syllables in varying pitch
To form the rolled /r/ consonant, the tongue body
contours. Sing fast pitch patterns on /lah/ or the "fa-la-la"
seals with the rear upper teeth and the tongue front is cupped
passages of some madrigals such as "Deck the Halls".
and touching just behind the teeth on the alveolar ridge.
The /y/ consonant, when efficiently articulated, also
This is the articulatory point of departure for a voiced or
can be helpful in developing tongue speed and agility, but
unvoiced tongue buzz. It is like a continuous rolled /r/ conso
in the tongue body rather than the tip. When /y/ is com
nant. The tongue tip flaps against the alveolar ridge very
bined with other consonant-vowel combinations, its con
rapidly in response to a steady flow of pressurized air. Al
tribution to tongue speed and agility is enhanced, e.g., the
though the tongue body is bulged, the tongue tip is loose
words your, new, stew, pure, yellow leather, or, "Is your new stew
enough to be "rippled" by the breathflow.
The tongue's
pure?" Repeated [yah] syllables can help jaw flexibility and
base, near its hyoid bone connection, is "easy". The applica
range of motion.
Combinations with the /n/ consonant
tion of the tongue buzz to voice skill development is similar
are particularly helpful in developing tongue and soft pal
to that of the lip buzz mentioned earlier. It can help some
ate agility with forward resonance, such as yellow needle.
over-efforting singers to observe the sensation and sound
The /w/ consonant, when efficiently articulated, can
of a more flexible neck-throat area during speaking and
be helpful in developing lip-rounding speed and agility, es
singing. Some people can do both sounds, some only can
pecially when it is combined with other consonant-vowel
do one or the other, and some have not yet discovered
sounds. This skill may be enhanced by speaking and sing
either skill.
ing pitch patterns on words such as twenty-one/twentytwo/twenty-three/twenty-four/twenty-five. The /r/ consonant can be articulated in three basic ways.
R eferen ce Brown, O.L. (1996). Diego: Singular.
Discover Your Voice: How to Develop Healthy Voice Habits.
voice
skill
‘p a th fin d ers
San
801
Table V-5-1 Consonant-Vowel Combinations for Increased Myofunctional Efficiency in the Neck and Orofacial Areas Focusing on Action of the Lips
Focusing on Action of the Jaw
lowly
yah-yah-yah
yowee, yowee
yackety, yackety
wee willie wonka
folly
winking while the wish is wasting
m'golly
pouring pots of boiling broth
flow— ing
Walla Walla Washington
Focusing on Action of the Soft Palate Focusing on Action of the Tongue
nomination
glide/Clyde;
Menominee
glub/club
Shawnee
glaze/clay;
I've god a code id by doze.
glen/clef;
bupatee
gliss-cliff;
megadance
glee/clean;
macademia
glass/class;
mining
gloss/claw;
Minnesota
glow/clone;
si— ng a so— ng
glue/clue; lolly collie golly lah-lah-lah (while your jaw is allowed to just hang easily from its "hinges") red leather, yellow leather pah-tah-kah/kah-tah-pah statistical analysis
Focusing on Action of the Pharynx, Ary-epiglottic Sphincter, and Larynx (refer to Book II, Chapter 12) ten foot giant sounds bugs bunny sounds percentages of "yawn feel" that match degrees of vocal volume and pitch level releasing throat and mouth open with breath inflow, and continuing a sense of released-open circumference space and vertical space while vocal sound flows out
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chap ter 6 helping children’s voices develop in general music education Anna Peter Langness
T
hroughout the history of music education, children's
vocal exercises and drills. Unfortunately for the generations
inability to sing accurately has been a primary con
of music educators to come, vocal skill-building techniques
cern. Vocal problems were attributed to a variety of
were also omitted in the teacher training. It was thought
causes such as the result of poor pitch discrimination, lack that children would learn to sing simply by singing.
of musical talent, lack of experience, or lack of attention or
In maintaining a positive, successful atmosphere, teach
effort Inaccurate singers were perceived not only as being
ers then were faced with another set of problems. What
"problems" in the classroom but also as being "deficient" or
response is given to the child who sings out-of-tune? How
as possessing less "musical intelligence" than the accurate
would a child who is singled out for individual vocal help
singers. In textbooks, inaccurate singers were referred to as
feel? If the teacher worked with individuals, could the class
droncrs, monotones, croakers, and other derogatory labels. Seating
maintain interest and attention? Could musical study pro
charts designed to "help" the inaccurate singers labeled them
ceed at the necessary rate? Should the teacher spend time
as "negatives" while tuneful singers were "positives"
working with individuals when it is highly possible that no
Helpful hints were given for eliminating the inaccura cies from musical performances. Untuneful singers could
immediate or lasting results would be obtained? How could the teacher speak positively about unsuccessful results?
silently mouth the words, play an instrument, become living
Many teachers and children have experienced frus
props such as trees, or assume the honorable and respon
tration as a result of classroom singing experiences. Many
sible position of curtain puller.
For these and many more
teachers may feel threatened by a failure to produce quality
reasons, children who could not sing accurately received
singing because their professional ability is measured by
many reminders of their personal, musical, and vocal inad
student success. Blaming the students' lack of talent rather
equacies. They learned that their presence in a singing group
than the teacher's lack of knowledge and abilities may have
or activity was not desirable.
become a professional survival technique. As a result of
In the 1960s when the child-centered approach gained
vocal frustrations or failures, some children become turned
popularity, music education aimed at success for every child
off to all musical activities involving singing. Again, blame
in music.
is placed on music class or the music teacher, rather than
The feeling of success was closely linked with
liking music.
Teacher training methods now focusing on
on the incomplete voice education that music teachers re
student involvement recommended techniques for song-
ceive. The solution for teachers and their students lies in
singing activities and avoided tedious and much disliked
preservice and/or inservice voice education.
ch ildren 's
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V o ic e E d u c a tio n in T h e E le m e n ta ry C la ssro o m
D e v e lo p in g V o c a l A w a r e n e ss Matching a single pitch is often considered the first
When singing is considered a developmental skill rather
step in developing singing ability. Such a beginning, which
than a talent, much more promise can be held for the future
focuses on the accuracy of sound, requires particular vocal
of human self-expression. Singing skills can be expected to
muscle coordinations; vocally, this is an advanced step. For
develop over a period of time as do linguistic and motor
many children, awareness of personal sound-making ca
skills.
The "Continuum of Vocal Development" hypoth
pabilities (speaking and singing) is a necessary first step.
esized by Welch (1986) and the "Categories of Vocal Skills"
Vocal exploration and personal knowledge of what voices
identified by Rutkowski (1988) indicate clearly that vocal
can do lead children to more positive experiences and ac
skills develop over a period of time and are affected by
curate singing. Consider following Bennett's (1986) explor
experience and guidance (Book IV Chapter 3 has details).
atory approach to developing vocal awareness that leads to
Knowledge of these developmental stages helps teachers
rather than begins with pitch-matching experiences (Table V-6-1).
accept the differences among children's vocal skills and to choose the most beneficial type of vocal development ex periences for inclusion in singing experiences. Research into children's vocal range suggests that there
Table V-6-1 Six phases in the development of vocal awareness and
is generally a positive relationship between developmental
voice skills (After Bennett, 1986).
skill level, age, and comfortable singing pitch range. That is, the younger the child, the greater the likelihood that he or she will have limited vocal skill development and a limited comfortable vocal pitch range (Welch, 1979b). This com fortable range tends to overlap the child's habitual speaking range. The comfort of singing where voices are most fre quently exercised may relate more to habitual use than to actual ease of vocal production. Teachers are given many ideas for achieving pitch-accurate results from children;
Phase I:
Experiment with their voice quality and pitch range possibilities. Phase II:
Describe how their voices feel as they experiment, where they experience physical sensations of vocal production, and how voices sound to the pro ducer and others. Phase III:
Match the quality and range of the teacher and other students in singing and speaking. Phase IV:
than helping vocal production. For example, teachers have
Decide which labels best fit a given vocal sound (high/medium/low, loud/ moderate/ soft, light/heavy/energized/strained).
the options of choosing songs of a limited range, changing
Phase V:
however, the ideas more often involve altering the music
(usually lowering) the key of the songs, or altering the melo dies to fit the children's range. In response to the research findings and teacher requests, music textbook and choral
Produce a particular sound according to a given label (high, smooth).
Phase VI:
Produce a specific pitch (or pattern) to match one given by another voice or instrument
literature publishers have scored children's songs in lower keys to fit within the so-called comfortable singing range. Some continue to do so. All of these practices should be
Throughout these phases, the children become aware
considered short-term or partial solutions for achieving
of the sounds and sensations of vocal production as they
accurate singing. Techniques that aid the development of
develop the muscular coordination necessary for refined
children's singing skills would offer the preferred long-term
vocal coordination. Concurrently with their experience of
solution.
vocal production, the children acquire a vocabulary for describing pitch, dynamics, quality and production. While these phases are somewhat sequential, progression through them may move quickly and some phases may be repeated with varying tasks.
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Goetze (1985) and Goetze & Horii (1989) examined
giver's knowledge or intentions may be questioned.
For
factors that affect singing accuracy. Surprisingly the studies
example, "You have a fantastic voice!" or "That's perfect,
found that children sing pitches more accurately when sing
absolutely beautiful singing!" Students may wonder if the
ing individually than when singing with a teacher or with
teacher didn't hear what was wrong or if the teacher thought
other children. Ternstrom (1994) has provided a possible
they were not "smart enough" to know the difference. The
explanation for this phenomenon by finding that the audi
students also may sense that the praise was used to make
tory feedback for a singer's own voice is reduced when in
them feel good, to like choir or music class, or to like the
close proximity to other singers and when other singers are
teacher, rather than used to help them become more com
singing the same pitches. Music educators may find that a
petent. Too often, praise can leave students feeling that they
predominance of group singing experiences may actually
have pleased the teacher, but knowing nothing about their
hinder the development of pitch accuracy and other voice
singing.
skills in some children. In addition to the unison singing
When teachers are knowledgeable of the singing pro
factor, Goetze found that singing the song on a neutral syl
cess and give helpful information through feedback, then
lable, such as "loo," results in more accurate singing than
students can feel ownership of their achievements and suc
when singing the text.
cess.
F eed b ack
feel rather matter of fact compared to the hype of positives
For the teacher, information-giving statements such
as, "That sounded like it was in your upper register? may and praise, yet the sense of knowing what skill has been Feedback that is given to students regarding their sing
achieved creates a different kind of pleasure, thrill, and ex
ing is yet another factor that needs examination and evalu
citement within children that may have a more lasting ef
ation.
Welch (1985) identified the need for the singer to
fect. That pleasure is the feeling of self-esteem that comes
receive specific information about the results of his or her
from mastering their perceived world, particularly their own
vocal performance. In order for learning to take place, singers
voices.
must know the outcome of their performance so they will know how to continue or improve future singing. The kind of information that is given to singers depends on the
V o ice E d u ca tio n : T h e V o c a l M e c h a n ism
teacher's knowledge of the singing process as well as the present skill development of the children. Teacher feedback
Children of all ages are curious to learn about them
often pertains only to the accuracy of the pitch pattern and
selves. Knowledge of the vocal mechanism promotes ac
does not include aspects of the vocal coordination that pro
ceptance of individual differences in skills and motivates
duces the pitch pattern. A popular practice of teachers is to
personal skill development. Information about voices and
offer only positive feedback in the form of "praise" (Langness,
vocal production can be given in simple, descriptive terms.
1986; Bennett, 1988). While pleasant, complimentary state
Some of the technical terms can be used with children of all
ments tend to make everyone feel good, little or no infor
age levels. Technical terms are appealing to many children,
mation is given about the student's vocal output. Extremely
and all children need meaningful terms. In most cases, the
positive teachers who issue nothing but superlatives may
following description is understandable:
be surprised to discover that judgmental messages are still
The parts of us that we use to make vocal sounds are
being given, even though they are not intended. Such su
made of our own growing, living tissue. Just like our faces
perlatives as Fantastic, Excellent, Good, O.K., and All right may
and hands are different, so each person's voice is unique.
represent or feel the same to the students as Good, Average,
Singing involves the coordination of groups of muscles that
Acceptable, and Poor or the grades A, B, C, and D.
move in a variety of ways to operate the vocal folds. When
Praise also has a negative effect when it is perceived as an inaccurate or untrue assessment.
If the praise doesn't
we breathe for singing we feel the muscles of the midsec tion/abdominal area release as air fills our lungs. Then as we
match the recipient's perception of the outcome, the praisech ildren 's
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sing and breath is flowing out of us, we feel the same muscles
will be flexible for singing the patterns of melodies. And, the muscles
contract or tighten.
involved with breathing will be able to send the energized
One set of muscles brings the vocal folds together for making sound and apart for inhalation and rest
breath
flow your voice needs. This may sound familiar to you or it could
Some
sound somewhat complicated. Whichever it is, I am quite sure that in
muscles shorten the vocal folds for the production of slower
our explorations we will be surprised to discover what our voices can
vibrations or "lower" pitches, while others lengthen the vocal
do.
folds for faster vibrations or "higher" pitches. In order to
As teachers and leaders of our classes, we are models
sing an exact pitch or a melody that we hear, all of the
for our students.
muscles used for singing must become coordinated so our
efficiency in vocal production are present as models for
Our body alignment and freedom and
voice produces the same pitch ormelody that we hear. This
our students, whether or not they are conscious of it. Con
hearing and singing process is called ear-brain-voice coordination.
sider also that we can model how to be a keen observer and an acute listener, how to be responsive to expressive
S u g g e stio n s for F a c ilita tin g V o c a l E x p e rie n c e
ness and appreciative of student efforts and achievements. Monitor your vocal use in the classroom and know your voice well.
Check what your comfortable range is
The ideas presented here are suggestions for helping
when vocalizing and singing in the classroom. Will your
students gain vocal experience through exploration and
range expand or limit the exploratory experience for the
discovery. The ways of setting up the experience and en
students?
gaging individual participation are equally important to the
vocal exploration and then involving individual students
vocal tasks that are being invited. Rather than a correcting or
to model variations, extensions or extremes of that idea.
fixing approach to voice education, the teacher focuses on
Besides the value of including students as leaders, this prac
creating a setting that invites vocal responses, guides the
tice will allow you some vocal rest. Review your teaching
experience, then facilitates exploration and provides feed
practices to find other ways your vocal fatigue factor can be
back that informs and instructs.
diminished.
Establish the practice of modeling an idea for
For example, cultivate a habit of listening to
When you begin teaching, prepare students to under
the students sing without you. Communicate your interest
stand the importance of the voice education studies in your
in hearing their vocal skills and monitoring their progress.
classes. A key expectation of voice study is that all students
This will allow students to grow in confidence and vocal
will learn to use their voices in healthy ways and to sing
independence.
tunefully and expressively. Every student will help moni
Conduct a physical warm-up routine with children
tor his or her personal progress towards meeting those ex
that involves the whole body in stretching and in move
pectations. When students are informed about vocal skills,
ments that bring an awareness of sensations and body align
they can set personal goals for their vocal development.
ment. Children will become aware that singing is a body
An introduction to the focus on voice study could be as
and mind experience that requires them to be physically
follows:
and mentally active. Let children know the purpose and
In addition to learning about music, we will learn about our
benefits of the playful exercises.
voices and how to use them for singing and speaking. One of our
Begin vocal exploration with speaking and sound-
expectations is that every student will gain vocal skills. Just as in physical
making ideas using nonspecified pitches. Ask questions and
education you learn better ways that your body can walk and run, in
give challenges using words to elicit vocal responses. This
music class you will learn more efficient ways your voice can speak
may engage students to a greater degree and bring about
and sing. It will be helpful if you develop a habit of singing and
more vocal exploration than if students just echo your
participating in every exercise and activity so that the various sets of
model. Also, our model implies that the pattern and pitches
muscles that work in specific ways and that work together for singing
should be matched. Our descriptive questions invite stu
can become conditioned and coordinated. Your voice will become able
dents to give "a" vocal response rather than a "specific" vo
to produce a wide range of pitches throughout your voice registers and 806
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cal response. The following sequence of directives and ques tions is how such a session might proceed:
• Make sustained tongue brrrrs, add voice. "Brrr" the melodic outline of songs. (Note that the "brr" stops when the breath energy level
• Explore saying "hello" three ways with your voice. • Say "hello" in three different places of your range.
is inadequate even though the voice may continue the pitch.)
• Say "hello" with a different feeling. Treat breathing as a natural function and draw aware
• Let your sound move around when you say "hello."
ness to efficient breathing through observation and explo
("move" to different pitches) •Feel your voice change sounds when you ask, "Where
ration, rather than beginning with routine "how to" instruc tions or a demonstration of "the correct" way.
are you going?" • Let your voice stretch (extend) certain words of that question.
observing the students' breathing habits.
Begin by
Note habits of
chest and shoulder movement on the inhalation that will
• Let your voice make a wavy sound.
need retaining. Have students notice what happens when
• Listen for sounds that move a further distance.
they sing while lying on their backs, with knees up and feet
• Who has another idea?
flat on the floor. Ask students to notice what they feel and
• How would this sound? (Draw or gesture patterns
hear when they sing a song with their eyes closed. Have
of change: curving and angular lines, varying speeds, smooth
them describe the sounds and sensations. Usually students
and abrupt changes.)
have a heightened awareness of their own singing and the class singing sounds different from when they sit or stand.
When talking to students during vocal studies, take
Next, have them put one hand on their chest and one at
care to refer specifically to their voices. Notice in the fol
their waistline (on their tummy) while they sing and notice
lowing examples how the subtle shift to the person's voice
what happens. They usually observe which hand moved
focuses the study on the vocal response instead of the per
when they were singing. Have them explain when the hand
son.
moved. For those whose chest moved, ask them to experi • Listen to John's voice call, "Where are you?"
ment to see if it is possible to have the "chest hand" remain
• How would you describe what John's voice did?
still and let the "tummy hand" move when the air comes in.
• Let me hear how your voice would ask, "What are
As everyone continues to experiment, ask them to notice
you doing?"
how the tummy (abdominal) muscles move out or expand
• Susan, let me hear your voice say that again.
when the air comes in and moves in as they sing, sending a breath energy flow for their voice.
This shift of attention can feel less threatening for stu
During vocal exploration, gradually change from
dents. Classmates are asked to listen to the voice, not the
speaking to singing short patterns or phrases. Extend the
person. They describe the sound of the voice, not the per
speech pattern into song. Speak and sing the patterns in a
son. The singer also can then join objectively in the discus
variety of pitch locations.
sion about his or her voice. This shift should enable some
patterns from song repertoire.
students to receive feedback without becoming defensive.
pattern, sustain pitches, sing the pattern at many pitch lev
Utilize sounds that require breath energy to explore
Play with sounds of the
els. Examples of these follow:
and develop an awareness of the breath. Avoid contests for sustained output. The competition often triggers pressur
Explore speaking and singing
• "Where are you going?" (extend speech pattern into song)
ized breathing and related tensions. Explore with the fol
• A -----shes, Ashes" (Ring Around the Rosy)
lowing ideas:
• "Oh Here-------- " (Oh Here We Are Together) • "Blue-----bird" (Bluebird Through My Window)
• "Whoooo" in ghostly sounds. • "Cushion" lower tones with breath. • Sustain lip buzzes using breath only, then add voice to the flow of air to produce vocal slides (motor sounds). ch ildren 's
Further develop and demonstrate increasingly accu rate vocal coordination by producing sounds from pre voices
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scribed labels, by echoing patterns, and by matching a part
the expressive nature of the consonants and the vowels.
ner. Offer these type of challenges:
Avoid mechanical chanting of the text or rhythm syllables
• Begin medium-high and glide lower.
as a means of learning the rhythm of the song. Remember
• On a medium sound, begin softly and add more
to use an energized, expressive sound.
and more breath energy.
Monitor the singing experience that occurs during class.
• Sing a pattern for us to copy.
Notice that many songs sung with accompaniment may lie
• Sing your pattern, then repeat it as your partner
within the same, often limited, range. The upper register of
blends with your sound.
children's voices will not become conditioned, strong, and comfortably used if it is not used regularly.
Vary the vocal exploration format for responding with a variety of patterns for individual and class responses. Let
Sing some
songs unaccompanied so that the key can be changed oc casionally.
After your students are more knowledgeable
each student respond in rapid succession. If one child hesi
about their voices, use a sports analogy and become the
tates, cheerfully indicate that you'll return for another chance,
Vocal Coach. Present a "pregame plan" for singing a song.
as you quickly move on. You may say, "If you aren't ready
Point out to students what demands the song is making of
or miss your turn, I'll come by again." Be sure to remember
the voice. Your coaching tips and cues can make students
to do so. Alternate individual responses with whole-class
conscious of what the voice needs to do, remind them how
responses. This keeps everyone alert, vocally prepared for
to prepare their voice, and alert them when special places
individual responses, and provides more vocal practice.
are approaching in the song.
Have all students prepared to respond, then gesture in ran
M any of the children's songs, and folk songs for
dom order to indicate who is to respond and who will be
younger children, can be sung in different keys at many
next.
This gives a moment of preparation for the singer
different pitch levels. The change of key can add playful
and creates a flow of responses. Have students respond as
ness and interest to the song. Consider the helpful effect of
individuals, pairs, small groups, or as groups that are lo
singing in a key where most of the pitches lie in the upper
cated in sections of the room. Let a student indicate who
register. Sing songs, such as "Bluebird," in a key where the
will respond or how responses will be given. Use the "se
song begins in the upper register. When most of the chil
cret singers" technique which involves individual singing
dren are ready, introduce some songs in a key that invites
and careful listening by class members. The class, with eyes
upper register pitches (as long as the higher key still fits the
closed, stands in a circle while the song is sung by the se
mood and character of the song). If they are sung in that
cretly designated students or students. Students are instructed
key several times, the children will form auditory and sen
to sing only as they feel a touch on their shoulder.
The
sorimotor memories of the song that will include the pitches
"touch" may indicate varying lengths of singing time for the
and the motor coordinations that were used in that key.
individual and may contact more than one person simulta
When playing singing-games in class, the repetitions of the
neously. Class members need to focus their listening on the
song can become very tiring for voices. You will notice that
song so that each person will be ready to continue singing
the students' energy and interest in continuing the game is
the song. As additional challenges, listeners can count how
not evident in their singing Changing the key to higher and
many voices are heard individually or simultaneously, or
lower pitches will diminish fatigue, provide practice through
they can identify the singers.
out the vocal range, and will breathe new life in the game.
When learning songs, briefly explore from sound-mak
Simple reminders given with gestures or few words
ing or speaking to singing so that individual voices are pre
help the beginning singer to stay aware of their voice. Quick
pared for the vocal challenge of the song. Use the tech
cues before singing begins can feel more helpful than re
nique also to focus on patterns that need attention for ac
minders after children have sung. Give reminders to begin
curacy.
the song with a light, cushioned feeling (particularly songs
For variety in the approach to new songs, learn the text through exploration of expressive speaking. 808
bodym ind
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voice
Explore
that begin on low pitches).
Cues for breath intake and ease of releasing breath
Notice that children describe many characteristics of
with the voice aid the child in practice. Allow a child who
sound and vocal qualities. They are highly attuned to voice
has just gained use of the upper register to give the begin
quality, which many times overpowers their awareness of
ning pitch of the song in his or her upper register and then
pitch.
start singing the song with that same feeling and sound.
meaning more from the tone of voice than the words. In
Remember that from birth children have acquired
Provide many opportunities for children to sing alone.
viting their observations during our lessons results in a
Consider singing a natural way to give answers in class,
holistic approach to voice. While this may seem overwhelm
such as when children explain what they heard or give new
ing initially, the wide range of their observations actually
ideas for words of a song.
simplifies the learning process. Students become aware of
Help students take pride in
developing skills for being the song starter -
giving the be
the many characteristics of sound and have many oppor
ginning pitch of a song and starting the class singing. Have
tunities to listen for what others hear. As class experiences
That is, two
continue, the study can be guided to focus on various as
people or groups sing parts of the complete song, without
students be leaders for antiphonning a song.
pects within the whole. A clearer, deeper, and broader un
repetitions. The leader and the class "pass" the song back
derstanding results.
and forth. Antiphonning can be done with partners, small
The teacher's descriptions add music terminology to
groups, and by the whole class as individuals "passing the
the students' vocabulary for vocal sound and leads to more
song" around the circle.
refined descriptions of sound. Encourage the use of "higher"
Explore the effects of resonance resulting from chang ing the mouth openness. Listen to the difference when indi
and "lower" to indicate relative pitch relationship. For ex ample:
viduals open their mouth to different degrees. Notice the
• The pattern began medium-low then moved higher.
effects from too much effort - mouth too big, exaggerated
• It started medium-high then glided lower to a me
lip movements.
Observe and listen to find the optimum
dium pitch. • First it was soft and then it gained more energy.
use. Guide students to become keen observers and listen ers. Involve them in describing in words and gestures what they hear in a vocal response.
Be sure they describe the
sound rather than evaluate it or judge the effort.
Expect
Notice that interest in listening to and describing vo cal sounds allows the teacher to give informational feed back about the vocal production process, vocal quality, or
and accept descriptions that differ. Student descriptions may
aspects of melody and pitch.
more accurately describe what the listener heard than what
student efforts, but avoid habitual use of evaluators or praise
Encourage and appreciate
the singer sang. Accept the differences among listeners. These
statements. Let excitement generate from the student's thrill
differences provide important cues for you as the teacher
or satisfaction of vocal accomplishments, rather than from
about individual musical development.
Children's ability
teacher approval. We don't need to say, "That's the sound I
to discriminate vocal sounds and develop vocabulary to
wanted," "I liked the way you sang that!" or "Now that's a
describe sounds grows quickly.
good sound."
Experiment with asking
questions that elicit a description of sound, such as the fol lowing:
Remember that our tone of voice and facial
expressions can convey our excitement and approval while our words give information. Explore the various intensity
• Tom, what did you hear Sam's voice do? • Juan, how did Tina's pattern move?
levels possible with the following feedback: • Aaron, it sounded like your voice flipped into the
• Show (draw in the air) how the sound moved that
upper register that time!
• W hat did you hear? (Generally ask for several de
your voice sail free and clear.
• There! You used plenty of breath energy that helped
time. scriptions of the same vocal response.
• What a gentle, soft sound. And I heard every pitch
• How did it sound to you?
and word.
• How would you describe it? ch ildren 's
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K eep M u sic a l S tu d y B oth M u sic a l an d H e a lth y
each of them are not explored. There is also a tendency to overemphasize these movements in an effort to "help" the learners hear and experience the beat or rhythm. This over
Maintaining consistent vocal awareness and sensitiv
emphasis may then be expressed in the voice. When rhythm
ity is a major challenge for the classroom music teacher.
is ver-y pre-cise-ly ar-tic-u-lat-ed, it results in a loss of
Frequently teaching techniques and activities that are used
musical shape and ongoing flow. Research finds that rhythm
for motivating student interest and involvement and for
is more easily discriminated without the presence of words;
practicing music reading have a negative effect on vocal
therefore, singing on a neutral syllable, such as "du," would
production. It is helpful to consider that these useful and
aid the focus of attention on rhythm pattern.
necessary activities have a "flip side" or a point at which
Teachers frequently indicate the melodic line by show
they induce conditions that adversely affect vocal quality
ing pitch levels with the hand or by using the Kodaly/
or production, that change from the intended purpose, or
Glover/Curwen hand signals. These techniques can indi
that result in unmusical performance. These rather subtle
cate how the melody moves and, if the spatial location of
differences have a strong effect in the musical art.
Their
the hand positions are consistent, they can show the rela
long range effects can have a great and lasting impact on the
tionships between pitches. In the Kodaly/Glover/Curwen
students' musicality.
system the tone syllable names also are associated with the
The key to preventing unintended results from study
particular shape of the hands. These are very effective means
activities is the teacher's awareness and sensitivity - aware
for leading singing without the use of the teacher's voice.
ness of the possibility of negative effects during study, and
They also are visual metaphors of pitch movement that
sensitivity in listening to vocal quality. All aspects of music
allows children to "see" vocal pitch change.
learning should be analyzed from the point of view of
When children use the hand signals, they have a ki
healthy, musically expressive singing. And, on the positive
nesthetic sense of pitch direction and magnitude of change.
side, vocal exploration experiences should be examined for
These beneficial tools can work against vocal production
potential music learning benefits.
when pitch changes are shown only on a vertical plane. When the teacher indicates the high pitches (faster frequen
A L o o k at th e 'F lip S id e '
cies) above his or her neck and head area, a visual as well as physical sense of "reaching" for high pitches is experi
Movement can free singers from tensions and inhibi
enced and often results in sympathetic and inefficient rais
tions. It can energize singing and evoke a quality of singing
ing of the larynx and squeezing of the vocal folds.
expressiveness that descriptions or instructions cannot con
perception that higher pitches are difficult to produce also
vey. Movement can have a negative effect when the activity
results. Remember: higher pitches are produced by a length
The
level, such as that in some singing games, creates a demand
ening of the vocal folds, and that physical action has much
for breath that makes efficient singing difficult or impos
more of a horizontal orientation than a vertical.
Some types of movement evoke raucous singing.
Hand signals and levels are often shown in an abrupt,
Movement or the game can overload the student task so
sible.
choppy, precise fashion, rather than in a flow that is ex
that focus cannot be given to the song or the singing. Also,
pressive of the spirit of the song. Hand signal positions will
movement for the sake of developing the students' beat
evoke more musicality when they are shown relative to the
awareness often causes the singing to become heavily beat-
range of the song rather than in a static position. For ex
accented and unmusical.
ample, Do is not always low; let it's spatial position be rela
Clapping, tapping, patsching, walking, and marching are w onderful m otor m ovem ents for dem onstrating
tive to the range of other pitches in the song, that is, So to Mi.
children's ability to hear, feel or imitate and perform the
On the same topic, pitch need not be represented only
beat or rhythm patterns. These types of movements easily
in its relationship to the staff; that is, that high pitches are
become unmusical when the expressive ways of executing
up or at the top, and that low pitches are down or at the
810
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bottom.
Pitch changes can be explored on other planes
ano is physically removed from the singers and the oppor
such as the in and out horizontal plane that is most consis
tunity to hear individuals. The score and the piano become
tent with the action of the vocal folds when changing pitches.
barriers between the teacher and the singers.
In the world of music, pitches are represented in a wide
Following notation (notes, marks, dots) is important
variety of spatial planes, so explore pitch changes horizon
for connecting sound to the symbols in the music reading
tally left to right, as on the piano, or diagonally as on a
process. Reading symbols becomes unmusical and affects
guitar.
singing when each note or beat group is accented or em
Instrumental accompaniment adds to the style and harmonic elements of a song.
phasized. The slower tempo that is used to accommodate
It allows students to gain
reading speed or the motor abilities of children results in
knowledge from learning to play the instruments. Instru
the loss of the musical shape of patterns within the phrase.
mental accompaniment has detrimental effects on singing
Sensitivity to note groupings (expressive units versus
when the playable keys restrict the range of the singing ex
measures) will increase musicality if practiced from the ear
perience over a period of time. During the initial experi
liest music reading experiences (Thurmond, 1982).
ences of playing instrumental accompaniments, all songs
note groupings (based on words, not measures) are con
may be sung in the same key over several lessons. Keys
gruent with word phrases in the text as well. The common
These
chosen for ease of instrumental playing may place songs
method of practicing note reading in measure groupings
totally within the lower register range for the singers and
distorts the musical sense of small units as well as the phrase.
may contain pitches that are actually below the children's
The rhythm within a single measure usually contains a set
singing range. Also, songs may be placed where the "devel
of words that are not expressive units. For example:
oping" singers should change registers, but often cannot. Frequently, the interest and effort demanded by the perfor mance of instrumental accompaniments overshadow giv ing attention to singing quality. The instrumental sounds my interfere with the vocal auditory feedback to which the
¡^ — r c r mu
-
sic, sweet------
1
|J
mu
-
J
sic, thy—
iJ j J J i prais - es
we will
developing singer is learning to respond. While the draw backs of using instrumental accompaniments seem over whelming and present an ongoing challenge for the teacher, they can be effectively overcome if the teacher manages the
These measure-patterns present the words mu-sic, sweet, music; thy, and praises we will.
conditions created for the singers. The piano is essential for choral performances and is most commonly used for accompaniment in the classroom. Use of the piano for all classroom singing has a potential for a multitude of problems.
The greatest negative effect
S j t ü s L * £ = £ =1 J • 0__ mu - sic, sw/eet— mii - sic, thy--- prais - es w(; \vi11 sing;
results from playing with a heavy touch. Singers sense that they must match or surpass the instrument's volume, and most likely will match the harsh, heavy quality as well.
If the anacruses (pick up notes) are included and the
Another pitfall is that of playing the melody or the exercises
patterns are based on expressive word groups, the word-
loudly to "help" students hear and, therefore, sing accurately.
and-music phrases would be Oh, music, sweet music, thy praises
This playing typically changes the singing quality of the
we will sing. Children would more musically prepared to read
musical line. Further, it removes the need to listen and pre
notation if they consistently rehearsed and studied song
vents sensitive listening. Also, children are more successful
units that were congruent with whole word-and-music phrases
in matching pitches with a voice than with an instrument.
within the songs they sing.
For very young children, the presence of harmony confuses their singing efforts. Finally, the teacher who plays the pi ch ildren 's
voices
&
general
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811
O b se r v in g T h e E lu siv e O b v io u s in T e a c h in g -L e a rn in g S itu a tio n s
4. Analyze the flexibility of voices in speaking exploration. Do voices produce a variety of pitches? Do voices move with ease? Do voices utilize the upper register? Are voices "stuck"
Teaching-learning situations present an opportunity
in the lower register? Is there a noticeable shift in muscular
to observe and analyze the complex setting that occurs daily
coordination between registers or is there a smooth, melted
in the music education of children. During singing, some
transition?
teachers may focus only on the pitch accuracy of the vocal
5. Observe the habitual breathing of children during silence,
outcome. Teachers with some vocal training also may ob
speaking, and singing. Do shoulders remain still or do they
serve aspects of vocal production.
rise with inhalation? Is inhalation silent or does it include
Two very important
considerations of vocal instruction are:
noticeable air turbulence noise?
1. how children are engaged in the singing experience; and 2. the kind of feedback they receive.
Do chests remain open
and free while singing or do they rise and fall? Do you hear evidence of adequate or inadequate breath energy? Does breath energy maintain its flow during buzzes, brrs, and sing-
Extending and deepening an awareness of, and a sen
ing?
sitivity to all such events while teaching can become one of
6. Observe the effect of movement or gestures on vocal produc
a teacher's career goals. The following guidelines can be ex
tion. Does movement aid in establishing the comfort of the
tremely helpful for increasing your observation and analy
singer? Does game movement overload the task of singing
sis skills in teaching-learning situations:
and moving?
Does movement help generate breath en
ergy? Do specific gestures aid breath energy flow, easy lar O b s e r v in g a n d A n a ly z in g V o ic e E d u c a tio n in T e a c h in g -L e a r n in g S itu a tio n s
ynx coordinations, and released open throats and mouths? Do specific gestures aid the production and awareness of
1. Notice the comfort level of the group. Is it the same for all individuals? How does it change during group and indi vidual activities? How do individuals respond to the "solo" singing of others and themselves?
Notice an individual
before, during and after "solo" voice experiences. Is there ver bal or nonverbal support among the children?
How is
willingness or unwillingness to participate communicated? 2. Observe the child's habitual body alignment and balance. Is the weight distributed on both feet or shifted to one foot? Is the chest area open and free, or dropped with shoulders rounded forward? Is the head in the easy "pivot" mode or does the head move forward and down? Is the back deli cately lengthened or rounded in a slump? Is the abdominal area free or compressed in a slump? Do these conditions change when singing? What changes take place when stand ing or sitting on a chair or the floor?
pitch changes?
Do specific gestures suggest reaching for
high pitches (a possibly negative effect)? 7. Track the modeling of vocal sounds and pitch patterns. What is the quality and character of the teacher's speaking and singing? When does the teacher model an exact pitch pat tern? When does the teacher model an idea to be developed by the children? When is the teacher silent? When and how does a child model? 8. Listen to the voice quality and pitch range during individual and group singing.
Is "singing quality" experienced (as op
posed to "yelling quality")? Do children sing in heavy, forced, light, weak, raspy, breathy, or clear, free voice? Do children sing in upper register as well as lower register? Do children sing pitch patterns accurately (alone, in unison, or in parts)? 9. Notice the teacher's statements.
Which are questions,
instructions, praise, or feedback? W hat are some specific
examples? How are statements worded and how are they Listen to the quality and pitch area of the speaking coordina inflected? W hat is the focus of questions? When and how tions. Are voices clear, strained, breathy, raspy, or hoarse? are praise statements given? What are the noticeable effects Is the range high, medium, low? Is the vocal production of the praise? W hat voice education information is given light or heavy? Is it produced with adequate breath enthrough feedback? W hat information is given through in ergy? struction? 3.
812
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Rutkowski, J. (1988). The measurement and evaluation of children's singing voice development. Unpublished manuscript.
C on clu sio n The basic principles of voice function are the same at every age level. W hat would happen in children's singing if
Ternstrom, S. (1994). Hearing myself with others: Sound levels in choral performance measured with separation of one's own voice from the rest of the choir. Journal of Voice, 8(4), 293-302.
every music educator were to apply the principles of healthy
Thurmond, J. M. (1982).
vocal production to the teaching of expressive singing? What
Style in Musical Performance.
would happen if all teachers of children continuously
Welch, G. F. (1979a). Poor pitch singing: A review of the literature. o f Music, 7 (1), 50-58.
searched for ways to facilitate rather than impose the skills of healthy voice production?
Our students' lives can be
enhanced today and in the future because of the vocal skills they acquire in our classrooms, and because of the respect ful way that we interact with them. Our manner of work ing with children and how we use our own voices are a significant model for how they treat their voices, themselves,
Note Grouping - A Method for Achieving Expression and
Camp Hill, PA: JMT Publications.
Welch, G. F. (1979b). Vocal range and poor pitch singing. 7 (2), 13-31.
Psychology
Psychology o f Music,
Welch, G. F. (1985). Variability of practice and knowledge of results as fac tors in learning to sing in tune. Bulletin o f the Council for Research in Music Education, 85, 238-247. Welch, G. F. (1986). A developmental view of children's singing. nal o f Music Education, 3(3), 295-302.
BritishJou r
and others for a lifetime.
R efe re n ce s an d S ele cte d B ib lio g ra p h y Bennett, P. (1986). A responsibility to young voices. Music Educators Journal 73 (1), 33-38. Bennett, P. (1988). The perils and profits of praise. (1), 22-24.
Music Educators Journal
, 75
Bennett, P.D., & Bartholomew, D.R. (1997). SongworksI: Singing in the Education Belmont, CA: Wadsworth Publishing.
o f Children.
Bennett, P.D., & Bartholomew, D.R. (1999). Songworks II: Singing in the Educa Belmont, CA: Wadsworth Publishing.
tion o f Children.
Goetze, M. (1985). Factors Affecting Accuracy in Children's Singing. Unpublished Ph.D. dissertation, University of Colorado. [Dissertation Abstracts International 46, 2955A.] Goetze, M., Cooper, N., & Brown, C.J. (1990). Recent research on singing in the general music classroom. Bulletin of the Council of Research in Music Education, No. 100, 16-37. Goetze, M., & Horii, Y. (1989). A comparison of the pitch accuracy of group and individual singing in young children. Bulletin o f the Council o f Research in Music Education, No. 99, 57-73. Langness, A. (1986). In criticism of praise: Looking at both sides of the coin. Unpublished manuscript, University of Colorado. Langness, A. (1992). A Descriptive Study o f Teacher Responses During the Teaching of Singing to Children. Unpublished Ph.D. dissertation, University of Colorado. Langness, A. (1992). A Descriptive Study of Teacher Responses During the Teaching of Singing to Children. Unpublished Ph.D. dissertation, University of Colorado. [Dissertation Abstracts International 53(6)A, 1835-A, Order No. 9232704.] Rutkowski, J. (1986). The effect of restricted song range on kindergarten children's use of singing voice and developmental music aptitude. Disserta tion Abstracts International, 47, 2072A.
ch ildren 's
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chap ter 7 female adolescent transforming voices: voice classification, voice skill development, and music literature selection Lynne Gackle ften, music educators and church musicians con
O
template the teaching and conducting of junior high age singers with anxiety, uncertainty, and even
a certain amount of fear.
Regretfully, one reason for this
reaction is that music educators and choral conductors are
In answer to that question, leaders of junior high age singers need: 1. an understanding of how the adolescent voice ma tures in order to intelligently guide the development of voice skills and the selection of music;
"under-prepared" for working effectively with the special
2. an understanding of the potentials, limitations, char
needs of adolescent voices. Consequently, those who can
acteristics and unique qualities that may be encountered in
most help adolescent young people appreciate their musi
individual adolescent voices;
cal, vocal, and expressive potentials, are themselves unaware
3.
a working knowledge of ways to assess the present
of those considerable potentials. Questions such as the fol
vocal and musical abilities of each adolescent singer, and
lowing often are asked by teachers and conductors of jun
ways to help them develop healthy, efficient personal voice
ior high age singers.
skills for self-expression in speaking and singing;
"They just sound like air, and sometimes their vocal range is almost nonexistent!
4. a working knowledge of how to choose music that is within the physiological capabilities of young changing
W hat do I do?"
voices, and how to appropriately assign vocal parts so that
"What literature do I use for all these different types of
vocal skills are facilitated rather than impeded;
voices?"
5. the ability to recognize aurally when adolescent
"How do I find materials easy enough yet interesting enough for junior high students?" "I have 55 junior high (or middle school) girls and
voices are speaking and singing efficiently and healthily within their developmental capabilities, or are speaking and singing inefficiently and unhealthily.
they sound like only 15. Can such breathy voices become firm and clear and well tuned? If so, how?"
The college/university education of junior high and
"How do I get and keep boys in the program?"
middle school teachers/conductors has been woefully in
These are just a few of the concerns of junior high
adequate in respect to preparing teachers who understand
teachers. The underlying question, however, seems to be,
the nature, care, and cultivation of adolescent changing
"How do I create a satisfying and musical experience when
voices. Often, only a cursory overview of basic range ca
I have so many different types of voices and vocal capabili
pabilities is given the beginning teacher in a choral meth-
ties in my choirs?"
814
bodym ind
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voice
ods class. Though a great deal of study has been devoted
ciency in all fundamental voice skills and appropriate con
to the male adolescent voice and its "change," very little of
ditioning of vocal muscles and vocal fold tissues.
this information is made available readily to the beginning
Although voice change in females is not as dramatic
teacher. Education has been nonexistent about the female
as that observed in males, it does occur. In comparisons of
adolescent voice and its "change"
male and female adolescent voice change, many character
In addition, voice lessons for preservice teachers/con-
istics are found in both sexes. Table V-5-1 provides a brief
ductors are oriented toward adult voices and operatic/art
comparative overview of the male and female adolescent
song skills, rather than being centered on the child/adoles-
voice during mutational transformation. Note their differ
cent voice. Choral training has been oriented toward "cre
ences and similarities.
ating a sound" rather than building expressive voices. The
Perceptually, female voice change can best be described
"creating" tends to be "in our own (adult) image," rather than
as "shades of change." If the color BLUE is suggested, you
to helping young people find their own unique, personal,
may conjure many different shades of blue - from azure to
age-appropriate "image" that reflects who they are in the
royal or navy blue with many hues represented in between.
present moment. Our challenge is to help young people to develop their voices to their fullest present potential for personal self-
Table V-5-1
expression; to facilitate their vocal future, rather than hin
Comparison of
dering it or contributing to lifelong feelings of vocal inad
Male and Female Adolescent Voice Change
equacy.
S ta g e s o f D e v e lo p m e n t in th e F e m a le A d o le sc e n t V o ic e From the review of current literature, female voice change can be characterized by: 1. lowering of average speaking pitch area (mean speaking fundamental frequency);
Male Voice
Female Voice
Laryngeal Growth:
Greatest growth is posterior-anterior (length); protrusion of Adam's apple.
Comparatively the overall growth is much less, but still the greatest growth is superior (height).
Pitch: (LTP)* (UTP)*
Lowers one octave; Lowers a sixth.
Lowers a third; Rises slightly
Range:
Lowers and decreases; Ultimately increases again. Tessiturae decrease and greatly fluctuate.
Stays within the treble range and ultimately increases;
Lacks clarity; has huskiness/breathiness
Lacks clarity; has huskiness/ breathiness; changes in "weight" "color!' or timbre.
2. voice "cracking" and abrupt register "breaks" (abrupt voice quality changes); 3.
increased breathiness, huskiness, or hoarseness in
voice quality;
Voice quality:
4. decreased and inconsistent range capabilities
Changes dramatically
(tessitura tends to fluctuate); 5. uncomfortable singing or effortful and delayed phonation onset;
Register Development:
6. heavy, breathy, "rough" tone production and/or colorless, breathy, thin tone quality; 7. insecurity of pitch intonation. Given these characteristics of change, current research has shown that the use of sequenced voice skill education techniques applied in the choral singing experience can pro vide opportunities for the development of improved effi
Vocal Instability:
Transition notes or "lift points" change through out development; Falsetto becomes apparent.
Transition notes or "lift points" change through out development; Adult passaggi become apparent.
Yes.
Yes.
= Lower Terminal Pitch *= Upper Terminal Pitch f e m a le
a d olescen t
ch an ging
voices
815
The metaphor is an aid in hearing the subtle changes of
1. average speaking pitch area;
voice quality as female adolescents progress through their
2. total pitch range and range of tessitura;
voice change stages. The overall vocal timbre is that of a
3.
pitch area(s) in which register transitions occur (may
"treble sound" (blue). As a girl progresses through her stages
be heard as abrupt "cracks" or "breaks" in voice quality);
of maturational transformation, however, her voice quality
and
4.
will change gradually from a: 1. "lighter, thinner blue",
general voice quality in speaking and singing (the
blue metaphor as described above).
2. to a "richer, deeper blue", 3.
toward the richness and depth that suggests the adult
Average speaking pitch area can be determined infor
degree of richness, depth, and warmth that will develop
mally by having a singer count backwards from 20 to 1.
later.
The numbers need to be spoken on a continuous flow of vocal sound, made possible by a continuous breathflow Those stages of change can readily be identified by a
(see Book II, Chapter 5). Instead of "Twenty-nineteen-eighte e n -s e v e n te e n -s ix te e n ...,"it
trained, experienced listener. Listening to each junior high age singer is important
w ou ld
be
"Twentynineteeneightenseventeesixteen...," and so on, with a
in order to assess her vocal development. Fluctuations in
breath at anytime if needed.
pitch and volume ranges tend to be sporadic. During the
they tend to settle into an habitual, quiet, conversational
peak of mutation pitch range is unpredictable. Often, a girl
pitch area. That average pitch then may be located on a
who has been singing with a comfortable high pitch range
keyboard instrument and used as a starting pitch for fur
will experience decreased range, uncomfortable singing, or
ther vocalization. The acceptable limits of habitual speaking
voice cracking. At times, a brief change to a lower voice
pitch areas of adolescent female voices, indicated in the stages
part (alto or second soprano) may be vocally advantageous
below, were suggested by Wilson (1972). They were aver
for short periods of time. If this occurs, vocalization needs
ages among the children observed by various researchers
to continue throughout the vocal range. Singers always need
and reported by Wilson. [These spoken pitch range limits
to attend to and avoid any unnecessary strain in both the
do not necessarily reflect pitch areas that are signs of physi
lower or upper pitch and volume ranges.
cally efficient speaking.]
Although the
When people do that task,
singer may now be singing the vocal part marked alto, this
Total voice range can be assessed by asking each singer
does not mean that she is an alto. In fact, during female
to sing an [ah] vowel on a scale from the lower to the upper
adolescent voice change, the most accurate and vocally
part of her range, that is, from approximately two to three
healthy voice classification for all voices is light midvoice
semitones (half steps) below the average speaking pitch to
or rich midvoice.
There are no real sopranos or altos at
the upper terminal pitch (highest singing pitch), then begin
this age. Never interpret a prominent or strong lower reg
ning with upper terminal pitch to lower terminal pitch.
ister as a sign that an adolescent girl is or will become an
Tessitura is defined as the range of pitches that are most
alto as an adult.
easily and freely produced within the total vocal range. Register "breaks" are identified as abrupt voice quality
C h a ra cte ristic S ta g e s o f D e v e lo p m e n t in th e F e m a le A d o le sc e n t V o ic e
changes when the singer sings the above task. Voice quality is determined by the perceived "color," "weight," and overall timbre of voice quality within each register. Chronological ages are given as general guides and are not to be used as a
The following developmental stages are the result of 15 years of observation with female adolescent voices. In classifying female changing voices, the following criteria are used:
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definitive criterion of voice change stage or voice classifica tion.
Stage I: Prepubertal Ages 8-10 (11) Voice During Speech:
Average fundamental frequency is 260Hz - 290Hz (C4 - D4); [*Acceptable limits: 225Hz - 350Hz (A3 - F4)]
Voice During Singing:
• Light, flutelike, child soprano quality; • No apparent register "breaks;" • Flexible, able to manage intervallic skips; • Much like male voices at same age with the exception that female voices are lighter in "weight" because the volume potential is generally not as great.
Left: Pitch Range for Lower and Upper Registers [brackets indicate tessitura]. Right: Average speaking fundamental frequency and Wilson's Acceptable Limits
Depending on other physiological changes, such as breast development and menarche, this stage could continue through age 12 or 13 years.
Stage IIA: Pubescence/Pre-menarcheal
Beginning of Mutation, Ages 11 to 12 (13) Beginning of mutation; first signs of physical maturation, such as breast development, height increase, pubic hair, and so on.
Voice During Speech:
Mean fundamental frequency is 245Hz - 275Hz (B3 - C#4); [*Acceptable limits - 235Hz - 290Hz (A#3 - D4)]
Voice During Singing:
• Breathiness in the tone due to appearance of mutational "chink," an inadequate closure of the vocal folds as growth occurs in the laryngeal area. • Register transition or "break" typically appears between G4 and B4; • Sometimes, an apparent loss of lower pitch range around C4 (Some girls have trouble producing the lower register at this time).
Signs: •
Singing becomes difficult, and at times, is uncomfortable; • Difficulty in achieving desired volume (especially in middle and upper range); • Breathy voice quality throughout pitch range; • Because of increased vocal fold dimensions, voice quality becomes "thicker" or "weightier".
Left: Pitch Range for Lower and Upper Registers [brackets indicate tessitura]. Center: Approximate Pitch Areas for Upper - Lower Register Transition. Right: Average speaking fundamental frequency and Wilson's Acceptable Limits.
* Acceptable limits for mean speaking fundamental frequency are from Voice Problems o f Children, Wilson, 1987, pp. 116124, and do not necessarily reflect physically efficient use of voice in speech. f e m a le
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Stage IIB: Puberty/Post-menarcheal Peak of Mutation, Ages 13 - 14 (15) Voice During Speech: Average fundamental frequency is 225Hz -275Hz (A3 - C#4); [*Acceptable limits: 195Hz - 290Hz (G3 - D4)] Breathy or husky voice quality is very common, yet it begins to sound more full-bodied.
Voice During Singing: • • •
•
•
Very critical time. After Stage IIA (pre-menarcheal), tessitura can move up or down, or sometimes, can narrow at either end, yielding a basic six or seven note range of "comfortable singing;" Register breaks still apparent between G4 and B4, and also at D5 to F#5; At times, lower register pitch range is more easily produced yielding an illusion of an "alto" quality; singing in this range may be easier and can be recommended for short periods of time; [Note: Singing only in the lower range for an indefinite period of time may be injurious to a young "unsettled" voice because of a tendency to sing and speak in lower register with excessive larynx and vocal tract constriction, resulting in excessive vocal fold impact and shear forces and possible voice disorders (see Book III, Chapter 1).] Vocalization throughout the vocal pitch range will help development of lengthener-prominent larynx coordinations, and aid in overall vocal fold tissue conditioning by stretching them to increase tissue compliance and agility; avoiding any unnecessary effort and constriction in the lower or upper range will aid the process of learning physically efficient voice skills; Because the changes during this stage are sporadic and unpredictable, it is necessary to listen to individual voices frequently in order to assess vocal development
Signs: • • • • •
Hoarseness without upper respiratory infection; Voice "cracking"; Singing is difficult (especially in the upper pitch range), and at times, uncomfortable; Some breathiness and lack of clarity in the tone; Often, voice quality is more full-bodied in lower register, with a relatively abrupt "flip" into a breathy, more child-like, "flutey" voice quality when transitioning from lower to upper registers.
Lefft: Pitch Range for Lower and Upper Registers [brackets indicate tessitura]. Center:Approximate Pitch Areas for Upper - Lower Register Transition. Right: Average speaking fundamental frequency and Wilson's Acceptable Limits.
Stage III: Young adult female/Post-menarcheal Settling and Developing Toward Adult Capabilities, Ages 14 - 15 (16):
Voice During Speech: Mean fundamental frequency is 210Hz - 245Hz (G#3 - B3); [* Acceptable limits: 185Hz - 260Hz (F#3 - C4)] Timbre approximates that of adult female; more "full-bodied richness" appears in voice quality. Voice During Singing: •
• • • • • •
Overall pitch and volume range capabilities increase [In some girls, pitch range does not appear to lower during the time of voice mutation. One characteristic of skilled singing, however, is a developed ability to sing in a quite wide lower to higher pitch range. Simply because a young singer can sing with a full-bodied voice quality in lower register does not imply that the singer is an alto at age 15-16]; Breathiness appears to decrease; There is more consistency of tonal quality between upper and lower registers; register "breaks" are more common at the secondo passaggio D5 - F#5 (more typical of female adult voices); Voice quality is more full-bodied, richer, and fuller, though not as much as a mature adult; More ease returns in singing coordinations; Vibrato may appear; Vocal agility increases.
Lefh Pitch Range for Lower and Upper Registers [brackets indicate tessitura]. Center:Approximate Pitch Areas for Upper - Lower Register Transition. Right: Average speaking fundamental frequency and Wilson's Acceptable Limits. * Acceptable limits for mean speaking fundamental frequency are from Voice Problems of Children, Wilson, 1987, pp. 116-124, and do not necessarily reflect physically efficient use of voice in speech._____________________________________________________________________________________________________________
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Group Voice Classification Procedure
an inappropriate tessitura - either too high or too low - for
Ask all of the girls to stand in rows so that enough room is allowed for you to walk between the rows and
an extended period of time. A tessitura of approximately D4 - D5 is preferable.
listen to them individually Lead them in singing America in
When singing in parts, using "regular" or traditional
the key of C or Bb. As you walk among them, lightly tap
treble voicing, allow the singers to switch parts so that they
the shoulder of the girls who are singing with relative ease
have the opportunity to sing all of the two or three parts
and with the clearest and most prominent voices.
Then
(SA or SSA), as long as ranges are comfortable. For instance,
have all of the girls sing the song in the key of F or G, and
girls with unchanged voices (Stage I or Stage 11A) may have
again touch the shoulder of the girls who are singing most
difficulty with the extremes of an alto part. Likewise, girls
clearly, strongly, and with relative ease (no visible or au
who are in the high part of vocal change (Stage IIB) and
dible effort).
exhibit decreased range especially in the upper pitches) may
Assign the singers that were touched in both keys to
be changed to "Soprano II" or 'Alto" instead of Soprano I.
both groups in equal numbers. Assign the voices that sing
Girls whose voices are more developmentally mature (Stage
with relative ease in only the higher key to one of the sec
III) can be placed in any of the three voice parts as long as
tions. Assign the voices that sing with relative ease in only
they are comfortable and depending upon the desired color
the lower keys to the other section. Assign the remaining
or timbre of a given vocal section.
girls, who sang with softer volume and breathier voice qual ity, to both groups in equal numbers.
Actual placement or seating with the choir can be based on the theory that opposites attract. Voices which are breathy
Ask the two groups of girls, one after the other, to sing
are matched or "paired" with those which are more pure.
America in both keys B-flat and G, then all the girls together
Those that are heavy are paired with those that are light.
in the two keys. Listen for uniformity of tonal quality and
Combinations of these voices are selected within the section
balance within and between the groups. There should not
until the desired tone quality is achieved. The end result in
be a great difference in quality or volume between the two
this placement process is twofold:
sections.
Literature Selection for Adolescent Female Voices As stated earlier in this discussion, the young adoles cent female voice is basically "soprano" in quality (not be confused with the adult soprano voice quality). When work ing to develop tone in the young female adolescent voice, unison selections which focus on line, phrasing, and dy namic control are wonderful teaching pieces. These may be used with the entire choir, a whole section or just a few singers. Often such pedagogical work becomes much like group vocal techniques and is beneficial to the individual singer as well as to the choir as a whole. There is a wealth of quality literature representing all style periods from which to draw and therefore, the use of unison singing need not be restricted only to beginning choirs, but indeed, is benefi cial for any treble choir. Equal voiced music (all musical parts have equal pitch ranges) is also very helpful in working with young female voices and avoids one voice part consistently remaining in
1. the process permits a homogeneous tone through out the row, section, and ultimately the entire choir. 2. the pairing aids in the development of tone by giv ing the young, developing voice a point of reference - an ideal to strive for and to blend with. In many cases, a younger girl is matched with an older girl. This psychologically rein forces the concepts of leadership and camraderie and aids in the overall musical growth and maturity of the group. Obviously, range and tessitura must always be con sidered when working with changing voices Avoid alto parts which exhibit extremes (below A3 or above C5). Also, be aware of soprano tessiturae that remain in the stratosphere (F5 and above) for extended periods of time. In other words, literature for changing voices must be carefully and judi ciously selected. What may be acceptable for a high school or collegiate women's choir may not be usable for girl choirs at the junior high/middle school level. Text should be one of the highest priorities. Avoid texts that are trite, pointless, or overly simplistic. With the
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wealth of quality children's choir literature, much can be
students are shortchanged by our level of expectation of
found to be usable by middle school/junior high treble
them. Our level of expectation forms the basis for their level
choirs. However, be aware of texts which truly are "child
of expectation for themselves. Students tend to rise to our
like" - appropriate for younger children, but not appealing
level of expectation for them. If that expectation is low -
and/or challenging for adolescents.
Although the music
they will meet that expectation (or maybe achieve even less).
may be beautiful, if the text is inappropriate or if the music
By contrast, if we expect a high level of performance and
doesn't enhance the text, its success will be limited.
raise a standard which is challenging, yet not overwhelm
Select literature which allows for teaching concepts
ing, they rarely disappoint us. These young singers have a
such as phrasing, diction, or interpretation. Indeed our cri
great capability to grasp the expressive import of texts and
teria for literature selection must always include vocal as
can sing with understanding, insight, and sensitivity be
well as musical goals. Selection of literature to merely fill
yond their years.
the "proverbial" PTA program or Spring Concert program
By recognizing the various stages of vocal develop
will not suffice. Quality, programmable literature must be
ment and understanding the physical occurrences which
first and foremost, musically worthy. Taking care to ana
the young female adolescent voice is undergoing, the con
lyze each piece for its valid teaching concepts greatly en
cept of tone in the middle school/junior high girl choir takes
riches the choral experience for our students and allows
on new dimensions. The special quality defined by many
greater accountability to our programs as part of the core
as "ethereal" becomes something not merely heard but felt.
curriculum in schools.
The end result is not only a healthy vocal experience but a
Finally, students must be able to relate to the musical literature expressively. Too often, middle school/junior high
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musical experience with special significance for the singer as well as the listener.
chap ter 8 m ale ad olescen t tra n sfo rm in g voices: voice classification , voice skill d evelop m en t, and m u sic literatu re selection John Cooksey ditors' Note: The research and practical work of our colleague,
partial presentation of data that Dr. Cooksey shared at the Research
John Cooksey has made lifelong singing much more likely
Symposium on the Male Adolescent Voice that was held at the
among early-adolescent males. He has walked beyond the
State University of New York at Buffalo in 1983 (Cooksey; Beckett, &
footsteps of pioneers in the area of male adolescent voice change, in
Wiseman, 1984). Within the music and choral education profes
cluding such pioneers as Duncan McKenzie, Fredrick Swanson, and
sions, the primary source of information about Dr. Cooksey's voice
his own mentor, Irvin Cooper. The pioneers opened the doors of insight
classification guidelines was published in a series of four articles in
for music, choral, and voice educators. But, in the absence of scientific
The Choral Journal in 1977-1978. They were written before the
data, the pioneers hotly debated many aspects of theory and teaching
California Longitudinal Study commenced. In essence, the articles con
method. The music and choral education professions needed much
stituted a statement of the research problem, a literature reviewfor the
more clarity. Early in his career, Dr. Cooksey recognized the need to
study; an hypothesis for male adolescent voice classification guidelines,
bring the greater precision and validity of the scientific method to help
and some practical recommendations.
resolve the disagreements.
The Cooksey; Beckett, and Wiseman study; Dr. Cooksey's subse
The 3-year scientific study of 86 early-adolescent boys, which
quent research, and his extensive practical applications, are especially
he completed with speech-voice pathologists Ralph Beckett and Rich
important to music educators, choral conductors, singing teachers, and
ard Wiseman (1985), is the landmark by which all systematic studies
church musicians who lead the learning of expressive singing skills
of male adolescent voices must be judged. The California Longitudi
with young men. It is byfar the most extensive and revealing source of
nal Study was the first to scientifically document, for instance, the
scientific information that can give clear direction to two important
characteristics of actual voice change onset period in singing function,
groups of people:
and to designate it as a distinct stage with its own classification-
1. composers; arrangers; and publishers of vocal solo and
Midvoice I. No prescientific voice change classification system had
choral music who need to know appropriate science-based pitch ranges
detected this onset classification that is so important to efficient sing
for boys who are going through voice change;
ing in early adolescents. The study also was the first to follow up on the pioneering work of Austrian researchers Frank and Sparber (cited
2. music, choral, and voice educators who-at minimumneed to know
in Book TV, Chapter 4) in documenting the existence of a whistle regis ter in the Midvoice II classification.
(a) how to educate prepubescent and pubescent young men about their voices and its adolescent transformation,
Amazingly, however, the California Longitudinal Study has never been published in its entirety. The only published source is a
(b) how to determine when boys begin their voice transfor mation,
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821
(c) how to recognize the characteristics of each stage as boys change from one stage to the next, using appropriate criteria, (d) how to assign them to vocal parts that they are capable of singing successfully expressively and therefore confidently; and (e) how to select music that enables the vocal and musical skills
tion on vocal capabilities in adolescent males. Some edu cators and conductors may not fully understand the phe nomenon and may view the process as too complex for clear definition. Consequently, much music is published and performed that is either outside the pitch range capabilities of many
of young men to be realized.
young men or keeps them in a pitch range that stays high, There is another group of professions who can benefit from the
thus producing higher than necessary fatigue rates in lar
Cooksey et al, study: the voice health professions of laryngology
ynx muscles and excess effort. Those conditions actually
speech pathology voice science, and other medical professions. These
assist young men in learning how to sing with unnecessar
professions are very concerned about how to treat the various anatomi
ily inefficient laryngeal effort, and that makes inefficient sing
cal and functional aspects of the transforming male adolescent voice.
ing habitual. The net result, then, is an increase in their risk
In the past, many highly respected voice-ear-nose-throat physicians
of developing voice disorders.
have recommended zero singing during voice change. As they have
In this chapter are practical applications that are based
become aware of Dr. Cooksey's research and practical applications, how
in validated scientific research and are intended to make
ever; they have agreed that singing during voice change can be vocally
singing a lifelong joy for young adolescent men.
safe under appropriate guidance by teachers who (1) are knowledgeable about voices and voice change processes, and who (2) choose music and assign vocal parts accordingly (The foregoing statement is based
C o m m o n Q u e stio n s, Issu es an d P ra c tica l M e th o d s
on unpublished remarks made by Robert Sataloff M.D., during a panel discussion at the Thirteenth Symposium: Care of the Pro fessional Voice, presented by The Voice Foundation of America at The Juilliard School, New York, June, 1985. The panel was chaired by the late Wilbur James Gould, M.D., Founder and Chairman of the Voice Foundation, and panelists included Friedrich Brodnitz, M.D.,
1. Does male adolescent voice transformation pro ceed in a single, steadily progressing flow of anatomic and physiological transformation, or does it proceed in "spurts" or stages that follow a pattern of growth-thenstabilization, growth-then-stabilization, and so forth?
John Cooksey; Ed.D., Deborah Lamb, M.S., Anna Langness, Ph.D.,
Voice change in adolescent boys occurs because the
Robert Sataloff, M.D., current Chairman of the Voice Foundation, and
macroanatomy of the larynx grows larger in all of its di
Leon Thurman, Ed.DJ.
mensions, and that includes the vocal folds (Kahane, 1978,
[Final note: In this chapter; Dr. Cooksey introduces new labels
1982). In addition, the microanatomy of the larynx muscles
for two of his voice classifications. New baritone is now referred to as
and vocal fold tissues becomes more elaborated and de
Newvoice, and Settling or Developmental Baritone is now referred to as Emerging Adult Voice ]
fined (Hirano, 1981a,b). Nearly all bodily growth processes occur in a series of cyclical phases (stages). Each cyclical phase includes: (1) an episode of active growth, followed
In trod u ctio n
by (2) a period of stabilization and consolidation before the next growth phase occurs (saltation and stasis, Lampl, et al.,
Young men who are proceeding through their adoles
1993). Pubertal growth is initiated by expression of certain
cent voice transformation (ages 12 through 15) are capable
genes in certain neuron groups in the brain's hypothala
of singing solo songs and choral music skillfully and ex-
mus. Those genes produce stimulatory transmitter molecules
pressively-if the music is appropriate to their changing vocal
that trigger the pituitary body to release into the circulatory
anatomy physiology, and acoustics.
system various biochemical growth factors and hormones.
Among music educators, choral conductors, and
They, in turn, activate gene expression in muscle and other
church musicians, male adolescent voice transformation is
tissues that produce local anatomical growth. The produc
controversial. Differences of opinion continue to exist re
tion of those growth transmitter molecules occurs in a pul
garding the effects of anatomical and physiological matura
satile, on-off manner, and these events most commonly oc
822
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cur at night during the early hours of sleep in a time scale of
morning with vocal folds that were 28 millimeters long,
minutes to hours. An episode of repeated nocturnal pulsatile
then that would be the logical equivalent of his legs grow
productions may continue for days at a time and then cease.
ing five inches longer during eight hours of overnight sleep.
A period of anatomic stabilization then follows during which
Voices do not change overnight, hut various circumstances
new growth is not stimulated. Typically each phase of growth
might occur that could lead to a perception that extensive
episode to stabilization occurs over a time scale of multiple
voice transformation had occurred in a very short time.
months (Grumbach & Styne, 1992; Vander, et al., 1994, pp.
zation phases. Because changes on laryngeal, vocal fold,
3. Does puberty begin at the same time in all boys of the same age? Do all of the pubertal growth-tostabilization cycles last the same length of time or are the durations of the voice mutation stages unique in each individual? Does pubertal voice transformation occur within a few weeks, a few months, or over years?
and vocal tract dimensions affect vocal pitch (fundamental
As described above, genetic and epigenetic processes
frequency), volume (intensity), and quality (spectral char
interact to trigger the onset of pubertal growth, and the onset
626-629; O'Dell, 1995; Book IV Chapter 2 has a brief re view). During puberty, anatomical growth of the larynx-including the vocal folds-and of the vocal tract occurs in response to those same pulsatile, cyclical growth-to-stabili-
acteristics), then each cycle of growth-to-stabilization will
of those processes is unique to each person. For instance,
be accompanied by changes in vocal pitch, intensity, and
puberty appears to begin earlier in children who live in
quality capabilities.
More particularly, vocal capabilities
warmer climates that are nearer the Earth's equator (Groom,
are affected by growth of the laryngeal cartilages and the
1984). Onset of puberty can occur as early as 10 years of
resulting changes of laryngeal configuration, growth in the
age or as late as 14 years of age, with a few exceptions even
ligaments that help bind the laryngeal cartilages together,
to those age borders. In addition, genetic and epigenetic
thickening and lengthening of the vocal folds, vocal fold
processes interact to trigger the onset of the pubertal growth
ligament growth, and expansion of vocal tract cavities.
spurts, and those processes also are unique to each person.
Five vocal capability changes have been documented
All normally healthy boys pass through the five stages
and validated scientifically in the research of Naidr, Zboril
of voice mutation in a 100% predictable sequence. Taken
& Sevcik (1965), Frank & Sparber (1970), Tanner (1972, 1984),
together, five pubertal growth spurts produce the five-stage
Lee (1975, 1980), Cooksey, Beckett & Wiseman (1984, 1985),
phenomenon we call male adolescent voice transformation.
Barresi & Bless, 1984; Cooksey (1985), and Cooksey (1993).
In each person, each stage lasts for a different amount of
Book IV, Chapter 4 has details. The general characteristics of
time, and the time spans of each growth-to-stabilization
each capability change are remarkably similar, and the gen
cycle are highly varied between individuals. In other words,
eral changes are referred to as voice maturation stages or
the number of weeks or months each boy will remain in
voice change stages. The first stage marks the end of the prepu
each stage will vary widely. Male adolescent voices transform through the five
bertal unchanged voice. The names that have been given to the five landmark stages are:
stages over a period of about one to two years. Although
A. Early mutation B. High mutation C. Mutation climax D. Stabilizing post-mutation E. Developing post-mutation
there are many exceptions and qualifications, the most ac
If a young man went to bed one night with vocal
ister crossover frequencies, voice quality (defined by degree
folds that were 17 millimeters long, and woke up the next
of breathiness (air turbulence noise), degree of constriction,
tive phase of change occurs-on the average- between 12.5 and 14.0 years of age.
4. What criteria should be used in detecting the stages of voice transformation? 2. Does male adolescent voice transformation ever The most useful criteria include singing pitch range, singing tessitura pitch range, register development and reg occur "overnight"?
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823
and other acoustic characteristics), and average speaking
Criteria for selection of voice classification labels are:
fundamental frequency (ASFF). The most reliable criterion
A. they have a close, connected reference to the
is singing pitch range.
premutation stage or the five mutational stages of voice transformation; and
B. they can be used easily in the colloquial language
5. What are singing tessitura pitch ranges? In musical contexts, tessitura refers to the average pitch
of English speaking people.
range of an instrumental or vocal passage in a musical com position. In the context of voice transformation, tessitura
Please note the new labels that replace the New baritone
refers to the range of vocal pitches, produced at a moderate
and Settling baritone classifications. Newvoice and Emerg
intensity, which are judged kinesthetically by the singer to
ing Adult Voice, respectively, more clearly fit the above
be produced with the greatest physical ease, and judged
criteria and follow the linguistic pattern set by the Midvoice
aurally and visually by the teacher or conductor to be pro
classification labels.
duced with physical and acoustic efficiency.
6. Based on voice transformation research, what are the pitches that are typically included in the singing pitch ranges and the singing tessiturae of voices as they progress through the five stages of maturation? What are appropriate voice classification labels that may be applied to the voice maturation stages, and what are the criteria by which the labels are selected?
7. How can voice educators use the Cooksey voice classification guidelines to select choral and solo music that matches the vocal capabilities of male adolescent transforming voices? How can the guidelines be used by composers of original music, and arrangers of composed music, to create music that young adolescent men can sing com petently and expressively?
The pitch range and tessiturae guidelines for unchanged
Most music that is published for ensembles that in
voices and the five mutational stages of voice transforma
clude changing voices was composed or arranged in pitch
tion are presented in Figure V-8-1. They are based on the
ranges that are not based on scientific research. In many
research cited in question 1 above. Specifically, they are the
cases, such music is not suited to the vocal capabilities of
average pitch ranges produced by the 86 subjects of the
boys who are in the various stages of voice transformation.
Cooksey, Beckett & Wiseman longitudinal study (1984,1985).
Tenor parts are often too low for Midvoice II, bass parts are too low for Newvoice, and alto parts are too high for
......................................
Tf r
u
........................................................
a
'
~
Midvoice II and IIA classifications (see question 6 above and its Figure V-8-1). Boys are very likely to learn overly
" o '
Premutation Stage Unchanged
Early Mutation Stage Midvoice I
"
1
effortful singing coordinations when attempting to sing such
High Mutation Stage Midvoice II
music.
Unison Music ----
J l -------------------------------------------J
Unison singing is possible, but has its limitations. While unison songs present opportunities to develop cer
“
1“
^
------------------------------- * “ •
#
H «]
-
tain musical skills, they offer little in helping changing voices to develop vocal skills. The pitch ranges of most published
Mutation Climax Stage Midvoice IIA
Postmutation Stage I Newvoice
Postmutation Stage II Emerging Adult voice
Figure V-8-1: Voice classification guidelines for male adolescent voice transformation based on the Cooksey, et al., study (1984,1985). Note the new classification names for postmutation stages I and II. Bracketed notes represent the tessiturae pitch ranges, whereas notes in parentheses represent significant variations from the norm.
824
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unison songs have pitch ranges that are too wide or the
appropriate ones are in keys that force many changing voices
of Midvoice II's whose range generally falls between tradi
into pitch ranges that they are incapable of singing without
tional bass and alto or tenor parts. Pitches around F4 and
excess vocal effort
G4 are high for Midvoice IIA singers.
A composite limited pitch range of Bb3 or B3 to G4 or
The total pitch range for unison songs encompasses
A4 works best for Midvoice I, II, and IIA, with Newvoice
the interval of the major sixth. They must be sung in a key
and II doubling an octave below Even within that range,
that allows the highest and lowest pitches to fall between
some compromises may be necessary, especially in the case
Bb to G in either octave (the most helpful range) or, in ex ceptional cases, C to A. Tessitura pitch range is C to F. Few unison songs meet these pitch range criteria. The list in Table V-8-1 is a start.
É Three-part Music (TTB, SSA and SAB) Figure V-8-2: The composite pitch range(s) in which boys in all voice classifications can sing unison music successfully. Compromises must be made for Midvoice IIA. bo- H
B Two-part Music (SA or TB)
Ê
bxr -|cr
Unchanged and Midvoice I High School Tenor
É
=3=
A
B
Unchanged and Midvoice I Newvoice, Emerging Adult Voice, High School Bass (octave lower)
Midvoice II and IIA High School Tenor
Newvoice, Emerging Adult Voice, High School Bass
Figure V-8-4: Composite pitch ranges for (A) the Tenor I part, (B) the Tenor II part, and (C) the Baritone or Bass part.
Midvoice II and IIA, some Midvoice I High School Tenor
Figure V-8-3: Composite pitch ranges for (A) the part with the highest pitch range, and (B) the part with the lowest pitch range.
Table V-8-1 Unison songs with a total range compass of a major sixth, and recommended keys to use when singing them with male transforming voices America Flow Gently Sweet Afton Deck the Halls Jingle Bells (chorus only) Coventry Carol Saints Go Marchin' In 0 Come, 0 Come Emmanuel
C, B, or Bb Eb, or E C C, B, or Bb Cm B or Bb Eb
Rocky Mountain High I Hardly Think I Will Captain Jinx San Sereni (Portugese folk) Kum Ba Yah Ain't My Susie Sweet For He's a Jolly Good Fellow
male
a d olescen t
B or B or E Bb B or B or B or
Bb Bb
Bb Bb Bb
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SSA music commonly does not include pitch ranges that are appropriate for the Midvoice II and IIA classifica tions. ; Stage III —
n
*
Stage III
B Unchanged
Unchanged
Midvoice I (some)
Figure V-8-5: Composite pitch ranges for (A) the Soprano I part, (B) the Soprano II part, and (C) the Alto part.
Cooper believed that Newvoices should be able to comfortably sing to F . Research shows, however, that the high terminal pitch for these voices is around C4 or D4. Typically, the baritone part in SAB music is in a range that commonly stays above the comfortable tessiturae for the
Midvoice I
Midvoice II and IIA High School Tenor
Newvoice, Emerging Adult Voice and High School Bass
Figure V-8-8: Composite pitch ranges for (A) the Soprano part, (B) the Alto part, (C) the Tenor part, and (D) the Bass part.
8. Does the rate of voice change determine what the mature adult voice classification will be? If voices change slowly, will a tenor classification result? Does rapid change signal the likelihood of a bass classifica tion? Thus far, there is no research to provide answers to
Newvoice and Emerging Adult Voice classifications.
this question. Some theorists speculate that voices that are transforming rapidly are destined to become basses, while those with slow growth rates and later onset of change will become tenors.
B Unchanged and Midvoice I
Midvoice II and IIA High School Tenor
Newvoice, Emerging Adult Voice, and High School Bass
Figure V-8-6: Composite pitch ranges for (A) the Soprano part, (B) the Alto part, and (C) the Baritone part.
9. Can voice training during maturation influence a boy's eventual adult voice classification? If the higher registers of Newvoice and Emerging adult voice singers are exercised, will more tenors result? Likewise, if the lower registers are exercised most, will there be more basses? There is zero evidence that voice training affects the physical growth of the larynx and vocal tract, and there fore, there is no evidence that voice training affects voice
Four-part Music (TTBB and SATB)
classification. Vocalises, however, can help develop the full range of vocal capabilities that are available to young men who are going through voice transformation, including the
D Unchanged Midvoice I High School Tenor I
Midvoice IIA High School Tenor II
Newvoice High School Bass I
Emerging Adult Voice High School Bass II
Figure V-8-7: Composite pitch ranges for (A) the Tenor I part, (B) the Tenor II part, (C) the Baritone part, and (D) the Bass part.
826
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discovery and strengthening of their entire capable pitch range, voice quality capabilities (including vocal registers), and the fine laryngeal coordinations that are necessary for blended voice registers (Book II, Chapters 10 and 11 have details).
10. One voice change theorist proposed that when boys' voices first change, they can sing pitches m the lower part of the bass clef with "resonance" and "power"?
Is this true? Do contrabasses exist in middle schools and junior high schools?
and constitution, brain "programs" commonly do not op
As demonstrated by scientific research, lower pitches
erate the prepubertal equipment smoothly for speaking and
are added gradually in early voice change.
cal equipment in early adolescent males is increasing in size
Perhaps that
singing. Voice function, then, becomes "confused", and un
one theorist perceived voice change to begin when boys
intended "surprise" sounds and out-of-tune singing can be
were entering the Post-Mutational stage. Actually several
expected in boys who:
A. have had minimal experience in skillful, efficient
months pass before bass clef pitches first appear in High mutation stage, the Midvoice II classification. There may
voice use; or
B. continue to use the habitual prepubertal brain pro
be an auditory perception called an "octave illusion" if one hears low pitches when voices are changing. Some people
grams for speaking or singing; or
C. continue to do all or nearly all of their singing in
hear a voice as sounding an octave higher or lower than the actual fundamental frequency. During the Emerging adult voice classification, some
their falsetto register after their laryngeal anatomy has pro ceeded through several of its growth stages.
boys may be able to sing pitches below the bass staff, in either lower or pulse register (Book II, Chapter 11 has de
If male voices shift suddenly from lower or upper
tails). This ability may continue in some boys and may not
registers to the falsetto register (singing or speaking), an
in others as physical "settling" continues. The development
abrupt change of voice quality will be perceived. Because it
of very low pitch singing ability-to the exclusion of upper
was unexpected and undesired, vocalists who produce the
register and falsetto register development-would be limit
sudden voice quality change commonly shut off their voices
ing to the development of all vocal capabilities. Guiding
and say something like, "Oops, my voice cracked" or "Oops,
the development of this lower range singing toward physi
my voice broke."
cal and acoustic efficiency is highly recommended.
A voice "cracks" or "breaks" when its larynx coordi nations adjust abruptly (Book II, Chapter 11 has details).
Voice "breaks" also can happen when phonating from higher 11. Do the terms "breaking of the adolescent voice" pitch areas to lower pitch areas, and an abrupt change from or "broken voice" accurately describe the anatomical and falsetto register to lower register occurs. These so-called physiological processes of male adolescent voice trans breaks or cracks do seem to be produced more frequently formation? Also, what are those vocal "cracks" or "breaks" by many changing male voices, most commonly when they that sometimes occur when early adolescent males speak become emotionally excited. and sing? And is the quality of transforming voices As voices proceed through adolescent transformation, always ugly, thin, raucous, or coarse, so that boys should all of the laryngeal cartilages, muscles, and other soft tissues always be discouraged from singing during this time in increase in mass, size, and weight. For instance, the vocal their lives? In several cultures of the world, there is a centuries-
folds become longer, thicker, heavier, and the layers of vo
old tradition of referring to male adolescent voice change as
cal fold cover tissues become more clearly defined (Chapter
a "breaking of the voice". The term suggests that there is a
2 has a review). The growth process occurs in spurts, as
sudden rending asunder of a boys voice, a kind of forceful
described in #1 above. That means that the brains of voice-
shattering of a formerly whole voice into two or more in
changing adolescents must periodically adjust their coordi
adequate and broken pieces.
Perhaps the tradition grew
nated firing patterns to accommodate the cartilage and soft
out of the fact that abrupt, unintended, and undesired shifts
tissue growth spurts in the larynx, including the vocal folds.
in voice quality occur in some boys when they speak or
In other words, when the first growth spurt occurs, early
sing, and the preadolescent voice quality and upper pitch
adolescent brains continue to send to the larynx the signals
range become unstable and inconsistent. The abrupt shifts
for habitual prepubertal speaking and singing functions.
are commonly called voice "cracks" or "breaks" (described
When a young man sings in his upper range, then, his vocal
briefly below and in Book II, Chapter 11). Because the vo male
a d olescen t
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827
folds cannot thin out as much as before, but his habitual
singers may have difficulty in producing sounds in the pitch
prepubertal brain program will lengthen them for those
area from about C4 to F4. This occurs most frequently as
pitches anyway. The result is both visible and audible:
boys enter the Newvoice classification. The transition from
A. excess effort in the internal and external larynx muscles with excess narrowing of the vocal tract; and
upper register to falsetto register presents a special chal lenge. Some Newvoice boys can sing falsetto above F4, but
B. excess vocal fold impact and shear forces.
cannot produce vocal sound in the upper register just be
As succeeding growth spurts continue, speaking co
low that point without very excessive effort in their internal
ordinations will be periodically unstable and inconsistent,
and external laryngeal muscles. When they attempt to do
producing fluctuations in the formerly smooth vocal coor
so, air turbulence noise is produced, but no vocal tone. As
dinations. When singing, unless the vocal demands for sing
they attempt pitches around C4 and below, however, they
ing pitch range are adjusted to accommodate the growth
are able to resume singing.
spurts, young mens' brains typically will learn habitual in
In other words, some boys may be able to produce
efficiencies in both speaking and singing, and often they
pitches in the upper register up to C4 or D4, and then can
may become discouraged by the new "inadequacy" of their
produce only falsetto beginning at about F4 or G4. The
voices and quit singing.
cause of this may be physiological in nature, brought about
The destructive concept of an adolescent broken voice is completely indefensible. It bears no resemblance what
by rapid laryngeal growth that leaves their brains' neuro muscular coordinations behind, temporarily.
ever to the dynamics of vocal growth during adolescence.
Register transition vocalises from falsetto to modal
It kills interest in lifelong singing and becomes a dragging
pitch areas may help, but sometimes it is best to be patient
force in the development of personal competence by young
and not "force" the issue. If the problem is vocal fold tissue
adolescent men. There are unique voice qualities produced
stiffening due to mutational growth, resolution may come
within each of the stages and classifications of voice change
by delaying falsetto-to-modal exercises until the post-mu
(see Figure V-8-1). Male adolescent voice qualities can be
tation period (Emerging adult voice classification). Falsetto
very beautiful if cultivated with care and understanding. If
register coordinations sometimes become easier for boys
adolescent voices are not forced outside their capable pitch
to produce after the Midvoice II, IIA, and Newvoice stages
range where they must strain, then very expressive singing
of voice change are completed.
can be achieved.
Some teachers report that boys in the post-mutational
With appropriate voice education and care-that be
stage have very limited pitch ranges from low F2 to C3 or D3,
gins well before voice change-transforming voices can main
and cannot produce pitches above this area. This does not
tain considerable vocal stability throughout all of the matu-
mean they have "blank spots" or no falsetto registers! These
rational stages. For example, voice education that occurs
singers can be helped by using efficient sound-making and
before voice change can create a template neuromuscular
speaking-toward-the-breathy-side, easy sigh-glides with an
program for blended register transitions (such programs
/uh/ vowel.
are described in Book I, Chapter 9). That template program
The goal is to help these young men learn how to
can then be used as a "governor" for adjusting register co
connect increased breath energy with lighter voice qualities,
ordinations during each and every stage of voice mutation,
and to develop their upper register skills while singing pitches
and their accompanying voice classification.
in the G3 to C4 range. This will help them learn how to make a "melted" transition between upper and falsetto reg
12. Is there a "blank spot" (C4 - F4 approximately) where pitches cannot be produced in the singing pitch range of boys who are in the late Midvoice IIA or early Newvoice classifications?
isters. Boys often will simply force/push the sound as they sing up a scale. They sense the increasing tension/heavi ness of their lower tones and attempt to carry that sensa tion without modification toward higher pitch extremes.
When voices change fairly rapidly (adding lower tones
Generally, physically efficient register transitions can
at the rate of about one whole step every 3-4 weeks), some
be facilitated by vocalizing from the upper range down
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ward if falsetto register can be produced with ease. Those
Neither is their character an adult bear. If that were so, they
top-down vocalises can be followed by gradual bottom-
would say their line with low pitches and a gruff voice
up vocalises from lower to upper to falsetto registers, but
quality [model it that way and have them do it]. Their
with a sense that voice quality is gradually becoming lighter
character is a young adolescent bear who has just started his
and lighter to enable smooth, blended register transitions.
voice change, and would say the line this way [males model
These register transition processes can produce a very con
the line in a very light upper register; females in a very light
sistent, efficiently produced tone throughout a singer's pitch
lower register; both in the pitch range of their "blank spot";
range.
have them repeat it several times]. That interactive story
Voice exploration activities and vocalises, coupled with
with voice exploration increases the chances that boys with
constructive target practice and skilled verbal-nonverbal
a "blank spot" in their singing pitch range will speak rather
communication (other chapters in Book I have details) can
efficiently in that very same pitch range.
gradually help these young men to achieve a complete nor
that precede throat-and-mouth-open vowels (/ah/aw/oh)
13. How should one use the falsetto register during maturation? Is it healthy to develop techniques for range extension using this vocal register?
with reasonably strong breath energy to make spoken sigh-
The most important pitch ranges for the development
glides and word phrases ("Showers in the sky" or "Flowing
of changing voices are the newly emerging primary ranges
rivers of sound", for
example); eventually, these sounds
in the various stages. Some teachers allow boys, and some
and word phrases can be sung on a 5-4-3-2-1 pitch pat
even encourage boys to sing in falsetto while ignoring the
terns; phrases from music that is under rehearsal also can
"new" emerging voice. Without helpful neuromuscular ex
be used, especially if the phrase's words begin with a breath-
ercise of the new anatomical and physiological equipment,
active consonant;
brains cannot develop skilled programs for singing in their
mal range, such as:
A. the use of breath-active consonants (/shhhh/fffff/)
B. teacher modeling and student imitating sounds and
newly emerging voice. Thus, when a boy who has sung
word phrases, such as those described above, with varying
only in falsetto attempts to sing in his new pitch range, he
pitch inflections and voice qualities;
will not have skilled coordination of his larynx. He may
C. modeling and imitating easy, small-interval, threenote pitch-patterns;
experience out-of-tune singing, less flexibility and agility, and a voice quality that he believes to be somewhat harsh.
D. integrating with all of the above, physical move
Without guidance, he may develop habitual vocal ineffi
ments and gestures that serve as a visual-kinesthetic meta
ciencies that may be discouraging and a real challenge to
phor for some aspect of the vocal skill being targeted (pre
change.
tending to throw a frisbee as the breath-active sounds, word
During the earlier stages of voice change (Midvoice II
phrases, and pitch patterns are initiated, or spreading open
and IIA), some boys cannot sing very well in the falsetto
arms down and away with voicing, or turning hands in
register, or they may experience difficulty in "finding fal
rapid circles in front of the abdomen).
setto". The D4/E4 to F4/G4 pitch area may be especially frus trating. In a few cases, falsetto register cannot be produced
An interest-engaging story situation can be created for
at all. When maturational considerations prevent or dis
them in which they provide the voice for a particular char
turb phonation in certain pitch areas of the falsetto register,
acter. Ask them to imagine that they have been hired to
it is often wise to delay singing in falsetto until the major
provide the voice for a movie cartoon character-a bear or
voice change is completed.
lion, for instance. They have one line to read, "Hello there,
Fortunately, a large majority of boys can learn to sing
how are you?" At the rehearsal, they are told that their
fairly comfortably in the falsetto register, especially if physi
character is not a child bear. If that were so, they would say
cally efficient vocal coordinations are used. Appropriate
their line this way [model in falsetto register (male) or light
falsetto "exercise" can be used to extend upper pitch range
upper register (female), then have them repeat it 2 to 3 times].
and to lighten an overly exerted upper register as it ap male
a d olescen t
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829
proaches a transition into falsetto register. A crucial skill for teachers, therefore, is the ability to recognize the voice quality differences between lower, up
on a less obvious scale, voices continue to develop in sev eral ways until the late 20s or early 30s (Book IV Chapter 2 has a review).
per, and falsetto registers, and also to hear where register transitions occur. Another crucial skill is the ability to help boys create blended transitions between upper and falsetto registers, and to develop the emerging neuromuscular vo cal coordinations that produce their newly emerging lower pitch ranges. 14. After reaching the Emerging adult voice classi
fication, do voices sometimes move up in pitch range? Some Emerging adult voices's can sing low E2 and F2 or lower.
16. What is the most appropriate way to assess voice classification with adolescent boys? Does oneto-one assessment always result in the most accurate classifications, or can group classification procedures be helpful at times, and if so, how can they be accom plished? In order to classify voices accurately and aid efficient voice skill development, individual classification must be
As transformation progresses, pitch range will
done. In the process, boys can be taught the voice classifi
expand upward, and the lower range may or may not re
cation scheme and how to monitor their own progress
main extended. Typically, then, emerging adult voices gain
through the various stages. Knowledge of the piano key
some lower pitches and then add some upper pitches dur
board pitch scheme is necessary as well as where their voice
ing the postmutation development stage. In the Cooksey, et
pitches are likely to be. A sequenced listing of the voice
al, Cooksey, et al, study, the complete pitch range compass
classifications can be placed across the top of a bulletin
for Newvoices, on average, was 15.5 semitones and the com
board, and the boys' names can be listed alphabetically on
plete pitch range compass for emerging adult voices, on
the left side. When any boy believes he has changed to the
average, was 19.2 semitones. In any case, Emerging adult
next classification, he can request a hearing by the teacher
voices's still do not approximate adult voice quality or ca
or conductor. If the teacher confirms the change, the boy
pability. They still are changing and developing, though far
can then move his name underneath that classification on
less extensively than before.
the bulletin board for all to see. A group classification process, however, can be very
15. Do male adolescent voices lack flexibility and
agility for rapid pitch articulation during mutation? Newvoices and Emerging adult voices's tend to expe rience some reduction of flexibility and agility. Typically, changing voices also have less intensity range compared to unchanged voices. The increased size and difference of con figuration in respiratory and laryngeal anatomy alone re quire alterations in the brain programs for voice use. The "new" voice has not had time to form brain programs for totally automatic, habitual physical efficiency in the opera
helpful during the first meeting of a choir or class at the beginning of a school session. When presented well, group classification procedures can establish: 1. immediate singing success to enable group focus and cohesion; 2. the competence and developmental leadership of the teacher or conductor; 3 . mutual respect for the capabilities and characteris tics of transforming voices; 4.
an awareness that appropriate voice classification
tion of voice for speaking and singing. The most exten
and vocal part assignment in sung music is the key to
sively used programs were formed during the prepubertal
skilled singing.
unchanged stage, and it no longer is adequate. Transform ing voices must be carefully guided so that undue tension/ forcing/pushing in voice production does not occur.
A Group Classification Process Ask everyone to stand in rows with enough room
As coordinated respiratory, laryngeal, and vocal tract
between the rows to allow you to comfortably walk down
capabilities develop and stabilize, male voices gradually
the rows to listen to each boy. Everyone then sings America
become more flexible and agile. In most cases, this stabili
("My country 'tis of Thee..") in the key of C. The keys of B or
zation does not occur before 17 or 18 years of age. In fact,
Bb also will work, particularly if there are a number of
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boys in the group who appear to be more physically ma
ther into the change process, but are singing in falsetto reg
ture than others. A maximum pitch range of a major 6th,
ister. Those boys may be baritones or Midvoice IFs. In a
from Bb to G (upper or lower octave) fits the vocal ranges
mixed SATB chorus, Unchanged voices will be more suc
reasonably well for all classifications. Another such limited
cessful vocally if they sing the soprano part and Midvoice
range song may be used, but if so, be sure that it does not
I's should be assigned to the alto part. Midvoice I's can be
extend below the Bb nor above the G or A above.
assigned to a tenor part that does not go below G3 or A3.
Ask the boys to sing America as a group in the key of
Boys are very self-conscious in the 7th and 8th grades,
As you walk around, listen for voices singing in the
and in a mixed choir situation, they do not want to be
octave BELOW C4. touch the shoulders of the boys who are
identified with any "high" or "soprano" part. Careful psy
singing in the lower octave, and afterward, ask only those
chological preparation, choice of terms, and straightforward
boys to stand together and sing the song through again.
explanations of the change process may help all singers
C.
Listen again.
Some Midvoice 11As will sing pitches just
reframe the unpleasant connotations. In a male choir, the
above C3, so these boys may be assigned to the tenor part
group dynamics are different, and there is more acceptance
in SATB music or the baritone part in TTBB music. Some
when boys are assigned to the higher vocal parts.
IIAs, however, may sing habitually in the upper octave.
The remaining voices should be Midvoice IFs and IIAs.
Also, listen for boys singing in the falsetto register during this
Ask them to sing America in the key of Bb, with their begin
process. Some Midvoice II's and even Newvoices may do
ning note as Bb3. If necessary, let them sing once more in
this. When in doubt, check their ranges individually!
the key of F to solidify their accurate pitch singing, then ask
In cases where boys are not matching pitches, listen
them to take their seats together as a section. In a SATB
for those voices that are attempting to sing below the target
choir, they would be assigned to the tenor part. Careful
pitches. Boys who sing below the target pitches may just
selection of music for this part is crucial. If the part goes
have entered a new growth stage and are developing their
below E3 or F3, the part will be too low.
ability to be pitch accurate within their newly emerging lower
When both boys and girls sing in the group, be sure
pitch capabilities. Boys who sing above the target pitches
to group the girls according to the procedure described in
have not yet entered a new growth stage and are attempting
Chapter 9.
to sing the pitches that are being sung by the majority of
The primary criteria for part assignment are:
boys.
A. clarity and strength of sound in both upper and Seat the Newvoices and IFs as a section in their own
lower ranges;
B. location of vocal tessiturae; and C. voice quality.
area. Ask the remaining boys to sing 'America" in the key of F or G. Walk through the section and tap the shoulders of the boys who are obviously singing with ease in the upper octave and with a comparative lightness in their voice qual
Finally, everyone sings 'America" in the key of C to establish a feeling of unity and confidence.
These should be the Unchanged and
When using a group classification procedure in an
Midvoice I boys. Ask these boys to stand as a group and
all-boys group, the changing voice classifications can be
sing 'America" again, listen for boys who are actually fur
telescoped into three subgroups:
ity voice quality.
Girls I
Newvoices Emerging Adult Voices
Midvoice IIA
Midvoice II
Midvoice I
Unchanged Boys Girls II
This diagram shows one w ay to seat students in a mixed choir situation.
male
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831
A. High (Unchanged and Midvoice I) B. Middle (Midvoice II and Midvoice IIA)
C. Low (Newvoice and Emerging adult voice)
like vocal qualities be expected when young male ado lescents sing? Sonographic evidence indicates that there is no such thing as a mature bass or tenor among adolescent boys.
17. During male adolescent voice mutation, what is the relationship between voice quality and average pitch area when speaking, and voice quality and pitch range
When male voices begin to transform, they lose a signifi
when singing?
monics do not reappear even in the Emerging adult voice
cant amount of the upper harmonics that were in their vo cal spectra before the change began. Upper spectral har
As boys progress from stage to stage of their voice
classification (age 14-15 years). Young men's voices, while
change, their voices change in quality of sound during speak
not having adult-like qualities, are nevertheless growing in
ing and singing. Associating the voice quality changes heard
that direction during the Emerging adult voice classifica
during speech with the specific change stages is not a reli
tion. Young male voices have much development potential
able method of voice classification for teachers and con
and all evidence points to the fact that growth processes
ductors who are inexperienced in making such judgments.
continue during high school and post high school years,
It can be useful, however, for experienced listeners.
and beyond.
The most effective way to associate speaking charac
If boys are asked to produce vocal sounds that imitate
teristics with the voice classifications in singing is to asses
adult-like qualities, they must use their laryngeal and vocal
average speaking fundamental frequency (ASFF) and relate
tract muscles with excess effort to do so. Typically, they
that to the specific voice change stages. Speech research has
increase subglottic air pressure beyond appropriate levels,
indicated that normal average speaking fundamental fre
intensify all laryngeal muscle contractions including vocal
quencies for people in Western societies occur in the lower
fold closure force, and expand vocal tract dimensions to
capable frequency area, usually 1 to 4 semitones above the
adult dimensions by excessively contracting vocal tract
lowest producible F0 (low terminal pitch, or LTP). In the
muscles.
Cooksey, et al., research, on the average, the ASFF was about 3 semitones above the LTP of each voice classification's F0 range. Speech research has assessed normal average speaking
19. Does singing have a harmful effect on the lar ynx as it grows? How stressful is the activity of singing during this time?
fundamental frequencies, not optimum ASFF. Normal essen
Research findings from the Cooksey, et al., study sug
tially means that the coordination for speech is habitual and
gested that laryngeal development is not affected adversely
not necessarily efficient. Optimum essentially means that the
if physically and acoustically efficient singing skills are used.
coordination for speech is physically and acoustically effi
Concerns of ear-nose-throat physicians and speech patholo
cient. An efficient ASFF is almost always higher than a so-
gists regarding a relationship between vocal dysphonia and
called normal or habitual ASFF.
voice change were not substantiated by the results of the
During voice change, many boys will attempt to sound as masculine as possible, and will lower their ASFF to do so. If they do, they will "teach" themselves habitual speak
study. Which vocal activity could make the greatest contri bution to the development of voice disorders:
ing coordinations that are overly effortful. Over time, those
A. habitual, inefficient talking and shouting for a total
coordinations can have a detrimental effect on consistent
of a few hours each day, with no education in efficient
physical efficiency in singing, and increase their risk of de
speaking skills? or
veloping a disordered voice.
B. habitual, inefficient singing for a total of one hour each day, with no education in efficient singing skills? or
18. Is there such a thing as a mature, adult-like bass or tenor during the adolescent years? Can adult
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C. singing for a total of one hour each day with edu cation in efficient speaking skills integrated into the activity?
The answer depends, of course, on the nature of the speaking and singing and the circumstances under which it
capabilities of changing voices are extremely important to the musical and vocal future of young adolescent men.
occurred. Generally speaking, however, the extent and vigor uting to the development of voice disorders. Yet, some voice
21. Can vocal dysphonias be expected to appear within and across voice change stages?
health professionals have recommended no singing at all
With extensive and strenuous voice use over a long
during the male adolescent voice transformation (Brodnitz,
enough period of time, defensive tissue changes can occur
1983) and others warn of its dangers (Greene & Mathieson,
in any larynx and result in dysphonia.
1989).
Beckett, & Wiseman study, dysphonia was documented as
of speaking activities has the greater potential for contrib
In the Cooksey,
Only singing that involves excessive breath-pressure
a greater-than-normal harmonics-to-noise ratio. This mea
and neck-throat muscle effort, singing out-of-range, sing
sure was particularly frequent in boys during the mutational
ing for too long at a time, and so on, can increase the po
climax stage (Midvoice IIA), and it appeared to be related
tential for voice disorders in young men of this age. Such
only to the voice transformation process-not to voice mis
habitual voice coordinations increase the risk for chronic
use. The researchers proposed that boys' vocal folds may
vocal fold swelling, nodules, polyps, capillary ectasia, and
be particularly vulnerable to impact and shear forces dur
hemorrhage (Book III, Chapter 1 has details).
ing this stage.
20. Is vocal misuse and abuse more likely to occur 22. Should singing be allowed at all during the in voices because of voice mutation processes? most crucial period of voice change-the mutational cli During voice transformation, with the rapid growth max stage or Midvoice IIA classification? of cartilages, muscles, ligaments, and other tissues, the lar
If the capabilities and limitations of changing voices
ynx is particularly susceptible to misuse and abuse. Sing
are taken into account, singing can be an exciting and healthy
ing teachers, music educators, and choral conductors need
activity. Voices that are used in a efficient, expressive, and
to understand the process and learn how to help young
healthy way are much more likely to continue expressive
males manage their stages of voice development so that
speaking and singing skills for the rest of their lives.
they can participate in a healthy way in singing activities. Boys' voices are changing earlier, and elementary mu sic teachers need to be educated in the realities of voice change. During the 7th and 8th grades, all or a majority of the various voice change stages can be found in any given classroom at one time. Voice change and settling is particu
S u m m a ry o f th e S ta g e s o f V o ic e T ra n sfo rm a tio n an d V o ic e C la ssifica tio n in A d o le sc e n t M a les
larly present during the 9th and 10th grade years, but di mensional growth processes continue until about ages 20 to 21. Educational methodologies that are being developed and used must take these facts into account if we want males to continue singing with confidence for all their lives. Helping boys to sing within the pitch and tessitura ranges of the particular voice change stage in which they happen to be, is crucial. Choosing music that enables them to sing efficiently and expressively also is crucial. Singing activities that are geared toward the unique needs of chang ing voices are crucial. Vocalises, vocal-choral literature, and sight singing activities that take into account the unique
Premutation Stage: U n c h a n g e d V o i c e Classification Age. Typically, prepubertal vocal capabilities are at a peak just before voice transformation begins. Unchanged voices can reach their climax of beauty and fullness at that time. The typical optimum period is near the end of Grade 5 and through Grade 6, sometimes to early Grade 7. Age span is usually 10 to 11 years of age.
Voice during speech. Average speaking fundamental frequency (ASFF) is about 220-Hz or A3 to 260-Hz or C4 in the majority of cases. Cumulative ASFF in the Cooksey, et
male
a d olescen t
tra n sfo rm in g
voices
833
al., study was C4 (93%). Compared to adults, characteristic
Early Mutation Stage:
child voice quality can be described as thinner and lighter.
M i d v o i c e I Classification
Voice during singing. Voice quality becomes fuller when compared to earlier years.
A pinnacle of beauty
Age. This stage coincides with the initial pubertal growth period. It lasts from 1 to 5 months on the average,
Pitch range
but can extend to 12 months or more. This stage can begin
Register breaks may be
in Grade 6 or earlier, but the majority of boys begin in
caused by inappropriate use of lower register with
Grade 7 between the ages of 12 and 13. Some boys may
underconditioned larynx muscles and vocal fold tissues.
begin this stage as late as the eighth grade. The onset of the
This problem often surfaces when singing from lower
pubertal process cannot be predicted with precision.
and intensity is reached during this time. is at maximum capability.
to upper parts of the pitch range.
Typically boys may
Voice during speech.
Typically, average speaking
sing too heavily in lower range, and therefore shift
fundamental frequency (ASFF) is from about A3 to B3 in
registers quite noticeably when going to higher pitches.
Midvoice I boys. There is very little change in perceived
In the Cooksey, et al., study, average pitch range was
voice quality from the thinner-lighter quality of the Unchanged
A3-F5; tessitura was C#4-A#4. The average pitch range
period. Breathier voice quality occurs in most boys, espe
was 20.6 semitones, and the average tessitura pitch
cially when they speak above C5. Ninety-five percent (95%)
range was 9.1 semitones.
of the Midvoice I boys in the Cooksey, et al., study had a cumulative ASFF of B3.
Voice during singing. Pitches can be sounded in the C5 to F5 range, but there is a notable increase of perceived
C
lr'
breathiness and constriction (strain) in the voice quality of those higher pitches.
Also, voice quality is perceived as
thinner and less rich as those fundamental frequencies pro duce noticeably fewer harmonics.
Vocal agility. Very flexible, agile capability with good
In the Cooksey, et al.,
study, average capable pitch range was Ab3-C5, and aver age tessitura was C4-G4. Subjects' average pitch ranges de
capability for intensity variation.
Acoustics. Voice retains full spectrum of harmonics
creased
from
20.6
sem itones
in
the
in each fundamental frequency. Range of the upper har
Unchanged classification to 16.6 semitones in the Midvoice
monics (4100 to 8000-Hz) is not yet affected by maturation.
I classification. Average tessitura pitch ranges decreased from
Intensities in all of the upper harmonics are prominent in
9.1 semitones to 8.1 semitones.
recorded spectrograms.
There is an average of 2 to 3
formants in lower overtone range (80 to 4100-Hz) and two in upper overtone range. There is a normal, small amount
-p/ -------------11 Vv\v
m
of noise in the lower overtone frequency range, and a mod erate amount of noise in the upper overtone frequency range, indicating very clear, efficiently produced tone.
Intensity
range approaches healthy adult norms.
Physical. Prepubertal, thus the first pubertal growth spurt has not yet started. Some "baby fat" is still on the
Vocal agility. Not as flexible or agile in upper range because the size of laryngeal structures is beginning to in crease (including the vocal folds).
Acoustics. Noise levels are increasing in the upper
body frame.
Part assignment for choral singing. Usually sings
harmonics range (4100-8000-Hz) when boys are singing
soprano part, but also capable of singing soprano II or alto.
fundamental frequencies in their lower and upper register.
Can sing easily in the A3 to F5 pitch range, but is capable of
The amplitudes of upper harmonics (4100-8000-Hz) are
singing at least to C6 with appropriate voice skills.
not as pronounced, thus indicating lower intensity levels in the higher harmonics. These findings correlate with a de
834
bodym ind
&
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crease in perceived richness, and confirms the beginning of
ceived voice quality in this classification is noticeably hus
the voice transformation process. Generally, the intensity
kier, thicker, and sometimes breathier than in Midvoice I. Eighty-
of higher formant frequency regions is decreasing when
four percent (84%) of the Midvoice II subjects in the Cooksey,
boys are singing fundamental frequencies in their lower and
et al., study had an ASFF between G3 and A#3, with 90% of
upper registers. The intensity of lower frequency formant
the boys at A3. Beginning with this stage, the ASFF became
regions remain stable. Both gross vocal volume and sing
stabilized at 3 to 4 semitones above the low terminal pitch
ing intensity range are consistent with those of Unchanged
(LTP) of the singing pitch range.
Voice during singing. This classification produces a
voices.
Physical. Growth factor and hormone secretions be
unique voice quality that is huskier than Midvoice I, as evi
gin to trigger many physical changes, such as increases in
denced by an increase in noise levels in the upper har
height, weight and the amount of body fat. The vocal folds
monic range (4100-8000-Hz). Voices in this mutational stage
begin to lengthen and thicken. Laryngeal cartilages begin to
do not have the richness and fullness of adult-like tone, but
grow larger and change configuration, and muscles increase
they are perceived to be thicker and more full-bodied when
in size. Secondary sexual characteristics begin to appear,
compared to Midvoice I's. The intensity of spectral har
such as the appearance of pubic hair. Most of these changes
monics is decreased even more than the early mutation stage
are just beginning and are somewhat subtle in this stage.
(Midvoice I).
The Cooksey, et al., study showed significant increases, how
instability of vocal coordination, particularly as regards
ever, in total body fat, vital capacity, and weight.
upper pitch range accuracy. There is more stability in the
Part assignment for choral singing. Usually sings
The maturation process has increased the
lower pitch range.
In the Cooksey, et al., study, capable
alto part in SATB music, but still has the most desirable
pitch range decreased slightly to 15.5 semitones, but the pitch
voice quality and intensity range in the middle pitch range
range of tessitura remained about the same as Midvoice I.
of D4 to B4/C5. Sometimes, the SATB alto part is too low
Upper register pitches were extremely unstable.
and the soprano part is too high. Optimum pitch range is
Falsetto and whistle registers first emerged in this stage. The
Ab, - C,.
transition zone (passaggio) between the upper and falsetto registers was F4 to C5. Falsetto began at G4-D5, with the
High Mutation Stage:
majority beginning at about A4. The average pitch range of
M i d v o i c e I I Classification
boys in the study was F3-A4(G4) and the average tessitura
Age. The greatest amount of mutational growth in
was G#3-F4. Pitch range extension then may be possible by
this stage and the next (Mutation climax-Midvoice IIA).
using falsetto register to learn how to blend the register tran
Normal age is 13-14 years, but there are many exceptions.
sitions (Book II, Chapter 11 discusses vocal registers).
Midvoice II's can be found in 6th grade and sometimes
boys produce falsetto register with excess effort, then teach
even in 5th grade. Nearly all boys have passed through
ing them efficient voice skills will help them establish the
this stage by the spring of 9th grade year. In the Cooksey, et
neuromuscular coordinations that produce this register and
al., study, the average time boys spent in this classification
then condition them with time.
If
was 12 to 13 months. There was, however, a large variance, ranging from 2 to 19 months. A majority of boys in this classification were found in grades 7 and 8, with the largest
-------------------------
percentage found during spring of the 7th grade year to winter of the 8th grade year. In the southern hemisphere,
f o
« » ( O ) ----------- J
—
that would be fall of the 7th grade year to summer of the 8th grade year.
Voice during speech. Average speaking fundamental
4*#• V o
../ .........
frequency (ASFF) is lower and that change is easily per
5# tf
ceived when compared to Unchanged classification. Per male
a d olescen t
tra n sfo rm in g
voices
835
Agility. Midvoice IIs are not as agile when compared to unchanged voices. Avoiding their upper pitch range (the most unstable part of their range), will help them avoid learning unnecessary vocal effort in their singing.
Mutation climax Stage: M i d v o i c e I I A Classification
Age. This stage of voice transformation coincides with the stage of puberty in which the most intense growth oc
Acoustics. In the Cooksey, et al., study, spectrograms
curs. In the Cooksey, et al., study, it lasted an average of
of Midvoice IIs commonly showed two formant frequency
four to five months, but varied between 3 weeks to 10
regions in the lower harmonic range (80-4000-Hz). By com
months-even longer in a few cases. A majority of the boys
parison, there were three formant regions in the Unchanged
in this classification were in the 8th grade. A significant
classification. On average, there were less than two formant
upsurge occurred, however, in the final month of the 7th
regions in the upper harmonic range (4100-8000-Hz). When
grade. There was a sharp decline in the number of boys in
the boys sustained lower and upper register pitches, the
this classification in the 9th grade. The normal age span of
decrease of intensity in the formants within the upper har
boys in this classification was 13-14 years of age, with a
monic range was greater than for the Midvoice I classifica
mean age of 13.6.
tion. Also, there were further increases in noise compo
Voice during speech. In the Cooksey, et al., study, the majority of boys in this stage of voice change displayed
nents for this stage. When compared to Midvoice I, noise levels in the lower
average speaking fundamental frequencies (ASFF) at F3-F#3.
harmonic range (80-4000-Hz) almost doubled when the
Perceived voice quality is huskier, and thicker when compared
boys sang F0s in the lower and upper registers. Noise levels
to boys in the Midvoice II classification. Voices in this clas
in the upper harmonic range (4100-8000-Hz) decreased
sification are very susceptible to inflammation (swelling)
slightly, but remained at moderate to high levels. Also com
from extensive, strenuous, and inefficient use. Under such
pared to Midvoice I's, there was a sharp decrease in the
conditions, severe hoarseness may occur. Unintended vo
means of the formant frequency regions that were located
cal "breaks" or "voice cracking" may occur more frequently
in the upper harmonic range when the boys were singing
during running speech as vocal register coordinations may
F qs in their lower and upper registers. This finding indicates
become quite "confused".
that upper and lower register pitches are not clearly distin
Voice during singing. While both the high terminal
guished while the larynx is in its most active phase of mu
and low terminal pitches in this stage are lower than in
tation. Formant frequency regions in the upper harmonic
Midvoice II, the span of pitch range is about the same. There
range is one characteristic of the mature, adult-like voice
is extreme instability in the upper pitch range where vocal
quality. The decrease in this characteristic among Midvoice
strain can occur easily. Perceptually, listeners can hear some
IIs, therefore, is additional evidence that adult-like qualities
of the emerging Newvoice quality in the lower pitch range,
are not possible. Gross volume and singing intensity range
but the upper range remains light and often displays in
increased slightly and continued to approximate adult norms.
creased breathiness and excess effort in the laryngeal and
Physical. The "shield" of the larynx, the thyroid car
vocal tract muscles. There is a very common tendency to
tilage, starts becoming more sharply angled, and eventually
ward taking the lower register larynx coordination into their
creates a relatively prominent, protruding Adam's Apple".
upper pitch range. Transition to falsetto can be commonly
Bodily height, chest size, vital capacity, and weight continue
abrupt, and some voices may not be able to sing in that
to increase. There is a slight decrease in percentage of body
register at all. Due to changes in the musculature of the
fat.
Many boys show disparities in body proportions.
larynx, more intensity can be generated in whistle register.
Maximum development now is occurring in primary/sec
Singers in this stage often sing inaccurate pitches because
ondary sexual characteristics.
the neuromuscular programming has not yet had time to Skill in vocal
adjust the coordinated firing patterns that operate singing
part assignment by teachers and conductors is crucial for
skills. This tendency can be made more likely if auditory
boys in this classification. Alto parts often are too high;
feedback is reduced when boys are inappropriately placed
tenor parts too low. Optimum pitch area is F3-F4(G4).
in the choir or the teacher does not know how to assign
Part assignment in choral singing.
836
bodym ind
&
voice
boys to vocal parts that are within their current pitch range
ters, and this trend continued in succeeding voice classifica
capabilities.
tions. The voices boys who were in the previous stages of
In the Cooksey et al., study the full span of the pitch
voice change showed greater noise levels in the upper har
and tessitura ranges in this classification remained about
monic frequency range than in the lower harmonic fre
equal to Midvoice II. High terminal pitches and low termi
quency range. In the Mutational Climax stage, however,
nal pitches of their pitch ranges were lower. A majority of
both the lower and upper harmonic frequency ranges (80-
subjects showed register transitions between E4 and B4, but
8000-Hz) began to show nearly equal degrees of noise level
half of the subjects changed to falsetto register on G . The
when the boys sustained a pitch in their lower register; and
most problematic pitch area for register transitions was D4
there were dramatic increases in lower range harmonic noise
to G4. Average pitch range was D3-F#4, and tessitura range
when the boys were sustaining pitches in their upper regis
was F#3 to C4/D4/E4.
ters. There also was an increase in lower range harmonic noise when the boys sang in falsetto register. Excess laryn geal muscle effort caused an even greater increase of laryn geal constriction the lower range harmonics. Presumably, the boys were attempting to overcome some degree of mucosal stiffening, thus, increased resistance to mucosal wav ing in response to breathflow. There was a significant decrease in the number of formants within the upper harmonic frequency range (41008000-Hz) when the boys were sustaining a pitch in either their lower register or their falsetto register. This data indi cated decreased intensity throughout the singing range. There was a continued sharp lowering of formant frequency re
Agility. Presumably the vocal folds of many Midvoice
gions within the upper harmonic frequency range (4100-
IIA singers become stiffer during this stage of intense muta
8000-Hz) when the boys were sustaining pitches in both
tion, and facile neuromuscular action is inhibited. They are
the lower and upper registers. There was a slight increase
less able to perform faster melismatic passages and wider
in gross volume and singing intensity range.
pitch intervals at faster speeds. The stiffened folds are less
Physical. In the Cooksey, et al., study, there were sig
flexible, and a moderate pitch range for sung music would
nificant increases in weight, and steady increases in height,
be helpful for longer-term voice skill development.
chest size, waist size, and vital capacity. Body fat percent
An
emphasis on release of unnecessary neck-throat muscles
ages continued to decline.
Sustained phonation time in
and efficient laryngeal coordination is needed. Cultivation
creased as thorax and pulmonary capacities increased.
of easy phonation will be valuable. Falsetto register will be
Maximal development of primary and secondary sexual
affected most by vocal fold stiffness, as the vocal folds must
characteristics occurred.
Part assignment in choral singing. This is the most
be at their thinnest and most taut. Stiffened vocal folds that are stretched taut are more resistant to being induced into
challenging classification for part assignment. Most pub
ripple-waving by breathflow. Under those circumstances,
lished music is unsuitable. Optimum pitch range for sing
forcing falsetto register pitches into use will create unneces
ing is F3-D4. Common alto parts are too high and tenor
sary laryngeal effort.
parts are sometimes too low and too high.
Acoustics. In the Cooksey, et al., study, the noise and intensity findings for this stage of voice transformation
Postmutation Stabilizing Stage:
showed that this is the weakest and most vulnerable stage.
N e w v o i c e Classification
General noise levels increased in the lower harmonic fre
Age. This classification represents the end of the most
quency range (80-4000-Hz) of both lower and upper regis
dramatic stage of voice change and entry into the early phase male
a d olescen t
tra n sfo rm in g
voices
837
of adult voice capabilities. Many aspects of mutational pro
ration and guided experience over time, those pitches re
cesses begin to stabilize. In the Cooksey et al., study this
turn. Appropriate vocalises that utilize falsetto register can
stage lasted an average of 3 to 5 months, but varied be
help boys learn how to gradually reduce contraction inten
tween 4 weeks and 8 months. A significant upsurge oc
sity of their shortener muscles as their lengthener muscles
curred in the number of boys in this classification during
gradually increase tension to continue raising the pitch. As
the last few months of the 7th grade year. An even more
that coordination develops, a return of the "missing" pitches
significant upsurge occurred over the summer months be
occurs.
tween 7th and 8th grade years. There was a large percent
In the Cooksey, et al., study, average pitch range was
age of boys in this classification in the 8th and 9th grade
B2 to D4 or D#4, and the average tessitura was D#3 to A#3.
years. Normal mean age for this classification was approxi
The entire span of pitch range equaled Midvoice IIA (15.5
mately 14 years, but varied between 13 and 15 years of age.
semitones), but tessitura range decreased to 7.4 semitones
Voice during speech. In the Cooksey, et al., study, a
(Midvoice IIA was 8.1). Voices were much more stable and
majority of the average speaking fundamental frequencies
consistent throughout the lower and upper registers, and
(ASFF) in this classification occurred between C3-E3. Lower
falsetto register pitches became easier to produce.
pitches were quite evident. The perceived characteristic voice quality was thicker and slightly morefull-bodied than the char acteristic quality of Midvoice 11A, but was thin and light when compared to adult voice quality. Voice quality was
... ... ...
perceived to be more consistently alike across individuals,
i Iff* r -• w
-
that is, unique individual characteristics were not very prominent.
Voice during singing. Perceived voice quality in this classification can be very firm and clear, but when com
Agility.
Newvoices lack agility and flexibility, com
pared to adult expectations, the voices of boys in this stage
pared to adult expectations. Perceived voice quality often
of transformation continue to sound immature, light, thin,
becomes heavy when fortissimo vocal volume is attempted.
and lacking in richness. Commonly, there is less breathiness
Singing flat commonly occurs when these voices are fa
and constriction, however. There is very little vibrato. Some
tigued from extensive and strenuous use. In singing, culti
listeners may perceive Newvoices to be sounding pitches
vation of efficient laryngeal function in relation to efficient
an octave higher than they actually are, and some listeners
breath energy will enable increased agility and lower muscle
may perceive their pitches to be an octave lower than they
fatigue rates.
actually are-the so-called octave illusion. Usually, there is
Acoustics. In the Cooksey, et al., study, sonographs
a much more stable transition area between upper and fal
of the subjects in this voice classification indicated that there
setto registers. Falsetto register stabilizes in a majority of
still was no sign of adult-norm intensity levels in the upper
voices, and can be initiated clearly beginning around D4-E4.
harmonic frequency range for sustained pitches in the lower
The general transition area at C4-F4 is consistent with the
and upper registers. Lower harmonic range noise levels
pitch area for adult secondo passaggio and consistency of in
(80-4000-Hz) increased in pitches of the lower and upper
tensity and voice quality is as challenging for Emerging Adult
register, but decreased in pitches within the falsetto register.
Voices as it is for inexperienced adult singers.
Noise levels in the upper harmonic frequency range (4100-
During this classification, the voices of some boys will
8000-Hz) increased from the Midvoice IIA levels in pitches
be able to sing reasonably well in the lower pitch range, but
of the lower and upper registers, but were significantly lower
as they attempt to transition into upper register pitches, the
than those produced by Midvoice I boys. These levels stay
falsetto register may abruptly "pop in" at about G4, having
about the same for pitches in the falsetto register.
skipped a number of pitches in between. This "blank spot" is not uncommon among Newvoices. With further matu 838
bodym ind
&
voice
When lower, upper, and falsetto register pitches were
terminal pitch of singing range was as much as 4 to 6
sustained, there was a slight increase in the number of
semitones lower than the ASFF.
Perceived voice quality
formants in the upper harmonic frequency range. Also in
now is thicker and more full-bodied. Generally, there is more
this stage, there was a reversal of the trend toward lowering
stability and consistency in voice production.
of formant frequency regions within the upper harmonic
Voice during singing. The trend established in the
frequency range (4100-8000-Hz). An increase occurred. At
Newvoice stage continues, with voice quality becoming
the same time, first and second formants in the lower har
clearer (less breathy) in lower, upper, and falsetto register
monic frequency range (80-4000-Hz) became lower. Lower
pitches, but they are still lacking in the greater richness as
and upper register pitches are now more sharply differenti
sociated with adult voices. Voices at this age are not physi
ated. These data indicate that these voices are developing
cally mature enough to produce the voice qualities and pitch
toward adult norms but have not arrived yet. They still did
ranges that the adult categories of tenor, bass, and baritone
not have the numerous harmonic partials and formant fre
can produce.
quency regions that are typical of adult male voices. Gross
There is still little vibrato during this stage, although
vocal volume and singing intensity range remained un
unique resonance characteristics are beginning to appear.
changed from the previous stage.
Register transition areas are slightly lower than in Newvoice,
Physical. In the Cooksey, et al., study, increases in
but a majority of boys will begin falsetto register at D3, or
height, weight, chest size, and vital capacity continued, with
E3. Upper range passaggio area is C4 to F4. Upper register
a continued decrease in percentage of body fat. There was
and falsetto register are easier to manage now.
a slight decrease in the duration of phonation on a single
Cooksey, et al., study, average pitch range was G2 to D4, and
In the
inhalation/phonation. Phonation quotient is much higher
average tessitura was B2 to G#3. Average pitch range began
indicating decreased efficiency in vocal fold ripple-waving.
to expand
That characteristic is normal for voices with emerging reg
Newvoices to 19.2 semitones for Emerging Adult Voices.
ister differentiations, and also indicates that physical matu
Tessitura range also expanded from 7.4 semitones for
rity has not yet been achieved in transforming voices.
Newvoices to 8.2 semitones for Emerging Adult Voices.
rather significantly, from 15.5 semitones for
Part assignment in choral singing. Many bass parts are too low. Optimum range to sing in is Bb2 to C4 or D4.
fe E E E E E ^
Postm utation D evelopm ent Stage: Emerging Adult Voice Classification Age. This stage represents a marked tendency toward male vocal maturity, and the emergence of a young man's
Agility. Emerging Adult Voices can sing with greater
personal, adult vocal signature, although complete adult This stage is promi
agility when compared to Newvoices, but physical devel
nently present in boys during their 9th grade year, and be
opment and motor programming for voices must continue
gins generally at 14 to 15 years of age. It is the beginning of
before adult agility can be realized. More flexibility is avail
characteristics still are not present.
a period of gradual anatomical and physiological vocal set
able in the upper pitch range area and in transitions be
tling that is more significantly achieved by ages 16 to 17
tween upper and falsetto registers. Again, cultivate lighter
years, but ultimately continues until about ages 20 to 21
mechanism for modal/falsetto singing. Many boys still will
years (Chapter 2 has a brief review).
have a tendency toward excess respiratory and laryngeal
Voice during speech. In the Cooksey, et al., study, a
effort. Continued cultivation of efficient laryngeal function
majority of the boys spoke with an average speaking fun
in relation to efficient breath energy will enable increased
damental frequency (ASFF) between A2 and C#3, with the
agility and lower muscle fatigue rates.
average at B2. The pitch interval between the low terminal
Acoustics. In the Cooksey, et al., study, air turbulence
singing pitch and the ASFF increased in some boys. Low
noise in the lower harmonic frequency range (80-4000-Hz) male
a d olescen t
tra n sfo rm in g
voices
839
continues to increase when boys sustain a pitch in lower
R eferen ces
register, but lower harmonic range noise decreases when boys sustain a pitch in upper register. Noise in the lower har monic range decreases in falsetto register. Noise in upper harmonic frequency range (4100-8000-Hz) increases when
Barresi, A.L., & Bless, D. (1984). The relation of selected aerodynamic vari ables to the perception of tessitura pitches in the adolescent changing voice. In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice (pp. 97-110). Buffalo, NY: State University of New York at Buffalo Press.
boys sustain a pitch in lower register and in falsetto register, while it decreases when boys sustain a pitch in upper register. Laryngeal coordination is gradually approaching adult norms in many pitches of the upper register. Phonational patterns are still somewhat unstable, reflecting the fact that
Brodnitz, F.S. (1983). On the changing voice. National Association o f Teachers o f Singing Bulletin, 40(2), 24-26. Cooksey, J. M. (1985). Vocal-Acoustical measures of prototypical patterns related to voice maturation in the adolescent male. In V.L. Lawrence (Ed.). Transcripts o f the Thirteenth Symposium, Care o f the Professional Voice; Part II: Vocal Therapeutics and Medicine (pp. 469-480). New York: The Voice Foundation.
motor control is still not settled. There is an increase in the number of upper formants in pitches that are within the lower, upper, and falsetto reg isters, compared to Newvoice classification. Overall inten sity of the harmonics still do not approach adult norms or match the intensity of those found in Unchanged voices. When Newvoice II boys sustain a pitch in lower reg ister, the formant frequency regions within the upper har monic frequency range (4100-8000-Hz) remain about even with the Newvoice classification.
When boys are sustain
ing a pitch in upper register, however, the formant frequency regions are higher when compared to Newvoices. The first and second formant regions continue to lower, indicating increased size of the vocal tract that results from physical growth, but they still do not approximate adult norms. Gross volume and singing intensity ranges increase slightly.
Physical. Dense growth of pubic and auxiliary hair is present in body development. Chest and shoulder di
Cooksey, J.M. (1992). Working with the Adolescent Voice. St Louis: Concordia. Cooksey, J. M. (1993). Do adolescent voices 'break' or do they 'transform? VOICE, The Journal o f the British Voice Association, 2(1), 15-39. Cooksey, J.M., Beckett, R.L., & Wiseman, R. (1984). A longitudinal investiga tion of selected vocal, physiological, and acoustical factors associated with voice maturation in the junior high school male adolescent In E.M. Runfola (Ed.), Proceedings: Research Symposium on the Male Adolescent Voice (pp. 4-60). Buffalo, NY: State University of New York at Buffalo Press. Cooksey, J.M., Beckett, R.L., & Wiseman, R. (1985). A longitudinal investiga tion of selected vocal, physiological, and acoustical factors associated with voice maturation in the junior high school male adolescent Unpublished research report, California State University at Fullerton. Frank, F., & Sparber, M. (1970a). Stimmumfange bei Kindern aus neuer Sicht (Vocal ranges in children from a new perspective). Folia Phoniatrica, 22, 3 97-402. Frank, F., & Sparber, M. (1970b). Die P rem u tatio n sstim m e die Mutationsstimme und die Postmutationsstimme in Sonagramm (The premutation voice, mutation voice, and the postmutation voice in the sonogram). Folia Phoniatrica, 22, 4 25-433. Greene, M.C.L., & Mathieson, L. (1989). Voice mutation: Infancy to senes cence. In The Voice and Its Disorders (5th Ed.). London: Whurr Publishers.
mensions continue to increase, as does weight, height, and vital capacity. There is a significant increase in weight due to muscle growth, but percentage of body fat remains stable. Vocal folds have reached near-maximum length and tissue constitution. Vocal tract cavities have grown significantly toward their final adult dimensions and configuration. The resulting neuromuscular compensations begin to settle into habitual status. Voices in this stage are gradually maturing toward adult norms.
Groom, M. (1984). A descriptive analysis of development in adolescent male voices during the summer time period. In E.M. Runfola (Ed.), Proceed ings: Research Symposium on the Male Adolescent Voice (pp. 80-85). Buffalo, NY: State University of New York at Buffalo Press. Grumbach, M.M., & Styne, D.M. (1992). Puberty: Ontogeny, neuroendocri nology, physiology, and disorders. In J.D. Wilson, & D.W Foster (Eds.), Williams Textbook o f Endocrinology (8th Ed., pp. 113 9-1221). Philadelphia: W.B. Saunders. Hirano, M., Kurita, S., & Nasashima, T. (1981a). The structure of the vocal folds. In M. Hirano (Ed), Vocal Fold Physiology. Tokyo: University of Tokyo Press.
Part assignment in choral singing. Emerging Adult Voices can sing most bass parts. Some can sing high bari tone. Optimum pitch area: B2-A3.
Hirano, M., Kurita, S., & Nasashima, T. (1981b). Growth, development and aging of human vocal folds. In D.M. Bless & J.H. Abbs (Eds), Vocal Fold Physiology: Contemporary Research and Clinical Issues. San Diego: College-Hill Press. Kahane, J.C. (1982). Growth of the human prepubertal and pubertal larynx. Journal o f Speech and Hearing, 25, 446-455.
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Kahane, J.C. (1978). A morphological study of the human prepubertal and pubertal larynx. American Journal o f Anatomy, 151(1), 11-19. Lampl, M., Veldhuis, J.D., & Johnson, M.L. (1993). Saltation and stasis: A model of human growth. Science, 258, 801-803 . Lee, P.A. (1980). Normal ages of pubertal events among American males and females. Journal o f Adolescent Health Care, 1, 26-29. Lee, P.A., & Migeon, C.J. (1975). Puberty in boys: Correlation of serum levels of gonadotropins (LH, FSH), androgens (testosterone, androstenedione, dehydroepiandrosterone, and its sulfate) estrogens (estrone and estrodiol) and progestins (progesterone, 17-hydroxy-progesterone). Journal of Clinical Endocrinology and Metabolism, 41, 556-562. Naidr, J., Zboril, M., & Sevcik, K. (1965). Die pubertalen Veranderungen der Stimme bei Jungen im verlauf von 5 Jahren (Pubertal voice changes in boys over a period of 5 years). Folia Phoniatrica, 17, 1-18. O'Dell, W.D. (1995). Endocrinology of sexual maturation. In L. DeGroot, et al., (Eds)., Endocrinology (3rd Ed., Vol. 2, pp. 1938-1952). Philadelphia: WB. Saunders. Tanner, J.M. (1972). Sequence, tempo, and individual variation in growth and development of boys and girls aged twelve to sixteen. In J. Kagan, & R. Coles, (Eds.), Twelve to Sixteen: Early Adolescence. New York: Norton. Tanner, J.M. (1984). Physical growth and development. In J.O. Forfar & G.C. Arneil (Eds.), Textbook o f Pediatrics (3rd Ed.). Edinburgh, United Kingdom: Churchill Livingston. Thompson, R.F. (1993). The Brain: A Neuroscience Primer (2nd Ed.). New York: W.H. Freeman. Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Human Physiology: The Mechanisms o f Body Functions (6th Ed.). New York: McGraw-Hill.
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chap ter 9 red esign in g trad ition al con d u ctin g p attern s to enhan ce vocal efficien cy and expressive choral sin gin g John Leman n the 1700s Jean Baptiste Lully formed The Twenty-
thought to be enhanced when a conductor provides an easily
Four Violins of the King. Evidently he recognized a
seen ictus or "point in space-time" for each musical pulse or
need to unify the musical performing of the 24 indi
beat. Expressively the three conducting pattern styles of legato,
vidual players in the ensemble. In an attempt to improve
marcato and staccato, are thought to enhance the musicality
I
the timing of the ensemble, he banged a large staff (baton)
of an ensemble when it is performing music in those same
on the floor of the rehearsal room. As far as music histori
three expressive styles.
ans know, that was the first recorded instance of a non
The traditional training of choral conductors includes
playing musician giving indications to playing musicians
many of the skills that are needed for technical and expres
about how to play music while the playing was in progress.
sive success. Increasing awareness of two skill areas is pres
The conductor's art has evolved considerably from
ently underway in the choral conducting profession:
that beginning. The original premise for the existence of the
1. efficient, healthy and expressive voice coordination;
conductor, however, still is valid, that is, to bring about a
2. the effect of a conductor's gestures and "body lan
technical and expressive unity of the elements of music in
guage" on the sound of a chorus, and therefore on the effi
live performance by groups that are made up of individual
cient, healthy and expressive coordination of individual
musicians.
voices within a chorus.
What conductors do to enhance this unity has evolved considerably since Lully's time. Conductors have been de
Enormous deviations and varieties exist in the actual
scribed as providers of technical leadership and feedback,
use of the standard patterns and gestures, so the dancing of
and as controlled or stationary dancers who choreograph
conductors may have a wide variety of choreographic ef
and "dance" the expressive content of the music. The tech
fects on the vocal and expressive performance of choral
nical leadership and feedback and the dancing are presumed
ensembles. Some of a choral conductor's choreographic body
to significantly "choreograph" the expressive design of the
language that can affect vocal efficiency and musical expres
music, as it is being performed by the singing musicians.
siveness include:
In the present time, conductors are taught standard
1. the presentation of the whole body;
hand movement patterns and other gestures that are in
2. the stance;
tended to have technical and expressive effects. Technically,
3.
for instance, more precise timing by groups of musicians is
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head and facial communication including eyes, eye
brows, forehead, mouth, head location;
4. the location of a conductor's hand(s);
ferred to as the ongoing beat or pulse of a selection of mu
5. the basic shape of the hand(s);
sic; and
6. the amount of wrist rigidity or rotation;
2. accurately indicate the tempo of the pulses.
7. the amount of arm extension in gestures; 8. the amount of arm and shoulder tension vs. flex ibility;
In order for succeeding pulses to be clearly identifi able by singers, conducting patterns must consistently show
9. the vertical and horizontal orientations of gestures;
changes in arm-hand direction that indicates the instant in
10. different ictus and rebound gestures in the flow of
time when each pulse begins and ends. Traditionally, the
musical phrasing;
"point in space and time" when the direction change occurs
11. beat pattern designs that are disproportionate in spatial dimension and speed;
is called the ictus of the pulse or beat. The arm-hand move ment away from the ictus is called the rebound.
12. preparatory gestures that can invite a vocal qual
Do the standard conducting patterns actually fulfill
ity even before sound is produced, particularly when con
those intentions in every respect? Are the standard patterns
ducting anacrusis "pickup" rhythms;
the most effective movement designs for encouraging vocal
13. preparatory gestures that can choreograph effi
efficiency in singers, and for eliciting expressive music-mak
cient breathing so that the invited sonority is not stifled
ing from singers? As we strive to increase the expressive
before it starts;
effect of the conductors' art, a careful examination of the
14. "cutoff" gestures that provide physically efficient releases from voicing and eliminate the typical "curly-kew"
standard conducting patterns may reveal interesting answers to those questions. Nearly every conducting textbook suggests a different
gesture; 15. the remarkable changes in choral sound quality
design for the standard beat patterns. The majority of con
that can occur as a result of even the smallest change in
ducting text books will suggest a design for a two-beat
gestures.
pattern that resembles the one in Figure V-9-1.
A consideration of just one aspect of gesture-to-voiceto-expressive- music may serve as an example, that is, the possible effects on vocal efficiency and musical expressive ness of beat pattern designs that are disproportionate in spatial dimension and movement speed.
D o th e S ta n d a rd C o n d u c tin g P a tte rn s A id or In te rfe re w ith V o c a l E ffic ie n c y and M u sica l E x p re ssiv e n e ss? The standard conducting patterns are represented vi sually in choral conducting textbooks. These are the pat
Figure V-9-1: A tra d itio n a l tw o -b e a t, reverse "J" conducting pattern.
terns that are taught when choral conductors are in train ing. They are the basis, therefore, of conducting patterns In this reverse "J" design, where does the ictus of each
that conductors use in their habitual conducting. The original intentions of the conducting patterns were
musical pulse really occur? The reverse J simply does not offer a consistent degree of pulse clarity.
to:
There are two
changes of direction in the motion of the J pattern, but un clearly identify for performers a series of relatively fortunately both changes of direction occur between the ac equal, or at least proportionate, time durations that are re1.
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tual sounded musical pulses. The changes of direction, there
one foot (see Figure V-9-3). The distance from beat two to
fore, do not define the musical pulse. In fact, an arched or
beat three is about two feet. The distance from three to four
curved motion is underway when musical beat one is
is six inches, and the distance from four to one is another
sounded, then the change of direction occurs, followed by
two feet. So a typical ensemble performing in front of the
another curved motion when beat two is sounded.
standard four-beat gesture is watching a conductor who
In most conductors, the distance that the arm-hand
uses four different rates of speed within each measure of
travels from sounded beat one, to sounded beat two, is
music. Again, beat one shows a change of direction to de
about six to eight inches. From beat two to the next beat
fine the ictus, but beats two, three and four do not.
one, the arm-hand travels about two feet or 18 to 24 inches. The distance between beat two and the next beat one is about three times as great as the distance from beat one to beat two. Obviously the speed of the arm-hand movement has to be three times as fast when traveling from beat two to beat one in order to cover the distance. Usually, conduc tors significantly increase the speed of the gesture in the general areas of both beats one and two. Some version of the three-beat patterns shown in Figure V-9-2 occurs in most conducting textbooks. When
Figure V-9-3: Two tra dition al versions of four-beat conducting patterns.
using it, the actual distance traveled by the arm-hand from beat one to beat two is approximately one foot. The dis tance from beat two to beat three is about six inches, and
Might inexperienced singers tend to rush tempi when
the distance between beat three and the return to beat one
the standard conducting patterns are used; and particularly
is at least two feet. Conductors who use a standard "three"
on the beats that precede the downbeat? Perhaps they are
design, therefore, present their ensembles with a tempo pat
actually following the conductor's increased speed that is
tern that has a spatial-mathematical proportion of two to
made necessary by the greater distance.
one to four.
The movement speeds of the arm-hand in
each beat are similarly proportioned. While beat one shows a change of direction to define its timing, beats two and three occur somewhere in a curved motion, with changes of direction occurring between beats 1 to 2 and 3 to 1.
Might more experienced singers who have learned the personal skill of precise timing, have learned to ignore the motion of the standard patterns, and use their own "mental metronome" for timing precision? Might the varying speeds other-than-consciously in vite singers to produce "vocal energy surges" from pulse to pulse or rhythm to rhythm? If so, might legato singing be affected adversely as well as breathing and vocal fold coor dinations? Experiment with your version of the standard pat terns and observe what happens. Notice any varying dis tances and rates of speed that your arm-hand travels, par ticularly on the beats that precede the downbeat. Although our arm-hands are moving at different rates of speed through
Figure V-9-2: Two tra dition al versions of th re e -b e a t conducting patterns.
the various distances, some conductors swear that their rate of speed remains relatively constant. Also, notice if all of the actual beats are defined precisely by a change of direc
A similar look at the standard four-beat pattern shows that the distance from beat one to beat two is about 844
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tion, or if your hand is in the middle of a flowing curved motion when a sounded beat takes place.
right side of a Christmas tree (see Figure V-9-5). Again, look at the distance traveled compared to the other beats. Look at the inconsistency in beat definition clarity.
R ed e sig n in g th e S ta n d a rd C o n d u ctin g P a ttern s? Figure V-9-4: Two traditional versions of six-beat conducting patterns.
Thousands upon thousands of very beautiful con certs have been conducted, of course, using the standard patterns. If we investigate how the patterns have evolved,
For the six-beat pattern, the majority of conducting text books give us four clear direction changes out of the
we might reach the conclusion that the standard patterns have served us well. Why go to the trouble?
six "space-time" beats (see Figure V-9-4). There is a small movement arch from one to two and another small arch from two to three, with clear changes of direction that coin cide with musical pulses. Then, there is a large arch from three to four, a third small arch from four to five. In the motion for beat six, where does the actual beat occur? Look at the distance traveled from the actual beat four and the return of beat one.
The proportion is ap
proximately 6 to 8 inches for each of the small arches, about one and one-half feet for the arch from three to four, about six inches from five to six, and the distance from six to one is usually two feet.
Clearly, there are design flaws that may create incon sistencies of musical effect and vocal efficiency. Redesigned conducting patterns may enable more precise other-thanconscious timing responses by singers who have to coor dinate breathing, vocal fold adduction and lengthening/ shortening, and vocal tract shaping in milliseconds of time as they watch us.
Redesigned gestures, with appropriate
variation, also may enable vocal mechanism-to-musical flow responses that can produce an expressive variety of legatomarcato styles, obvious and subtle changes in loudness en ergy levels, and in voice qualities that impact on choral sonority. How might we go about redesigning the standard con ducting gestures? In most cases, an analysis of fossils would suggest that nature tends to discard that which is no longer useful to the various species, and to retain that which is useful. Perhaps a similar process could apply to an analysis of conducting patterns. Let us keep those parts of the designs that have served us well and modify those parts that can not withstand analytical scrutiny. The goal is to design conducting patterns that: 1. clearly define in space-time points when musical pulses occur; and 2. equalize as much as possible the speed-to-distance
Figure V-9-5: A tra d itio n a l tw e lve -b e a t conducting pattern.
ratio of the movement patterns so that timing precision in singers can be enhanced, as well as a physically efficient "flow" in vocal coordination.
The twelve pattern is relatively similar to the six pat tern, except for the final three beats-10, 11 and 12. Most
Nearly the entire Western musical world understands
textbook designs for those three beats are drawn like the
a four-beat pattern to be a down-left-right-up design. If
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clear definition of musical beats is determined by a clearly
same down-up rebound that initially retraces the path from
observable change of arm-hand direction, then that should
beat one (see Figure V-9-8. It soon departs from that path
be a dominating consideration. Rather than change the whole
and arches over the beat one area to the traditional location
communication system, we can maintain the general spatial
of beat three-to the right of beat one. Beats two and three
locations of the icti in the standard pattern but modify any
can be of equal distance from the beat one space-time point.
unclear curve motions in order to achieve clarity. In redesigning the traditional four-beat pattern, we can begin by drawing with our gesture a downward vertical line for beat one. But beat one can only be identified if a space-time point is created by an upward rebound change of direction.
The direction of the rebound motion leads
toward the location of beat two-the familiar spatial loca tion that has served us well for the last hundred years-to the left of the beat-one ictus (see Figure V-9-6). Figure V-9-8: Beat three with a reverse rebound that initially retraces the path from beat two.
Finishing a third beat that has traveled about eight to ten inches and then following it with a fourth beat that travels two feet or more seems spatially foolish. Figure V-9-6: d ire c tio n .
Beat one w ith an u p w a rd -to -th e -le ft reb ou nd chan ge of
We can redesign the placement of a beat four that will allow us to travel a distance with a ratio that is much more proportionate than the usual four to one. If we use the
To define the second space-time point, we basically
space-time point of beat one, return there and create an
draw another downbeat, that is, a downward motion fol
other down-up rebound, the beat is defined and the speed-
lowed by a clear rebound that initially retraces the path
to-distance ratio is equalized with the other beats (except
from beat one.
two to three).
This new distance travels about 10 to 12
inches rather than about 24 inches or more in the tradi tional design.
2
1
Figure V-9-7: Beat tw o w ith a reverse rebound that initially retraces the path fro m beat one.
Beat three can be created in its standard spatial rela tionship to the right of the beat one area. It starts with the 846
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Figure V-9-9: The redesigned four-beat conducting pattern compared to a traditional design.
With this design (see Figure V-9-9), it is possible to
The many facets of the choral conductor's choreo
roughly equalize the distances between beats, except that
graphic body language, listed at the beginning of this chap
the distance from beat 2 to beat 3 will be longer than the
ter, is but a "jumping off point" for exploring many interest
others.
ing ways to invite a chorus of human voices to create ex
A redesigned two-beat pattern can be described as a
pressive, healthy singing.
modified "V" shape.
r 1
Figure V-9-10: The redesigned two-beat conducting pattern compared to a traditional design.
Following the same principles, the other common con ducting patterns can be as shown in Figure V-9-11.
3
2
1 4
6
3 12
Figure V-9-11: Redesigned three-, six-, and twelve-beat conducting patterns.
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after-w ord s to this b ook scien ce-b ased , fu tu rist m egatren d s - voice ed u cation in the year 2100 Leon Thurman
3.
"There's always a place at the edge of our knowledge, where what's beyond is unimaginable, and that edge, of course, moves...''
Speaking and singing will no longer be thought of
as separate skills, so that the terms speaking voice and singing voice will be quaint anachronisms.
(Nobel Prize winner Leon Lederman in the New York Times, July 14, 1998)
They will have been
recognized as inaccurate and misleading because the neural and vocal anatomy for speaking and singing are the same. Human beings have one voice-not two-and the functions
A
re the "genes" of vocal and choral pedagogy being altered today so that evolutionary changes will be
for speaking and singing are much more similar than they are different.
in full flower 100 years from now? Will singing teachers, music educators and choral educators ply their
craft differently in the year 2100? Here is one speculative list of evolutionary trends:
4. The terms vocal pedagogy and speech training will be
replaced by voice education, so that all singing teachers, cho ral educators, general music educators, and speech and the atre trainers will regard themselves as educators of self-expres-
1. The practices of vocal and choral pedagogy and speech training will be globally grounded in the theory and research of the neuropsychobiological sciences, and the re lated voice and voice medicine sciences.
Physically and
sion for the societies in which they live. Consequently, the teaching of singing skills and speech skills will be carried out by people who are members of one professional cat egory — voice educator.
acoustically efficient voice skills will be the foundation for the learning of expressive singing and speaking skills by people of all ages.
5. Voice educators will use developmentally-appropriate, "human-compatible" teaching-learning processes that are grounded in the th eory and research of the
2. Terminologies and practices within the historical traditions of vocal and choral pedagogy, and in speech train ing, will have been replaced or modified, when necessary, so as to be consistent with terminologies and practices that have been derived from scientific theory and research (includ ing the appropriate use of various technologies).
848
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neuropsychobiological sciences. A genuinely collaborative mind-set and collaborative interactions between senior learners and learners will enable both groups to develop their innate capabilities for (1) empathie relatedness, (2) constructive selfexpressive competence, and (3) self-reliant autonomy.
6. Voice educators will be:
(a) skilled in expressive verbal and nonverbal communica tion and in the teaching of same;
8. Voice educators will be able to guide learners in the creation and performance of their own self-expressive poetry, lyrics, songs, choral compositions or arrangements, and theatrical scenes or plays.
(b) skilled in their personal use and teaching of effi
About 15% to 25% of the works that are publicly performed
cient, expressive body balance, alignment, and movement and in the
by speakers and singers will be their own self-expressive
teaching of same (including gestural metaphors that assist
creations.
efficient voicing and the quasi-dance movements used when rehearsing choral ensembles);
9. Voice educators will be skilled and experienced in
(c) able to teach efficient, expressive speaking and singing
assisting people of all ages in: (1) the prevention of voice
skills with human beings of all ages, from the time human audi
disorders and disease, and (2) appropriate auxiliary treat
tory function begins before birth, through childhood,
ment of voice disorders and diseases (cooperating knowl-
through the pre-teen and early-teen voice transformation,
edgably with primary care and voice ear-nose-throat phy
the late teens, adulthood, and the geriatric years;
sicians and with voice-speech-language pathologists and
(d ) comprehensively skilled and experienced in...
specialist voice educators).
•teaching basic, physically efficient "flow" voicing for use in conversational and presentational speaking, acting, and the singing of art songs and ballad-oriented folk and popular music; •teaching special enhancement of high-frequency vo
10. The results of these trends in the education of hu
man self-expression will be: (a) large numbers of people who speak and sing with expressive skills and healthy voices;
cal harmonics for use in Western civilization "classical" act
(b) large numbers of people who use those skills fre
ing and operatic singing (now often referred to as the singer's
quently throughout their lifespans, and diligently model them
formant);
for future generations; and
•teaching high-volume "belted" voicing for use in out
(c) whole societies of people who sing with robust
door or un amplified speaking, cheerleading, and acting,
expressive skill and confidence—alone and with others—in
and in the singing of folk, spiritual, gospel, musical theatre,
family settings, learning centers, common social gatherings,
and popular music styles;
official meetings, and in what were called performances in the
• teaching non-nasal "twang" singing in folk, blue-
20th century.
grass, and country-western music; •teaching efficient special-effect voicing for vocal im
If all of the above trends were to come to pass, how
personators, mimics, comedians, and actors who use "char
would comprehensive and specialist voice educators be edu
acter voices", and for actors and some rock and rhythm &
cated in the year 2100?
blues singing who must scream; and • advising singers of music from other cultures. 7. Rehearsal teaching in choral ensembles will evolve toward vocal and musical autonomy. Skilled choral en sembles will rarely, if ever, perform with a conductor in front of them because the implicit/procedural skills of sing ers will be richly developed. As a result, voice educators can be members of the singing ensembles that they lead. As voice and music education evolve, therefore, voice educa tors will become less and less "necessary" — never unnec essary.
a fter-w ord s
849
appen dix 1 b r ie f b iograp h ies o f con trib u tin g authors obert Bastian, M.D., baritone, is an Associate
critically acclaimed in the United States, Europe, and Asia.
Professor of Otolaryngology-Head and Neck Sur
He has extensive experience working with adolescent sing
gery at the Stritch School of Medicine, Loyola Uni
ers, and is recognized internationally as the leading author
R
versity, Chicago, Illinois, and he is Medical Director ofity theon adolescent voice transformation. He co-authored a
Loyola Voice Institute. He specializes exclusively in the evalu
landmark, 3-year scientific study of the male adolescent
ation and treatment of voice and swallowing disorders and
changing voice, and authored a 4-part series of articles on
cancer of the larynx in the Department of Otolaryngology,
the changing voice for The Choral Journal in 1977-78. In 1993,
Loyola University Medical Center.
Through his extensive
he completed a year-long cross-cultural study of adoles
clinical and scholarly work, he has earned an international
cent male voice change in the United Kingdom, and pub
reputation as a leading authority on the care of the profes
lished an articled titled "Do Adolescent Voices 'Break,' or Do
sional voice, laryngeal videostroboscopy, laryngeal image
They Transform?"' in VOICE, the journal of the British Voice
biofeedback, and laryngeal microsurgery. Dr. Bastian was
Association.
among the first laryngologists to establish and promote an
choirs in over thirty of the United States. He has presented
interdisciplinary team approach to vocal assessment and
sessions for the American Choral Directors Association, the
rehabilitation that included voice specialists in speech pa
National Association of Teachers of Singing, The Voice Foun
thology and voice education. He studied singing for sev
dation of America, the British Voice Association, the British
eral years and continues to sing publicly on a few occa
Choral Conductors Association, the European Federation
sions each year.
of Youth Choirs, the European Council of International
He has published articles in such respected medical
He has directed clinic, festival, and all-state
Schools, and the International Society for Music Education.
journals as the Ear; Nose and Throat Journal, Otolaryngology Head and Neck Surgery, Otology Rhinology Laryngology, and The Journal of Voice. He has given presentations on voice care for the American Academy of Otolaryngology, the Voice Foun
M
ary Ann Emanuele, M.D., is Professor of Medi cine and Molecular and Cellular Biochemistry at the Stritch School of Medicine, Loyola Uni
dation, National Association of Teachers of Singing, the
versity, Chicago, Illinois. She also has an active practice in
American Choral Directors Association, and the Australia
the Department of Endocrinology, Loyola University Medical
and New Zealand Association of Teachers of Singing.
Center. She is recognized nationally and internationally for her clinical and research work in many aspects of endocri
ohn Cooksey, Ed.D., is Professor of Music Education
nology, but particularly in the endocrinologic effects of dia
and Director of Choral Activities at the University of
betes mellitus and alcoholism on reproductive systems. Her
Utah. Performances by his choral ensembles have been
research has been funded by such sources as the National
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Institutes of Health and the Juvenile Diabetes Foundation,
States. In 1990, she was Lead Teacher in the design and
and her work has been published in highly respected medi
implementation of an interdisciplinary arts course called
cal and scientific journals such as the American Journal of
"Creative Connections," funded by the National Endowment
Medicine, the New England Journal of Medicine, Endocrinology, In
for the Arts and the Minnesota Center for Arts Education.
ternal Medicine, Alcoholism: Clinical and Experimental Research,
She is an active member of the Music Educators National
Diabetes Care, Journal of Clinical and Experimental Neuropsychology,
Conference, the American Choral Directors Association, and
Journal of Developmental and Behavioral Pediatrics, and the Ameri
the National Association of Teachers of Singing. Her pri
can Journal of Reproductive Immunology. She has presented pa
mary voice teachers have been Lenore Schmidt, James
pers at many research symposia sponsored by medical or
Manley, and Axel Theimer. She was a popular music enter
ganizations such as the Endocrine Society, the International
tainer during the 60s and 70s on the night club circuit in the
Pituitary Congress, the International Diabetes Foundation,
Twin Cities area of Minnesota.
and the Research Society on Alcoholism. ynne Gackle, Ph.D., is founder and Music Director
arrel Feakes, M.S., CCC/A, is Senior Audiologist
D
at the Minnesota Ear, Head and Neck Clinic, Min neapolis, Minnesota. He has over 25 years of clini
L
of the Gulf Coast Youth Choirs, Tampa, Florida, and is
adjunct faculty in choral music education at the Uni
versity of Miami, Coral Gables. She has taught at all educa
cal experience in Ohio, Wisconsin, and Minnesota. Hetional is a levels, elementary school through college, in Louisi
strong advocate of public education about the important
ana, Florida, and Mississippi. She was Vocal/Choral Coor
role hearing plays in the intellectual, emotional, and social
dinator for the New World School of the Arts in Miami and
development of children. Mr. Feakes especially emphasizes
was conductor of the Miami Girl Choir for nine years. Her
the importance of early detection and assertive treatment of
choirs have performed for state, regional, and national con
middle ear abnormalities that can lead to temporary or
ventions of the American Choral Directors Association and
permanent hearing impairments that, in turn, can result in
the Music Educators National Conference, and she has pre
the impairment of language and singing development. He
sented vocal/choral sessions at their conventions. She has
has given over 300 in-service presentations to physicians,
conducted festival, honors, and all-state choirs throughout
allied health professionals, pre-school organizations, school
the United States. Currently, Dr. Gackle is conductor of the
systems, and head-start programs, and has appeared on
Gulf Coast Girl Choir, President of the Southern Division of
radio and television programs to promote this cause. He
the American Choral Directors Association, and Past-Presi-
has given presentations to senior organizations on the na
dent of Florida ACDA. She also is a member of the Florida
ture of hearing loss in older adults and the benefits of hear
Vocal Association and the National Association of Teachers
ing amplification, and has consulted with representatives of
of Singing. She has published articles in The Choral Journal
various business organizations on the nature of noise-in
and The School Musician, and the Lynne Gackle Choral Series is
duced hearing loss. He has received awards for his educa
published by Kjos Music in Miami. Dr. Gackle's Ph.D. the
tional work from the University of Wisconsin at Stout and
sis was the first research to investigate singing skills in the
from the International Hearing Foundation.
adolescent female changing voice, and to begin establishing guidelines for voice classification and part assignment.
atricia Feit, M.A., soprano, is Vice-President of The
P
VoiceCare Network, and Director of Choral Music at Elk
lizabeth Grambsch, M.A.., established the early child
the famed St. Olaf College Choir under Olaf Christiansen. She
E
has been a successful vocal-choral music educator for over
100 families. She has studied prenatal and infant develop
25 years. She teaches private voice and has presented voice
ment with Thomas Verny, M.D., the psychiatrist who founded
and choral ensemble clinics in the upper Midwestern United
the Association for Prenatal and Perinatal Psychology and
River High School, Elk River, Minnesota. Ms. Feit
hood music education program (birth to age 3) at
graduated from St. Olaf College where she was a soloist in
the University of St. Thomas Conservatory of Music
in St. Paul, Minnesota. The program currently serves about
appendix
one
851
Health (APPPAH), and she is an active member and officer
in Ann Arbor.
of the Early Childhood Music and Movement Association
ogy and voice disorders, and he also lectures on these sub
(ECMMA). In her Conservatory program, Ms. Grambsch
jects at The University of Michigan Medical School and
His clinical practice is devoted to laryngol
teaches infant/toddler and caregivers classes in small groups,
School of Music. Through his initiatives, faculty and staff
emphasizing emotion-based attachment interactions between
from the Medical Center and School of Music have been
parent-caregiver and child. She uses her diverse knowledge
brought together to provide professional voice care at The
of music, neuroscience, and child development to provide
University of Michigan Vocal Health Center in Livonia,
initial screening of auditory processing delays. She also pro
Michigan.
vides guidance in maturation-appropriate, interactive ac
published articles in such prestigious journals as: The Jour
tivities for healthy emotional and self-expressive develop
nal of Voice, Laryngoscope, Annals of Otolaryngology-Head & Neck
ment through music and language. She gives presentations
Surgery Otolaryngology-Head & Neck Surgery, and Science.
He is active in laryngology research, and has
to a variety of organizations about auditory development and the role that parents, daycare providers, and music edu
arol Klitzke, M.S., CCC/SLP, is the Speech Patholo
skills. She is currently participating in a research program,
C
funded by the Minnesota Department of Children, Families,
(Voice) at St. Cloud State University, St. Cloud, Minnesota.
and Learning, focussing on auditory stimulation as a means
She and Leon Thurman have teamed together since 1989 to
for remediating language delays in elementary school chil
provide voice therapy in cooperation with ear-nose-throat
dren.
physicians who practice in the upper Midwestern United
cators can play as initial screeners of auditory problems and as facilitators of attentive listening and self-expressive
gist/Voice Specialist for the Fairview Voice Center, Fairview-University Medical Center, Minneapolis,
Minnesota, and Adjunct Instructor of Speech Pathology
States. They are the voice therapy providers for the Fairview
lizabeth Grefsheim, B.A., is the co-founder and Co-
Arts Medicine Center. She is on the Board of Advisors of The
Director of Son-Sheim Music School and Sondance Chris
VoiceCare Network. Ms. Klitzke's training and experience have
tian Dance School with branches in Spring Lake Park
focused on therapy for voice/larynx and swallowing dis
E
and Anoka, Minnesota. Over 600 students study musicorders. in She earned a M.S. degree in Speech Pathology from Ms. Grefsheim
the University of Wisconsin-Madison, and the Certificate of
teaches group music experiences for children, private voice
Clinical Competence from the American Speech-Language-
for all ages, and is the director of the Rainbow Kids, the school's
Hearing Association, Washington, D.C.
performing choir. The choir has been recorded on many
additional training in voice and laryngeal videostroboscopy
Christian tapes and CDs over the past ten years, and has
techniques through the Voice Foundation of America. She
performed at state and national conventions. She conducts
is former Director of Rehabilitation at the St. Paul Rehabili
groups or private lessons at the school.
She has received
choral festivals with singers of all age levels, and she pre
tation Center, and Director of Speech Pathology at St. Mary's
sents workshops and vocal-choral clinics throughout the
Hospital, Minneapolis. Ms. Klitzke has provided voice re
United States and Canada. Ms. Grefsheim is Associate Ex
habilitation for singers (all styles), actors, clergy, teachers,
ecutive Director, Treasurer, and faculty member for The
professors, businesspersons, and public speakers in the
VoiceCare Network. She is an active member of the National
midwestern United States and southern Canada. She has
Association of Teachers of Singing, the Music Educators
presented training in voice therapy techniques to speech
National Conference, and the American Choral Directors
pathology departments at several universities and school
Association.
districts, and has presented seminars on voice care for sing ers and various professional groups.
orman D. Hogikyan, M.D., is Director of the Uni
N
versity of Michigan Vocal Health Center, and an Assistant Professor of Otolaryngology - Head and
Neck Surgery at The University of Michigan Medical Center
852
bodym ind
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A
nna Langness, Ph.D., is Music Specialist in kin dergarten through fifth grades with the Boulder Valley School District in Boulder, Colorado. She
has over 20 years of experience as choral and general music
Care of the Human Voice" at the University of Minnesota,
educator. For most of her career, Dr. Langness has been a
and for the British Voice Association's annual symposia at
guest instructor for music teacher training courses and music
the Royal College of Medicine in London. The Association
educator conference sessions that demonstrate effective voice
established the Van L. Lawrence Award for original voice
education and music education for children. These presen
research carried out in the United Kingdom. Dr. Lawrence
tations have occurred at many state, regional, national, and
made a difference in the lives of many people who love
international organizations such as Music Educators Na
human voices and singing. His unparalleled clarity of ex
tional Conference, American Choral Directors Association,
pression, grinning good humor, and human compassion
National Association of Teachers of Singing, the Voice Foun
are greatly missed. He was a godfather to The VoiceCare Net
dation of America, and the International Society for Music
work.
Education EdVentures. Dr. Langness is a charter member
ohn Leman, Ed.D., is Professor Emeritus of Choral Con
ing, and the Oregon Music Educator. She co-authored, with Leon
J
Thurman, Heartsongs: A Guide to Active Pre-Birth and Infant
ing orchestral conductors. In 1989, he founded the Cincin
Parenting through Language and Singing.
nati International Chorale, specifically for European tours.
and has served as President of Music EdVentures, Inc., as orga nization of educators that was established to provide an educational forum for music in education. Her articles on children's singing have been published in EdVentures in Learn
ducting at the College-Conservatory of Music, Univer
sity of Cincinnati.
For ten years, he was Director of
Choruses for the Cincinnati May Festival, and in that ca
pacity he prepared choruses for many of the world's lead
The CIC was the first choir from the United States to sing
V
an Lawrence, M.D., (deceased) was an oto
with the Leningrad Symphony, and they also have partici
laryngologist at the MacGregor Medical Clinic As
pated in major summer festivals throughout Europe.
sociation in Houston, Texas. He also was com
major element of Dr. Leman's career has been an in-depth
pany physician for the Houston Grand Opera, and in that
study of the musical-expressive effect of a conductor's ges
capacity observed the larynges of many of the world-class
tures, and their effect on individual vocal production and
opera singers of the past two decades. He also saw many
choral sonority. He has presented sessions on that topic at
popular entertainment stars who performed in Houston.
state, regional, and national conventions of the American
His passion was the human larynx and the voice for which
Choral Directors Association and the Music Educators Na
it provides the sound source.
tional Conference.
He was a member of the
A
Scientific Advisory Council for the Voice Foundation of America.
Voice Foundation established the Van L. Lawrence Fellow
A
ship in voice science and voice education. He was Associ
education at the College of St. Catherine, the University of
ate Editor of The NATS Journal, published by the National
Minnesota, and the Minneapolis School of Art and Design.
From 1978-1985, he was editor of the prestigious transcripts of the annual symposia presented by the Foundation and was frequently a presenter at the symposia. In 1989, the
lice Pryor, M.Ed., is founder of the Texas Center for the Alexander Technique in Austin, Texas. She
has been on The VoiceCare Network faculty since 1985.
Her higher education was in art, art education, and physical
Association of Teachers of Singing, and was the original
Beginning in 1952, she taught art in Wisconsin and Minne
author
called
sota public schools and then in Guadalajara, Mexico. She
"LaryngoSCOPE." Most recently, he was Associate Editor of
then taught art for eleven years at the University of Texas at
The Journal of Voice, published by the Voice Foundation. He
Austin. In 1976 she took a disability leave because of envi
presented many educational sessions at national conven
ronmental illness caused by toxicity to the art materials.
of the highly
acclaim ed
colum n
tions of the National Association of Teachers of Singing; for several of the "Interdisciplinary Colloquia on the Use and
Ms. Pryor's study of the Alexander Technique began in 1976 with Marjorie Barstow.
She is a member of the
North American Society of Teachers of the Alexander Tech nique (NASTAT) and Alexander Technique International (ATI). appendix
one
853
She has augmented her Alexander training with instruction in Tai Chi, Feldenkrais, Traeger, Aston Patterning, stress man agement, meditation, and dance.
She also is a registered
massage therapist.
eon Thurman, Ed.D., baritone, is founder and De
L
velopment Director of The VoiceCare Network.
He is
Specialist Voice Educator for the Fairview Voice Center at Fairview-University Medical Center and the Fairview Arts
A private Alexander Technique practice was established
Medicine Center, Minneapolis, Minnesota. He teaches private
in Austin, Texas, in 1980, and the Texas Center for the
voice (classical and popular singers, actors, storytellers,
Alexander Technique was founded in 1989. Ms. Pryor works
broadcast media talent, businesspersons, clergy); provides
with musicians, voice students, choirs, teachers, business
voice therapy in cooperation with Carol Klitzke, Speech/
people, tradesmen, policemen, actors, and athletes. She has
Voice Pathologist for the Fairview Voice Center, and with ear-
taught Alexander Technique at universities and colleges in
nose-throat physicians who practice in the upper Midwest
Texas, Virginia, Michigan, Montana, Colorado, Connecticut,
ern United States; and presents workshops and seminars
Oregon, and Minnesota, and at regional meetings of the
on effective, healthy speaking and singing.
National Association of Teachers of Singing.
Dr. Thurman earned his doctorate under Charles Leonhard at the University of Illinois. Post-doctoral study
A
xel Theimer, D.M.A., is President and Executive
has included work in voice education and health, and in
Director of The VoiceCare Network. Beginning in the
lifespan psychobiology of perception, memory, learning,
,1960s, he has been a baritone recitalist and Profes
behavior, and health. His primary voice mentors have been
Oren Brown, Geraldine Braden, and Van Lawrence, M.D. sor of Voice and Director of Choral Activities at St. John's
University, Collegeville, Minnesota.
His choirs frequently
He is a member of the National Association of Teachers of
tour the United States and Europe. He also is founder and
Singing, the Voice and Speech Trainers Association, the
Music Director of Kantorei, a semi-professional chorus in
American Choral Directors Association, the Music Educa
Minneapolis-St. Paul, and of the Amadeus Chamber Symphony,
tors National Conference, and presently is an inactive mem
an orchestra for Central Minnesota musicians. He is a mem
ber of the American Federation of Television and Radio
ber of the Arts Advisory Board of the Fairview Arts Medi
Artists, the Actors Equity Association, and the American
cine Center.
Guild of Musical Artists. He is a past president of the Min
He was born and raised in Austria, where he was a
nesota Chapter of the National Association of Teachers of
member of the famous Vienna Choir Boys. In his early-
Singing, and is on the Advisory Board of the Centre for
20s, he became conductor of the Chorus Viennensis. His gradu
Advanced Studies in Music Education, University of Surrey
ate degrees are from the University of Minnesota where he
Roehampton, in London. He has been full time conductor
studied voice with the late Roy Schuessler. Dr. Theimer has
for a number of high school, college, and community cho
published articles in The Choral Journal, and has presented
ral ensembles and has performed with Robert Shaw in the
interest sessions at state, regional, and national conventions
Cleveland Orchestra Chorus and Chamber Chorus, and
of the American Choral Directors Association, the Music
toured with the Norman Luboff Choir. He has taught cho
Educators National Conference, the Association of Cana
ral and general music in grades 4-12, as well as under
dian Choral Conductors, and the Minnesota Chapter of the
graduate, graduate, and continuing vocal music education.
National Association of Teachers of Singing. He is a past
Dr. Thurman has presented lectures, workshops, and
Minnesota Governor for the National Association of Teach
vocal/choral clinics throughout the United States and in
ers of Singing, and was instrumental in developing the Min
Australia, Canada, and Europe for many national and in
nesota Dialogue, a summer professional program presented
ternational organizations such as National Association of
by ACDA of Minnesota.
He frequently presents recitals
Teachers of Singing, American Choral Directors Associa
and conducts choral and voice clinics throughout the United
tion, Music Educators National Conference, British Voice
States, including all-state choirs in Alabama, Alaska, Colo
Association, Association of Canadian Choral Conductors,
rado, Georgia, Indiana, Minnesota, Pennsylvania, and Wis
the European Council of International Schools, Association
consin.
for Pre- and Perinatal Psychology and Health, International
854
bodym ind
&
voice
Society for Prenatal Psychology and Medicine, and Interna
searched various aspects of singing in early childhood
tional Society for Music Education. In 1991, he presented
through adolescence, as well as in choral settings. Major
sessions on "Brain-Compatible Learning" and "Educating for
research studies were funded by the Leverhulme Trust (twice),
Powerful Self-Expression" at a conference on Designing Pow
the Paul Hamelyn Foundation, and the Roehampton Insti
erful Learning Experiences, presented by the Institute for Learn
tute Research Committee.
ing and Teaching and the National Core Curriculum Asso
Roehampton, he taught for thirteen years at the primary
ciation. In 1986, he co-taught a course called "In Harmony
school level and for five years at Bristol Polytechnic where
with Your Baby: Enhancing Bonding and Early Learning
he was director of the undergraduate teacher education pro
through Talking and Singing" for the Perinatal Education
gram.
Department of Children's Hospital, St. Paul, Minnesota. With Carol Klitzke, he co-authored a chapter titled
Before his appointment to
Professor Welch has sung professionally in various London choral groups and is known widely as a voice edu
"Voice Education and Health Care for Young Voices" in Vocal
cator. He has helped professional singers and speakers re
Arts Medicine: The Treatment and Prevention of Professional Voice
habilitate their injured voices. He is a founding member
Disorders (Thieme Medical Publishers, 1994). He has authored
(and was first co-chair) of the British Voice Association (BVA),
articles in various journals, and is co-author with Anna
an interdisciplinary association of otolaryngologists, speech-
Langness of Heartsongs: A Guide to Active Pre-Birth and Infant
language pathologists, voice scientists, acting coaches, and
Parenting Through Language and Singing. "Parental Singing Dur
singing teachers. The BVA jointly publishes the international
ing Pregnancy and Infancy Can Help Cultivate Positive Bond
journal Logopedics Phoniatrics Vocology with the Scandinavian
ing and Later Development" appeared as a chapter in Prena
Cooperation Council of Logopedics and Phoniatrics. He is
tal and Perinatal Psychology and Medicine: Encounter with the Un
co-founder and coordinator with Professors Johan Sundberg
born (Parthenon Publishers, 1988).
(Stockholm, Sweden), David Howard (York, UK), Friedeman Pabst (Dresden, Germany) and Riccardo Speziale (Palermo,
M
ary C. Tobin, M.D., is an Associate Professor
Sicily) of the European Child Voice Network, an inter-disci
of Clinical Medicine and Pediatrics at the Stritch
plinary research group embracing all aspects of child voice
School of Medicine, Loyola University, Chicago,
development.
Illinois. She has an active clinical allergy practice in the Di
Presentations on child voice and music education have
vision of Allergy and Immunology, Loyola University Medi
been given by Professor Welch across Europe and in Canada,
cal Center. Her appreciation of the challenges facing vocal
Japan, Argentina, and the USA. He has presented for the
ists with allergies and asthma is the result of working with
Voice Foundation of America and the International Society
her aunt, who is Professor Emerita of Voice at Iowa College
for Music Education (ISME). He is currently a member of
and the College of New Rochelle, and is still teaching pri
the ISME Research Commission, representing the UK and
vately.
Africa. He has published articles in many international jour nals, such as Journal of Voice, Psychology of Music, Bulletin of the raham Welch, Ph.D., is now Professor of Music
Council for Research in Music Education and the British Journal of
Education at the Institute of Education, University
Music Education.
G
of London, a position that is among the most pres
tigious in all of Europe. Formerly, he was Dean of the Fac
ulty of Education, Director of Educational Research, and Director of the Centre for Advanced Studies in Music Edu cation (ASME) at the University of Surrey Roehampton in London. In addition to being a recognized expert on teacher education, he is known throughout the world for his pub lished research on singing development, particularly in chil dren. At ASME, he led a multi-professional team that re appendix
one
855
appen dix 2 b r ie f d escrip tion s o f sp on sorin g organ ization s Programs of the VoiceCare Network are endorsed by
T
he VoiceCare Network is a tax-exempt educa
the National Association of Teachers of Singing. The Network is an auxiliary of the Music Educators
tional organization that presents courses, work shops, seminars, and prepares learning materials.
National Conference.
Their mission is to develop a network of music educators, Network programs are co-sponsored by the Ameri can Choral Directors Association of Minnesota. choral conductors, church musicians, singers, and singing teachers who: 1. use their own voices with increasing efficiency and expressive skill when speaking and singing; 2. design indelible learning experiences for people who
Board of Directors Patricia Feit, M.A. , Choral Director, Elk River High School, Elk River, Minnesota
Nancy Larson, M.M.Ed., M.S., Guidance Counselor,
then choose to sing and speak with expressive skill through
Coon Rapids High School, Coon Rapids, Minnesota
out their lives;
Elizabeth Grefsheim, B.A., Co-Founder and Co-Di use conducting gestures and verbal and nonverbal rector, Son-Sheim Music School, Spring Lake Park, Minne communication skills that invite efficient, expressive sing 3.
sota
ing and speaking;
Janeen Hudak, B.A., Voice Instructor, Son-Sheim provide enjoyable, science-based, hands-on voice Music School, Spring Lake Park, Minnesota education that includes: Axel Theimer, D.M.A., Professor of Voice and Cho a. how voices are made; 4.
b. how voices are "played" with physical and acoustic efficiency in expressive speaking and singing;
c. aural-kinesthetic-visual identification of healthy-ef ficient and unhealthy-inefficient vocal coordinations;
ral Music, St. John's University, Collegeville, Minnesota
Leon Thurman, Ed.D., Specialist Voice Educator, Fairview Voice Center, Fairview-University Medical Center, Minneapolis, Minnesota
d. how voices can be well conditioned and protected
vocal capabilities, and lifespan, age-appropriate teaching
Board of Advisors: Voice and Voice Science Oren Brown, The Juilliard School (Retired), New York Ingo Titze, Ph.D., Distinguished Professor and Direc
approaches.
tor, National Center for Voice and Speech, The University of
from disease and dysfunction;
e. how voices grow up, the effects of maturation on
Iowa, Iowa City, Iowa, and Director, Wilbur J. Gould Voice The VoiceCare Network is an affiliate of the National Center for Voice and Speech.
856
bodym ind
&
voice
Research Center, The Denver Center for the Performing Arts, Denver, Colorado
Voice Medicine and Therapy Robert Bastian, M.D. Associate Professor of Otolaryn
Music Education Charles Leonhard, Ed.D., Professor Emeritus of Mu
gology, Stritch School of Medicine, Loyola University Medi
sic and Education, University of Illinois, former Director of
cal Center, Chicago, Illinois
Research, National Arts Education Center, Urbana, Illinois
Carol Klitzke, M.S., CCC/SLP, Speech Pathologist/ Voice Specialist, Fairview Voice Center, Fairview Arts Medi cine Center, Fairview-University Medical Center, Minneapolis,
Psychology Eric Oliver, M.A., MetaSystems, Canton, Michigan
Minnesota
Child Voice Education Anna Langness, Ph.D., Instructor, Music EdVentures, Elementary Music Educator, Boulder Valley public Schools, Colorado
T
he National Center for Voice and Speech is a con sortium of four highly-respected organizations: The University of Iowa, The University of WisconsinMadison, The Denver Center for the Performing Arts and
Graham Welch, Ph.D., Dean of Education,
The University of Utah. These institutions represent a rich
Roehampton Institute London, Froebels Institute College,
tradition of research and education in the areas of voice
University of Surrey, London, United Kingdom, Director,
and speech. Funding for the NCVS is provided by a grant
Center for Advanced Studies in Music Education
from the National Institute on Deafness and Other Com munication Disorders, a division of the National Institutes
Adolescent Voice Education John Cooksey, Ed.D., Professor of Choral Music, Di
of Health.
rector of Choral Activities, University of Utah, Salt Lake City,
areas.
NCVS investigators focus their efforts in four major
Research: At the cornerstone of the NCVS are seven
Utah
Lynne Gackle, Ph.D., Director, Gulf Coast Girl's Cho
major research projects that define the characteristics, pow
rus, Tampa, Florida, Adjunct Professor of Choral Educa
ers and limitations of human voice and speech production.
tion, University of Miami, Miami, Florida
These investigations are conducted through laboratory, clini cal and computer studies:
Choral Conducting Education Edith Copley, D.M.A., Associate Professor of Choral
• Biomechanics of the Larynx
Music Education, Director of Choral Studies, Northern Ari
• Velopharyngeal Structure and Function
zona University, Flagstaff, Arizona
• Articulatory Coordination in Speech Disorders
John Leman, Ed.D., Professor of Choral Music Edu
• Cellular Structures of the Lamina Propria
• Assessment and Treatment of Voice Disorders
cation, College-Conservatory of Music, University of Cin
• Phonation of Vocal Performers
cinnati, Cincinnati, Ohio
• Changes in Laryngeal Muscle Activity with Age and Treatment.
Wellness and Alexander Technique Alice Pryor, M.A, Founder and Director, Texas Cen ter for the Alexander Technique, Austin, Texas
Continuing Education projects translate research find ings to practical and relevant products for professionals such as speech language pathologists, voice educators, and
Education Leslie Hart, Author, Human Brain, Human Learning, New Rochelle, New York
otolaryngologists who work with individuals with voice or speech problems.
Dissemination of Information programs teach the general public about care of the voice, as well as preven tion, detection and treatment of voice and speech disorders.
appendix
two
857
Special effort is made to reach those whose vocations or
Steven Gray, M.D., University of Utah, Laryngeal sur
avocations require exceptional demands upon their voices;
gery (particularly congenital/pediatric), Cellular structures
examples are: actors, auctioneers, teachers and telemarketers.
of vocal tissues
The Training component of the NCVS provides tu
Elizabeth Hammond, M.D., University of Utah, Pa
ition waivers and stipend support to qualified doctoral and
thology, Tumor biology, Cellular structures of vocal tissues
postdoctoral candidates aspiring to careers in voice and
Henry Hoffman, M.D., The University of Iowa, Laryn
speech research.
gology, Phonosurgery, Spasmodic dysphonia
Dr. Ingo Titze directs the NCVS from the administra tive offices at The University of Iowa, where he is also a
Michael Karnell, Ph.D., The University of Iowa, Velopharyngeal and laryngeal physiology
distinguished professor of voice. He is joined by a presti
David Kuehn, Ph.D., The University of Iowa (pri
gious roster of seasoned investigators in the field of voice
mary institution, The Univeristy of Illinois), Velopharyngeal
and speech research.
anatomy and physiology
Paul Milenkovic, Ph.D., University of Wisconsin, NCVS Faculty Mona Abaza, M.D., Denver Center for the Perform
Computer analysis of speech and voice
ing Arts, Diagnosis and surgical treatment of voice
aerodynamics, Velopharyngeal function, Articulatory co
disorders
ordination
Fariborz Alipour, Ph.D., The University of Iowa, Speech aerodynamics with an emphasis on experimental modeling of glottal airflow and vocal fold vibration
Jerald Moon, Ph.D., The University of Iowa, Speech
Julie Ostrem, MBA, The University of Iowa, Educa tional programs for practioners
Lorraine Olson Ramig, Ph.D., Denver Center for the
David Berry, Ph.D., The University of Iowa, Biome
Performing Arts, Voice and speech of the aged, and voice
chanical modeling of vocal folds and velum; Signal pro
treatment efficacy of patients with Parkinson's disease, amyo
cessing of voice signals; Nonlinear dynamics
trophic lateral sclerosis and other neurologic dysfunctions
Diane Bless, Ph.D., University of Wisconsin-Madison, Videostroboscopy, Phonosurgery, Clinical voice disor ders, Geriatric voice
of voice
Marshall Smith, M.D., University of Utah, Pediatric and adult laryngology
James Brandenburg, M.D., University of WisconsinMadison, Laryngology, Phonosurgery/fat graft implants
John Canady, M.D., The University of Iowa, Fetal and adult wound healing; Growth factors in wound healing, Palatal surgical repair
Brad Story, Ph.D., Denver Center for the Performing Arts, Simulation of vocal tract acoustics and vocal fold vi bration; Vocal tract imaging
Sue Ann Thompson, Ph.D., The University of Iowa, Fetal and adult wound healing; Growth factors in wound
Thea Carruth, MPH, Denver Center for the Perform ing Arts, Public education programs
Roger Chan, PhD, The University of Iowa, Biome chanical properties of vocal fold tissues
healing; Muscle histochemistry
Ingo Titze, Ph.D., The University of Iowa, Computer simulation of the voice, acoustics and biomechanics of hu man vocalization
Kate Emerich, BM, MS, CCC-SLP, Denver Center for
Patricia Zebrowski, Ph.D., The University of Iowa,
the Performing Arts, Vocology, occupational voice hazards
Identification, description and treatment of stuttering in chil
Eileen Finnegan, PhD, CCC-SLP, The University of
dren, especially in behavioral and environmental consider
Iowa, Laryngeal and respiratory muscle coordination
Charles Ford, M.D., University of Wisconsin, Laryn gology, Phonosurgery
858
bodym ind
&
voice
ations.
T
he Fairview Voice Center, Fairview Arts Medicine
Center, is part of Fairview Health System, Minne apolis, Minnesota. Jon Hallberg, M.D., is the Medi
T
cal Director of the Fairview Arts Medicine Center. The Center
he Centre for Advanced Studies in Music Educa tion (ASME) was founded in 1990 by the Univer sity of Surrey Roehampton (formerly Roehampton Institute London). It has since established a growing na
can be reached at (888) 750-ARTS [2787], or at 332-ARTS
tional and international presence for the depth of its re
within the 612 area code.
search output and the high quality of its educational pro
The Fairview Arts Medicine Center is dedicated to meeting
grams.
the distinctive health care needs of all artists and arts edu cators. The Center's medical team includes primary care,
Research Over £300,000 of external research funding has been
orthopedic, respiratory, neurology, and laryngology physi cians, physical and occupational therapists, speech-voice
devoted to music education and voice research projects at
therapists, hand therapists, and psychotherapists. The medi
ASME (about $480,000 U.S.). For example, the Leverhulme
cal team collaborates with complementary health special
Trust granted £110,000 for a 4-year study of Singing Devel
ists such as voice education specialists, Alexander Technique,
opment in Early Childhood (1990-1994). In 1999, the Euro
and Body-Mind Centering.
pean Community provided a grant of £87,000 to extend the
The Fairview Voice Center is part of Fairview Health
study of singing development into the adolescent years.
System's Speech Pathology Department, a unit within Re
Professor Graham Welch is the Center's Director.
habilitation Services. The Voice Center is a member of the
He is internationally renowned for his widely published
Coordinating Council of the Fairview Arts Medicine Center. Carol
research into how children learn to sing, and into the psy
Klitzke, M.S., CCC/SLP, is the Speech Pathologist/Voice Spe
chology and sociology of music. He represents the UK and
cialist at the Voice Center, and Leon Thurman, Ed.D., is the
Africa on the Research Commission of the International
Specialist Voice Educator. The Fairview Voice Center team
Society for Music Education, and is its current chair (2000-
provides three kinds of services.
2002). He also is chair of the Society for Research in the
1. They frequently join with ear-nose-throat physi
Psychology of Music and Music Education, and is on the
cians in the upper Midwest to form cooperative voice rehabilita
Scientific Committee for the 6th triennial International Con
tion teams. People with dysfunctioning voices can receive
ference on Music Perception and Cognition, Keele Univer
medical and functional diagnosis and treatment, so that op
sity, UK. University of Surrey Roehampton and ASME es
timum
restored.
tablished a formal research partnership with the Royal In
Videostroboscopic examinations are provided when the
stitute of Technology (KTH) in Stockholm, Sweden. Profes
need arises. They specialize in helping people who sing and
sor Welch and Professor Johan Sundberg (KTH Depart
speak "athletically" in their careers or avocations.
ment of Speech Sciences) cooperate in the development of
vocal
com m unication
can
be
2. They are extensively experienced in providing oneto-one sessions for: A people with few speaking or singing skills who want to develop strong fundamental skills;
B.
abilities of children and adolescents. Professor Welch has been a member of The VoiceCare Network since 1987 and is on its Board of Advisors.
people with developed skills who want to go to
higher skill levels; and G professional singers and speakers who want to have even more impact on people than they do now. 3.
research projects that impact on the singing and speaking
There are five other senior ASME researchers. Pro
fessor David Hargreaves is internationally renowned for his research into the psychology and sociology of music and music education. Currently, he is Visiting Professor with
the faculty of Fine Arts at the University of Gothenburg. He They provide consultations, direct-experience workis former editor of Psychology of Music and former Chair of
shops, seminars, and conference presentations on any as
the Research commission of the International Society for
pect of spoken or sung communication, voice protection,
Music Education. Professor Anthony Kemp is internation
and verbal and nonverbal presentation skills.
ally renowned for his research into the psychology of mu appendix
two
859
sic and music education, and also is a former Chair of the
tre, there are post-doctoral research fellows from South Africa
Research Commission of the International Society for Mu
and Canada, and visiting senior research fellow from Japan.
sic Education.
Five visiting research fellows, from major research
In his doctoral dissertation, Dr. Colin Durrant ex
centres in the UK and abroad, assist in the educational pro
amined and compared the characteristics of choral conduc
grams. The fellows are from University of York, City uni
tor education in the United States and Europe. His research
versities and the Royal National Institute for the Blind in
led to the establishment of the first master's degree program
the UK; University of Utah, Salt Lake City, USA, and the
for choral conductors in Europe. He also represents Europe
Royal Institute of Technology, Stockholm, Sweden. The col
on the Music in Schools and Teacher Education Commis
lective activity of the Centre supports a wide range of col
sion of the International Society for Music Education until
laborative activities in music education research and devel
2004. He is former Deputy Chief Examiner for Music for
opment.
International Baccalaureate, and has been a member of The VoiceCare Network since 1997. Dr. Peta White has just been awarded a Marie Curie Research Fellowship by the Euro pean Commission. She will extend ASME's basic research into adolescent voice function as part of University of Sur rey Roehampton's partnership with the Royal Institute of Technology in Stockholm. Susan Young is Editor of Pri mary Music Today and is on the Editorial Board of the British Journal of Music Education. The team is ably supported by the ASME secretary, Caroline Freeland. Since 1996, research data from the ASME team has been published in the world's leading refereed music edu cation and voice research journals. Publications have been printed in Spanish, Portuguese, Japanese, and Italian, as well as in journals across the English-speaking world. ASME also is providing ongoing support for music education re search development in Argentina, Portugal, and South Af rica, supported by the British Council and the Swedish De velopment Agency.
Educational Programs The Centre for Advanced Studies in Music educa tion has three master's degree programs and a doctoral pro gram in music education research. The master's programs have an enrollment of over 40 students in the UK and in Portugal. One of these programs, the MA in Choral Educa tion, is the first of its kind in Europe and is a direct out growth of ASME research activities. Three Ph.D. research degrees have been completed since 1996, and currently there are 16 students in the program, including nine from other countries (Argentina, Canada, Cyprus, Egypt, Korea, Portu gal, Republic of Ireland, and Taiwan). Currently at the Cen
860
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index Editor's Note: Due to the hugeness of this work, the page numbers refer only to the more comprehensive treatments of the subject terms listed below. Also, please be reminded that Volume 1 contains the Fore-words (pages xi-xiv) and Book I (pages 1 to 301); Volume 2 con tains Book II (pages 303 to 522); and Volume 3 contains Books lll-V, After-words and Appendices (pages 523 to 860).
A Acoustics/Acoustic Physics amplitude 308-309, 311-313, 319 condensation 312 damping/sound decay 313, 317 Fourier transformation 314 fundam ental frequency/FQ 310-313, 316-319 infrasonic 313 intensity 309, 311-315, 317 noise 309, 314 aperiodic cycle(s) 313 oscillation/vibration 307, 314 rarefaction 312 resonance/resonation 316, 319 resonance frequency 316-319, 323 resonator/resonating space 318 sound/sound wave(s)/sound pressure wave(s) 307, 309, 311-315 sound pressure level (SPL)/sound intensity level (SIL) deciBels (dB) 313 sound volume 309 tone 310-313 simple harmonic motion 310 periodic cycle(s)/nearly-periodic cycle(s) 31-311, 313 complex harmonic motion 310, 314 component frequencies/partials 311-312 harmonics/overtones 311-312 spectrum/sound spectrum 311, 312, 315 spectrogram 312, 315 tone quality/sound quality/timbre 311-316, 318-319, 323 ultrasonic 313 waveform 314 sine waveform 314
Adolescent Voices (see Lifespan Voice Development) Alexander Technique Alexander, F.M. 335, 760 Barstow, M.L. 761 primary control 761-762
quality of movement in your whole body 762 release unnecessary tension in your whole body 762
Allergy (see Immune System) Anatomical Directions 34, 304 Arts, The auditory arts 43, 167 combination arts 43, 167 somatosensory-kinesthetic arts 43, 167 visual arts 43, 167
Arts Medicine 524 Auditory Sense absolute pitch/perfect pitch 80, 136 binaural hearing 568 central auditory processing 568 auditory association cortex 43 cochlear nuclear complex 79 gyrus of Heschl 80 inferior colliculi 80 medial geniculate nuclei 45, 80 planum temporal 80 primary auditory cortex 40, 80 superior olivary complex 80 cochlear nerve 79 ear(s) 79 basilar membrane 79 cochlea 69, 565 external ear(s) 564 hair cells/stereo cilia 79 inner ear(s) 565 middle ear(s) 565 tympanic membrane(s)/eardrum(s) 79, 564 eustachian tube(s) 565 tonotopic mapping 33, 80
Auditory System (see Auditory Sense, Lifespan Voice Development, and Neuropsychobiology)
the
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B
c
'Belted' Singing (see Vocal Coordinations)
Central Nervous System (CNS) brain 34
Body Balance-Alignment/Balance-Alignment of Body center of gravity 326-329, 332, 336, 337 effects on voice 331 helium-filled balloons 329 lifespan alterations 333 posture 327, 332-337 potential energy 324 primary control 335-336 ready balance 329 sitting bones/ischial tuberosities 330, 336 upright movement 332 upright sitting 330 upright standing 328 vestibular system/vestibular organs 75, 335
Body Types ectomorphic, mesomorphic, endomorphic 354, 781-782
Bodymind(s) (also see Neuropsychobiology) what is a... xiii Brain (see Central Nervous System) Breathflow/Breathing appoggio 339, 352-353 breath correction/breathflow-to-soundflow 344, 496-497 breath support/well supported tone xviii, 344, 353-354 ceiling breathing 340 combination breathing 342 efficient breathing 339 floor breathing 340 involuntary 347, 349, 351-352 kiloPascal (kPa) 350 lung capacities and volumes 351 lung-air pressure/subglottal air pressure 343, 349, 354 midsection breathing 342, 352 primary function 339 respiratory activation 347 exhalation 349 inhalation 348 respiratory anatomy 345 respiratory system growth/development (see Lifespan Voice Development) resting expiratory level (REL) 347, 351 secondary functions 339 tidal breathing 341, 347, 349, 352 voluntary 347, 350, 352 wall breathing 342
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blood supply 49 brainstem 47 ascending reticular activating system (ARAS) 48 medulla oblongata 47 midbrain 47 nucleus ambiguus 48 periaqueductal gray (PAG) 48 pons 47 reticular formation 47 cerebellum 48 cerebrum 34-35 association cortex 43 auditory cortex 41 basal ganglia 42 Broca's area 44 cerebral cortex 37 cerebral hemisphere(s) 35 asymmetry(ies) 139 corona radiata 42 corpus callosum 39 fasciculi 39 insular cortex (insula) 38 internal capsule 42 left hemisphere 35 lobe(s) 37 motor cortex 42 right hemisphere 36 somatosensory cortex 41 visual cortex 41 Wernicke's area 44 diencephalon 45 hypothalamus 45 pineal gland 45 pituitary body 45-46 thalamus 45 limbic system 38 amygdala 39 cingulate (cortex/gyri) 38, 45 hippo campus/hippocampi/hippocampal formation 39 hypothalamus 38 limbic lobe 38 pituitary body 39 septal area 39 cerebrospinal fluid 34 glial cells 18, 34, 49 global maps/mapping 33 local maps/mapping 33 neuraxis 34
neuron network(s)/group(s)/cell assembly(ies)/module(s) 32 parietal-occipital-temporal association cortex 42 prefrontal (association) cortex 43 reentry 32 spinal column 50 cervical vertebrae 50 coccyx 50 lumbar 50 sacral vertebrae 50 thoracic vertebrae 50 spinal cord 59 triune brain 34
Children's Voice Development/Child Voice (see Lifespan Voice Development)
Choral Music/Choral Conducting choir spacing 503 choral acoustics 503 choral sonority/choral tone/choral sound 410, 843, 845 choreographic body language 842, 847 redesigning the standard conducting patterns 845-847 standard conducting patterns 843-845
Chronobiology 559 Cognitive Science 12 cognitive fluidity 7 cognitive neuroscience 14 brain electrical activity mapping (BEAM) 88 functional magnetic resonance imaging (fMRI) 88 positron emission tomography (PET) 87 quantified electroencephalography (qEEG) 88 regional cerebral blood flow (rCBF)/local cerebral blood flow (ICBF) 87 split-brain patients 89, 107-109
Communication nonverbal 146, 162-165, 848 Clever Hans/Clever Bertrand 160-161 connotative elements of language/connotative meaning 116, 139, 162 gestural communication(s) 162 voiced communication(s) 162 impression(s) 161 rapport 162 interaction synchrony/matching principle 163 verbal/conscious/in conscious awareness 162, 848 denotative language/denotative meaning 116, 139
Conceptual Categorization (see Neuropsychobiology) Consciousness (see Neuropsychobiology) Consortium of National Arts Education Association 206
Consonants (see Vocal Acoustics)
D Dehydration/xerostomia/xerophonia 415, 503, 632, 634, 635, 646, 653, 654 Diagnosis and Medical Treatment of Diseases and Disorders that Affect Voice assessment of vocal capabilities 599 general health history 598 laryngeal examination 598-600 physical examination 598, 605-606, 609 treatment of common voice disorders: immune function 602 treatment of common voice disorders: voice use 600-602 treatment of auditory system diseases, disorders 605-606 treatment of voice disorders: anatomical abnormalities and bodily injuries 607-608 treatment of voice disorders: digestive dysfunction 603-605 treatment of voice disorders: nervous and musculoskeletal systems 606-607 treatment of voice disorders: endocrine dysfunction 605 treatment of voice disorders: neuropsychobiological dysfunction 608 treatment of voice disorders: respiratory dysfunction 602604 vocal health history 598, 600
Diseases and Disorders Related to the Auditory System conductive hearing loss 565-566 barriers to learning 567 central auditory processing disorder (CAPD) 567568, 571-572 conductive hearing loss in children 565-566 otitis media with effusion 566, 572 mixed hearing loss 565 sensorineural hearing loss 565 music-induced hearing loss (MIHL) 570-571 noise-induced hearing damage (NIHD)/noiseinduced hearing loss (NIHL) 570-572 acoustic trauma 570 tinnitus 570, 572
Diseases and Disorders Related to the Digestive System gastroesophageal reflux disease (GERD) 551-555 hiatal hernia 552, 554 laryngopharyngeal reflux disease (LPRD) 551-553
Diseases and Disorders Related to the Endocrine System adrenal gland disorders 557 diabetes mellitus 557, 559-560, 562 endocrine imbalance(s) 556
the
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elevateci estrogen and progesterone levels 561 neuroendocrine malfunctions 561 sexual hormone imbalances and disorders 558 estrogen-progesterone replacement therapy 559561 menopause (disorders during) 558, 561-562 pregnancy (disorders during) 558, 561-563 premenstrual syndrome (PMS) 558, 561-563 reduced activation of estrogen receptors in the mucosa 561 thyroid gland disorders 557-562 hyperthyroidism 557, 560 hypothyroidism 557, 560, 562
Diseases and Disorders Related to the Immune System allergy(ies) 540-542 allergic reaction to inhalants and foods 542 bacterial/fungal/viral infection(s) 539 cancer/carcinoma 541, 543-544 fungal infection(s) 539-540, 542 hypersensitivity reactions 541 inflammation 538-539 viral infection(s) 539-540
Diseases and Disorders Related to the Musculoskeletal System arthritis 579 arytenoid cartilage dislocation 585 laryngeal tension-fatigue syndrome 577 muscle misuse voice disorder 576, 580 temporomandibular joint (TMJ) disorder(s) 584 underconditioned laryngeal muscles and vocal fold tissues 577
Diseases and Disorders Related to the Nervous System disorders of cognition in language and music 573 agraphia 574 alexia 574 amusia 574, 579 aphasia 574, 581 aprosodia 574, 580 motor disorders of voice and speech 574-575 decreased or absent movement 575, 578 vocal fold paresis/paralysis 575-576, 579581 increased or inappropriate movement 575 apraxia 575, 580 dysarthria 575, 578-579, 581 dystonia(s) 575, 579 Parkinsonism 578, 580 spasmodic dysphonia (SD) 575, 578, 580581 abductory SD 578 adductory SD 578
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stuttering 575 tremor 575, 578 neurodegenerative disorder(s) 579 amyotrophic lateral sclerosis 580 multiple sclerosis 579-581 myasthenia gravis 580 somatosensory disorders of voice and speech 573
Diseases and Disorders Related to the Respiratory System 550-552, 554-555 asthma 550-552, 554-555 airway reactivity induced asthma in singers (ARIAS) 551, 554 bronchitis 547, 550 building associated illness/closed building syndrome/sick building syndrome 549 effects of air pollution 548-549 effects of smoking/smoking/effects of tobacco smoke smoker's polyposis 547 emphysema 547, 551 irritative chemical effect 547 laryngitis 547, 550, 555 obstructive sleep apnea syndrome (OSAS) 550, 552 perennial non-infectious, non-allergic rhinitis 550 rhinitis medicamentosa 550 sinusitis 547
Disorders and Atrophy that Are Voice Use-Related atrophy/underconditioning 527 capillary ectasia 533 capillary varix 533 erythema 528-531 edema/vocal fold swelling/swelling 531 use-related injury 527 vocal distress symptoms 529-530 air wasting 529 altered pitch-making capability 529 altered voice quality/dysphonia 530 breathiness 530 hoarseness 530, 534-36 roughness 530 tenseness 530 vocal fry 530 day-to-day voice skill variability 529 increased effort 529 loss of vocal sound/aphonia 530 reduced vocal endurance 529 voice abuse/overuse 528 voice misuse/inefficient voice use 528 voice onset delays 529 vocal fold bowing/bowing 534 vocal fold cyst 533, 536 vocal fold hemorrhage 531 vocal fold nodules 532
vocal fold polyp 531-533 hemorrhagic polyp 531 polyposis 531-532 polypoid degeneration/Reinke's edema 531 vocal fold sulcus and furrow/sulcus vocalis 534, 536 vocal overdoer syndrome 528-529 vocal process granuloma and ulcer 532 vocal underdoer syndrome 528
Disorders Related to Anatomical Abnormalities morphologic voice disorders 582-584 congenital webs (of the true vocal folds) 583, 585 enlarged organs (within the vocal tract) 584 adenoids 583 cleft palate 584 deviated septum (nasal cavity) 584 enlarged-elongated soft palate and/or uvula 584 enlarged turbinates (nasal cavity) 584 lingual tonsils 583 palatine tonsils 583
Disorders Related to Bodily Injuries injury to vocal skeleton and/or soft tissues 584-585 laryngeal fracture 584 mandibular fracture 584 trauma to the anterior neck 584 trauma to the torso 584 bruised or fractured ribs 584 iatrogenic trauma (physician created trauma) 585 acquired laryngeal webs 583, 585 intubation injury 585 recurrent laryngeal nerve injury 585 vocal fold mucosal scarring 585
norepinephrine 63, 66, 67 peptide(s) 63-64, 67 E-endorphin 63 steroid(s) 63 androgen 63 cortisol 63-67 menstrual cycle(s) 65 pregnancy 63 receptor site(s)/receptor(s) 62-63 down-regulation 62 up-regulation 62 target organ(s) 62, 66 ultradian cycle(s) 61, 65
F Fatigue of larynx muscles and vocal fold tissues (see Vocal Fatigue and Diseases and Disorders Related to the Musculoskeletal System)
H Hearing (see Auditory Sense) Hydration (see Voice Protection/Voice Health)
I
Dispositional Representations (see Neuropsychobiology) Drinking Water (see Voice Protection/Voice Health)
E Early Childhood Voice Development (see Lifespan Voice Development)
Emotional Intelligence/Self-Regulation (see Neuropsychobiology, Self/Human Selves)
Endocrine System circadian cycle(s) 65 hormone(s) 62-67 amine(s) 63 dopamine 63 epinephrine 63, 66-67
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humoral immunity 71 immunoglobulin(s)/Ig 70 lymphocytes 70 B-cell(s) 69-70 T-cell(s) 69-70
L Language language acquisition 107 language and the arts 116 language perception 107 metaphors 117 transderivational search 117 nouns 111 nominalizations 111-116, 132-133 protolanguage 165 referential gestures 165 referential vocal sounds 165 spoken language 116 written language 116 Larynx biomechanical and aerodynamic activation of voice 375 abduction/vocal fold opening 367, 375 adduction/vocal fold closing/medial compres sion 368, 375-376, 378-379 adductory force/vocal fold closure force/strength of vocal fold closure 376 amplitude-to-length ratio 378-380 phonation/sustaining vocal sound 376 transglottal airflow 376, 378 phonation threshold pressure 376 lowering your larynx/larynx-lowering 360, 369 myo elastic-aero dynamic theory of vocal fold vibration 377, 380-381 mucosal wave/mucosal waving/ripplewave/ripple-waving 376-379 Bernoulli principle 376-377, 381 closed phase 377-379 open phase 377-379 oscillation 376-377, 380-381 raising your larynx/larynx-raising/elevating your larynx 360, 367, 369 stabilizing your larynx/stabilized/stabilization 360, 365, 369-370 vibration 344, 365 vocal fold closer muscles/closer muscles 383, 385-386 vocal fold closer-opener muscles/closer-opener muscles 383, 385-386 vocal fold lengthener muscles/lengthener muscles/lengtheners 374
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vocal fold opener muscles/opener muscles 367 vocal fold shortener muscles/shortener muscles/ shorteners 374 external larynx muscles 369 internal structures false vocal folds 378 glottis 359, 377 glottal chink 359, 377 ventricles of Morgagni/ventricles 360 internal larynx muscles 358, 360 cricothyroid muscle(s) (CT) 374 interarytenoid muscles (IA) 368, 376 lateral cricoarytenoid muscle(s) (LCA) 368, 376 muscle fiber types 380 posterior cricoarytenoid muscle(s) (PCA) 368, 380 thyroarytenoid muscle(s) (TA) 362-363, 380 thyromuscularis portion 362 thyrovocalis/vocalis portion 362 laryngeal function 365 laryngeal growth and development (see Lifespan Voice Development) neuromotor and neurosensory processes 371 auditory feedback 356 capabilities for laryngeal muscle speed and fatigue resistance 373 kinesthetic feedback 356, 360, 375 muscle fibers/fiber types 373, 380 recurrent laryngeal nerve(s) 374 superior laryngeal nerve(s) 374 primary function 356 scaffolding (skeletal structure) 357, 361, 370 arytenoid cartilages 357-358 cricoid cartilage 357-358 hyoid bone 357-358 thyroid cartilage 357-358 scientific measurement of voice source 377 electroglottography (EGG) 379-380 closed quotient (CQ) 379 open quotient (OQ) 379 electromyography (EMG) 379-380 fiberoptic laryngeal videostroboscope 379 flow glottogram 378 histology 363 idealized spectrogram 379 inverse filtering 378 secondary functions 356 vocal folds/true vocal folds/vocal fold tissues 356, 358363, 365-366 cartilagenous portion 360, 362 membranous portion 360-362 microarchitecture 362-363 body 362 cover 362
viscosity 376, 380 vocal fold mucosa/mucosa 376, 378
Learning (in educational settings; also see Neuropsychobiology) accountability 206, 229, 244 achievement 113-114, 148-149, 153, 184, 192-193, 206-207, 211, 225, 228-230, 233, 244, 247-249, 269, 288, 290-296, 298 cognitive styles (learning styles) 199, 287 constructive ability patterns 203 global conceptual capabilities 200 Gregorc's Mind Stylestm 204 Meyers-Briggs personality type classification system 204, 300 prominent auditory processors 200 prominent kinesthetic processors 200 prominent visual processors 199 protective ability patterns 152, 203 temperament types 201-203 cultural influences on learning 174 educational goals and standards 205-207 achievement standard(s) 206-207 content domains/disciplines 205-206 content standard(s) 206-207 goal-set(s) 19, 207-208, 212-213, 220-221, 224225, 230, 232-234, 249, 258, 268-271, 277, 279, 282-284 pinpoint goal(s) 207-208, 220, 225, 230, 232-233, 249, 268, 270, 279, 282-284 scattered pinpoint goals 208, 220 family-caregiver influences on learning 240 formal learning 190 human-antagonistic learning 191, 194 a "doing to" teacher 261 achievement tests 229 adversarial language of coercion, control, and dependency 193, 213, 248 aptitude tests 148, 228, 289-290, 293 destructive competition 268 discipline and compliant behavior 194, 211, 234, 250 emotional ouch(es) 227, 250, 254, 264, 274-275 emotional hits, stabs, and slashes 227 new school of discipline 250-252 punishment lite 252, 263 old school of discipline 250-251 learned protective behavior patterns 90, 95, 278 standardized tests 190, 192, 229, 244, 266, 286, 290 teacher feedback 172, 193-194, 231 gratuitous, unspecified praise 225, 274 manipulative, controlling praise 226
teacher approval praise 194, 296, 297 special status praise 226 human-compatible learning 188, 206, 240, 245, 268, 270, 274, 283, 303 collaborative assessment 230 collaborative interactions 232 collaborative leadership and empathic selfreliance 234 collaborative "mind-set" 165, 269 collaborative learning communities 258 constructive competence 118, 174-175, 244, 249, 258, 260, 268-269, 273, 284, 286 coordination of learning cycles 232 emotional lift(s)/emotional float(s) 227-228 emotional high(s)/tickle(s)/caress(es)/massage(s)/ ecstasy(ies) 228 empathic relatedness 118, 174-175, 227, 244, 247, 249, 258, 261, 263-264, 268, 270-271, 273, 276, 278, 284, 286 language of collaborative assessment, selfreliance, and mutual respect 226 constructive questions 223 implicit, constructive praise 226 self-perceived feedback 223 learners (defined) 102 learning experiences 105, 118, 146, 160, 190, 195, 197, 199, 203, 205-210, 212, 221, 220, 226, 233, 279, 281, 295 imitative learning experiences 208 exploratory-discovery learning experi ences 137 explicit goal-focused learning experiences 208 Integrated Thematic Instruction© (ITI) 209210, 297-298 self-reliant autonomy 118, 174-175, 205, 244, 247, 249, 256, 258, 260, 264, 268-270, 273, 284, 286 senior learners (defined) 172-174 target practice 101-103, 160, 196-199, 220-221, 233-234, 261, 269, 273, 278-281, 283, 305, 356 bullseye(s) 198 pathfinder experiences/pathfinder(s) 198 pathfinding behavior 195 influence of "school cultures" on learning adversarial interactions 247 coercion 246 compliance and obedience 234 domination-control game 247 informal learning 190 theory of learning (in education) 4 brain-based theory of learning 4-5 relationship between theory and practice 2-3
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Lifespan Voice Development aging voices 746, 753 average speaking fundamental frequency/ASFF 753 biological age and chronological age 746, 755 degenerative changes 754 patterns of vocal fold contact 754 vocal exercise and rest 755 auditory system postnatal evidence of prenatal auditory experi ences 671 pre-birth sound environment 668 prenatal auditory perception of sound, speech, and music 669 children's voices developing vocal awareness 804 facilitating vocal experience 806 antiphonning a song 809 expressive speaking 808 following notation 811 hand signals 810 instrumental accompaniment 811 learning songs 808 movement 806-807, 809-810, 812 feedback 805-807, 809, 811-812 observing and analyzing voice education in teaching-learning situations 812 voice education in the elementary classroom 804 the vocal mechanism 805 developmental continuum model of childhood singing developing singers 709, 712, 717 developmental process 704, 706, 712 developmental sequence in children's singing 705 hierarchy: developmental singing competencies 708 competency and development 709, 711 quality of available feedback 711 singing development and the teacher 713 singing (dis)ability 706 larynx laryngeal cartilages 699-700, 702 laryngeal dimensions 699-700 vocal fold length 700 male-female sexual differentiation 696 estradiol 696 follicle-stimulating hormone (FSH) 696 gonadotropin-releasing hormone (GnRH) 697 luteinizing hormone (LH) 696 testosterone 696 older adults biomarkers 746, 748, 752 aerobic capacity 747, 750-752 basal metabolic rate (BMR) 748, 750-752 blood pressure 751 blood-glucose tolerance 750
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body fat percentage 748 bone density 745, 747 cholesterol/HDL level 750-751, 756 internal temperature (thermoregulation) 752 muscle mass 745-748, 750-753, 755 muscle strength 746-747, 752, 756 sarcopenia 745-746, 748, 755 prenatal and early childhood voice education acquisition of verbal and nonverbal communica tion 680 alert inactivity 679 mastery of spoken language 681 play 660 stages of preverbal vocal development 681 voiceplaysm 683 puberty pubertal macro growth phase 697 shorter time-scale growth episodes 697 respiratory system breathing rate 699 lung size and vital capacity 698 tracheo-bronchial development 698 vocal tract 701-702 adult configuration of the vocal tract 701 infant vocal tract 701 voice transformation in female adolescents 739-744 auditory and kinesthetic signs 742 average speaking fundamental frequency/ASFF 741, 817-818 female adolescent voice change 742 group voice classification procedure 742, 819 literature selection 819 pubertal processes 739 menarche/onset of menses 740-742, 744, 817-818 menarcheal age 740 skeletal age 740 thelarche/onset of breast development 740 stages of development 816 prepubertal 741, 744, 817 pubescence/pre-menarcheal 744, 817 puberty/post-menarcheal 744, 818 young adult female/post-menarcheal 744, 818 voice transformation in male adolescents 718-738 "breaking of the adolescent voice" 827 California longitudinal study/Cooksey-BeckettWiseman study 830 average speaking fundamental fre quency/ASFF 824, 832-835, 839 formant frequency regions 727, 724
frequency range of tessiturae/tessitura/ singing tessitura pitch ranges 823-826, 831, 833-835, 837-840 F0 range/total pitch range 825 vocal registers/register development 826, 835 voice quality 823, 826-839 harmonics 832-835, 837, 840 noise components 836 can vocal dysphonias be expected 833 Cooksey Voice Classification Index/Cooksey s Voice Classification Guidelines 824-830 unchanged 823, 824, 830-83 1, 833-836, 839-840 midvoice I 834, 836, 838 midvoice II 821, 824, 826-827, 829, 83 1, 835-836 midvoice IIA 825, 828, 833, 836-838 newvoice/new baritone 822, 824-826, 828, 830-83 1, 836-840 emerging adult voice/settling baritone/ developing baritone 822, 824, 826-828, 830-832, 838-840 detecting the stages of voice transformation 823 group classification 830-83 1 individual classification 830-83 1 falsetto register during maturation 827-829, 83 1, 835, 837-840 historical perspective 719 voice classification plans alto-tenor plan 719 cambiata plan 720 London Oratory School study 733 predictive validity studies 730 select choral and solo music 824 unison music 824 two-part music (SA or TB) 825 three-part music (SAB) 826 TTB music 825 TTBB music 826, 83 1 SSA music 826 SATB music 826, 83 1, 835 stages of voice maturation/voice maturation 823, 824, 840 stages/voice mutation stages 721, 823 early mutation 823, 834-835 high mutation 823, 827, 835 mutation climax 823, 835, 836 premutation 824, 833, 840 stabilizing post-mutation/postmutation stabilizing stage 823, 830, 833, 840 studies since Cooksey-Becket-Wiseman 73 1 vocal-acoustical measures of prototypical pat terns 73 1
M Medications and Voices analgesics and non-steroidal antiinflammatory drugs (NSAIDS) 615 antacids and anti-reflux medications 616 anti-asthmatic medications 617 anti-tussives 615 anti-viral medications 614 antibiotics 613 antidiarrhea medications 618 antidizziness medications 618 antihistamines 614-615, 618 blockers of beta adrenergic receptors 617 corticosteroids 616-618 decongestants 614-615 hormone medications 618 mucolytics or expectorants 614 nasal sprays 614-615 other common prescription medications and OTC prepa rations 619 psychobiological medications 618 sleep medications 619
Medicine allopathic physicians 523 alternative medicine 523 chiropractic therapy 523 complementary medicine 523 conventional medicine 523 homeopathic medical practice 523 osteopathic physicians 523 primary care physicians 524 specialists 524
Memory (see Neuropsychobiology) Mucus (see Voice Protection/Voice Health
N Nervous System behavioral expression 29 internal processing 28 interneurons 28 myelin/myelinization 29, 56-57 neuropeptides xvi, 3 1 neurotransmitters 30 neuromodulators 30 neuron(s) 29-3 1 plasticity 57 primary repertoire (of neuron groups/networks) 56 receptor molecules (sites) 30
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secondary repertoire (of neuron groups/networks) 56-57 sensory processing 27 exteroceptive sensation 28 interoceptive sensation 28 nociceptive sensation 28 proprioceptive sensation 28 synapse(s) 30-3 1 excitatory postsynaptic potential (EPSP) 3 1 inhibitory postsynaptic potential (IPSP) 3 1 long-term depression (LTD) 3 1 long-term potentiation (LTP) 3 1 short-term depression (LTD) 3 1 short-term potentiation (STP) 3 1 synaptic transmission 30 synaptogenesis 56 topobiology 55 malformations 56 morphoregulatory molecules 55
Neuropsychobiology abilities (defined) 148 aptitude 148 attention 148, 150-154, 156, 206-212, 216-219, 221-224, 226-228, 285-286 attentional capacities 285 behavioral expression(s) 90, 97 constructive reactions and behavior patterns/ constructive behavior patterns 95, 113, 152, 168, 191, 198, 234, 242, 285 emotional motor system 93, 95, 125, 151, 201, 235, 375 goal-directed behavior 137, 149-150 protective reactions and behavior patterns/ protective behavior patterns 90, 95, 278, 336 template neuromuscular coordination(s)/template sensorimotor coordinations 103-104 capabilities (defined) 135 capability-ability clusters 106, 140, 148-149, 201, 222 analytic, sequentially branched, logically interpre tative, detail-oriented, verbal- explanatory capability 200, 209-210, 230 cognitive fluidity 97 conceptual categorization 91, 96, 208 conceptual framework(s) 97, 200, 204, 207-208, 220-221, 230, 270 component concept(s) 97, 200, 207-208, 220-221, 230, 270 denotative language 115, 139-140, 162, 175, 200, 204, 208 dispositional representations 137 expectation(s) 137, 150, 164, 209, 221, 226, 228, 236, 246, 251-252, 259, 277, 298 higher order abilities 97 higher order capabilities 106
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imagination 100, 123-125, 130, 158, 184, 228, 253, 262, 289, 295, 329 mental rehearsal 104 nominalization(s) 98, 111-118, 135, 147-148, 152, 188-190, 235-236, 248-249 noun(s) 96, 111, 115-117, 122, 129, 145, 147, 188, 200, 224, 245, 250, 254, 275, 283, 305, 356 prototype concept(s) 96-97, 200 symbolic modes/symboling Language (see separate listing) The Arts (see separate listing) consciousness 86-87, 89-91, 93, 101, 105, 121-128, 135, 138, 165, 175, 178, 180-184, 291, 296 conscious awareness 87, 90-94, 96-106, 108, 118, 119, 125, 134-135, 148, 160-162, 156-166, 169-170, 174-175, 186, 195-198, 216, 218, 222, 228, 232, 241, 244, 248, 284-285, 333-335, 338, 340, 344, 348, 352, 354, 356, 367, 375 conscious-verbal complex 170 higher order consciousness 90, 93, 97, 101, 135 intentionality 86-87, 89, 135, 154 other-than-conscious processes 108, 161-162, 174, 274, 285-286, 367 primary consciousness 90, 135 cyclical brain growth spurts 54-57, 137 developmental tiers 143 tier level(s) 143-146, 153 epigenetic processes/processing/events 91, 106, 135-141, 151-152, 191, 199, 234, 236 experience-dependent self-organization 136 experience-dependent abilities 136 experience-dependent capability continuum 139 functional ability development 146 optimal ability development 147 primary repertoire of innate abilities 135 exploratory-discovery abilityl37 interactive-expressive ability 137, 279 secondary repertoire of learned abilities/learned abilities 136, 167, 203, 215, 228 experience-expectant self-organization 136 experience-expectant capabilities 241 experience-expectant capability continuum 139 innate capabilities 87, 135-138, 201, 23 1 genetic processes/processing/events 134-135, 140-141, 147, 191 housekeeping genes 135 imagination 123, 125, 130, 184, 289, 295 innate capabilities 87, 135-138, 201, 23 1 intelligence 99, 109, 111, 136, 142, 148-149, 160, 178-179, 181, 184-185, 187, 267, 289-290, 294-297 multiple intelligences 149 successful intelligence 149, 185, 267, 290 internal processing and health 120
interpreter mechanism/interpreter 87, 106-107, 109-114, 116-118, 124, 151, 189, 197, 200, 235, 241, 245, 247, 263264, 285 knowledge-ability clusters 90 learning (definition) 98 explicit learning and memory 99, 101, 105, 125, 127, 161, 205, 208, 220, 283, 285, 296 implicit learning and memory 89, 99, 105, 121122, 124, 126-127, 142, 148, 161, 175, 192, 215, 238-239, 241, 243, 253, 278-279, 284-285 literal observer mechanism/observer 110, 113, 169, 200, 285 memory 87-90, 94-95, 97-106, 111, 114-117, 119-132, 135142, 144-148, 151-153, 157, 159, 161, 163, 165-166, 175176, 181-189, 192, 195, 197, 199, 207, 210, 212, 215, 224, 226-228, 229-230, 232-235, 241, 248-249, 263, 268, 279, 283-287, 292, 295-298, 3 18, 367, 371, 373 consolidation 104, 126, 128, 144, 216-221, 226, 230, 232, 268, 283, 286, 295 depth of processing effect 216, 218 elaborative encoding 216-219, 221, 230, 286 encoding specificity principle 299 episodic memory 95, 101, 110, 125, 161, 197, 217, 219, 220, 223, 283, 297, 299 contextual memories 101, 161 face cognition 101 explicit/declarative memory 99, 101, 105, 125, 127-128, 161, 192, 220, 283, 285 explicit emotional memory 101 implicit/procedural memory 89, 99, 105, 122-124, 126, 136, 142, 148, 175, 195, 215, 221, 279, 284-285 feelings of knowing 91, 105, 170, 222 implicit emotional memory 105-106, 199, 163 implicit semantic memory 105 integrative encoding 125, 133, 141, 177, 182, 200, 209-210, 216, 218, 230, 267, 297 long-term 89, 90, 95, 98-99, 102, 104, 122, 124, 13 1, 141-142, 152, 156, 181, 196, 215, 220, 222223, 232, 246, 250-251, 254-255, 269, 296, 334 recent 86, 89, 100-102, 105, 110, 143, 145, 159, 168, 190, 206, 220, 222-223, 229, 232, 234, 238-239, 250, 260, 262, 273-274, 279, 373 retrieval 98, 122-123, 125, 129, 220, 223, 268, 284, 291, 296-297, 299 cue-dependent memory 278 state-dependent memory 278 semantic memory 99, 105, 124, 229 sensorimotor memory 101, 103-105 working memory 100-103, 105, 116, 121-125, 129, 13 1, 140-141, 144-145, 157, 161, 183, 189, 195, 207, 220, 222, 232 perceptual categorization 92-93, 96, 101, 119, 136-137, 141, 162, 208
auditory 98, 100, 102 classification coupling 91-92 perceptual representation system 100 perceptual images 100 somatosensory 92-93, 95, 97-98, 120, 126, 137, 144, 156, 166-167, 172, 181, 215, 267 visual 92-93, 95, 97-98, 120, 126, 133-137, 144, 156, 166-167, 173-174, 215, 217, 219 neuropsychobiological need(s) 118, 137, 148, 172, 174, 189190, 240, 249, 258, 270, 286 competence/constructive competence 130, 146, 148, 172, 174-175, 189-190, 249, 258, 260, 269, 272, 286, 291 relatedness/impathic relatedness 118, 146, 148, 151-155, 159, 174-175, 183-184, 189-190, 198, 209-211, 276-278, 282, 284, 286, 293, 298 autonomy/self-reliant autonomy 118, 146, 148, 151-153, 155, 159, 172, 174-175, 183-184, 189, 190, 198, 205, 240, 242-244, 247, 284, 298 neuropsychobiological state 148, 146, 234 negative body state 95 pleasant feeling state(s) 94, 106, 116-117, 141, 153154, 172, 189, 198, 203, 210, 212, 216, 218, 220, 227, 235, 245, 278 positive body state 95 unpleasant feeling state(s) 235 psychoneuroimmunology 132-133 neuropsychobiological research methods event-related potentials (ERPs) 88, 122, 124, 177, 180, 217, 219 functional magnetic resonance imaging (fMRI) 88, 124 positron emission tomography (PET) 128, 177, 299 quantified electroencephalography (qEEG) 88, 123 regional or local cerebral blood flow (rCBF, lCBF) 100, 124 restoration response 334 -335 sensorimotor memory, learning,, behavior 101, 103-105 early-cognitive phase 102-103 intermediate phase 102, 104 late-autonomous phase 102, 104 sensory reception/input/sensory mode(s) or modality(ies) 90-92, 98-99, 110, 138, 141, 155, 285, 360, 371, 374-375 auditory system 32-33, 75, 78-80, 82, 84, 98, 100, 150-140, 152-156, 356, 367, 375 exteroceptive/exteroception 28, 78, 82 gustatory system (taste) 75 interoceptive/interoception 28, 52, 82 kinesthetic 33, 48, 54, 75 nociceptive/nociception 75 olfactory system (smell) 40-41, 45, 52, 75 proprioceptive/proprioception 28-29 somatosensory system 40-43, 45, 75
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synesthesia 82 vestibular system 75 visual system 33, 45, 75, 78-80, 82, 85 temperament types 201-203 inhibited temperament type 201-202 pleasant emotional temperament type 202-203 uninhibited temperament type 202 unpleasant emotional temperament type 202 value-emotive categorization 92-97, 101, 111-114, 118-120, 137, 139, 141-142, 153, 162, 208, 246, 249 affective state(s) 89, 152, 155, 165-166, 217, 219, 222 appraisal 94-95, 114, 142, 151-152, 177, 197, 203, 235, 241 background feeling state(s) 93, 96, 114 connotative language 118 "feeling meaning" of words 119, 139, 146, 162, 167, 171, 173, 198, 207-208, 213, 217, 219, 242, 271-272, 279 metaphor 119, 289, 299 transderivational search 119-120, 220, 223, 231, 283, 286 criteria-met feedback 142, 222 familiarity 91, 111, 115, 128, 163, 168-169, 212, 242, 255, 272-273 familiar-pleasant 116, 142 unfamiliar-pleasant 116 criteria-not-met feedback 142, 222 unfamiliarity 142, 222, 229 novelty effect 95, 212 unfamiliar-unpleasant 116 emotion(s) 89-101, 114-115, 121, 123-133, 152165, 208, 246-250 emotional behavior 114, 142, 151-152, 160, 178, 185, 191, 233, 236, 241-243, 261, 294-295 primary emotions 114 secondary emotions 114 emotion regulation/emotional self-regulation/ emotional intelligence 113, 118, 142, 152, 175-185, 187, 202, 204, 209-210, 223, 227, 234, 241, 264, 269-270, 277-278, 289, 294-295 emotional motor system (see behavioral expres sion) 93, 95, 151, 201, 235, 375 external locus of causality149-150, 211 extrinsic interest 211 extrinsic reward 150-151, 191-192, 210211, 214, 226, 245-247, 249-251, 253, 255256, 258, 261-263, 267, 286, 290, 292-293 extrinsic value 150-151, 191-192, 210211, 214, 226, 245-247, 249-251, 253, 255256, 258, 261-263, 267, 286, 290, 292-293
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feeling state(s)/feeling(s)/ pleasant feeling state(s) 87, 90, 93-96, 101, 106, 114, 116-117, 119-120, 140-141, 146, 153-154, 163, 166-170, 172, 174, 189, 197198, 201, 203, 208-212, 216-220, 222, 227, 234-235, 237, 240-241, 245, 269, 278-279, 281 unpleasant feeling state(s) 94, 106, 116117, 141, 153, 172, 189, 198, 216, 218, 220, 227, 235, 278 habituation 95, 176, 197 internal locus of causality 149-150, 157, 211 intrinsic interest 150, 211-212, 227-229, 244, 253, 260, 268-270, 272, 279, 292-293 intrinsic reward 150, 210-214, 220-221, 223, 227, 232, 245, 249, 264, 268-270, 272273, 279, 281, 283,-284, 286, 291 intrinsic value 150 orienting reaction 95 social affiliation 140 somatic marker hypothesis/somatic marker 101, 137, 142, 160-161, 203, 216, 218, 227, 235, 246, 278
Neuropsychobiological Interferences with Vocal Abilities depression 586-587, 589-590, 593 general psychogenic voice disorders chemical dependency 593 conversion disorders 598 globus symptom 593 psychological orientation 593 puberphonia or mutational falsetto 593 self-image bound disorders 593 neuropsychobiological stress reaction 587, 589-590 effects of neuropsychobiological stress on circa dian and ultradian cycles 589 effects of neuropsychobiological stress on vocal ization 587, 589-590 fight, flight, or freeze response 588, 591 hierarchy of symptoms 588-589 ...related to diagnosis of a voice disorder 590-591 ...related to surgery 590 stress/stress reaction/biological stress syndrome/ general adaptation syndrome 587-597 burnout or exhaustion 589 eustress 588-589, 592 distress 586-589, 591, 595-597 performance anxiety/stage fright 591, 597 threat to the well being 591
Older Adult Voices (see Lifespan Voice Development)
stages of preverbal and vocal development play (types of) 681 voiceplay 683
p
Voice Development)
o
Prenatal and Infant Voice Development (see Lifespan
Perceptual Categorization (see Neuropsychobiology) Psychology Peripheral Nervous System (PNS) autonomic PNS (A-PNS) 52 enteric subdivision 54 parasympathetic subdivision 54 sympathetic subdivision 54 somatic PNS 51 cranial nerves 52 vagus nerve 52-53 vestibulocochlear nerve 52-53 spinal nerves 51
associationism 11 behaviorism 12 cognitive psychology 12 functionalist 10 Gestalt 11 introspective psychoanalysis 10 method of introspection 10 neuropsychology 13 structuralist 10
Psychoneuroimmunology (see Neuropsychobiology) Philosophy aesthetics 8, 9 epistemology 8, 9 ethics 8, 9 metaphysics 8 pragmatism 10
Prenatal and Early Childhood Growth and Development attachment/bonding 667-671, 673-674, 676-680, 683-684, 688, 690, 692-693 feeling and learning before birth 665-678 feeling states 665-678 prenatal psychosocial stress 672 neuroendocrine stress 674 noxious environmental effects 672 feeling and learning during birth 673-677 Apgar rating 674 first feeding 676 continuous personal support 675 doula 675-677 gentle birth 677 midwife 675-677 nurse-midwives 675 obstetric procedures and practices 674 self-attachment 676-677 feeling and learning during infancy and early childhood 677-685 alert inactivity 679 breastfeeding 675-676 infantile amnesia 667 insecure base 678 mastery of spoken language 681 overstimulation 679 parentese 678 secure base 661, 677-678
R Registers (see Vocal Registers)
s Science method of science 8 validity and reliability xxi, 8-9
Scientific Observation and Measurement of Voice electroglottography (EGG) 379-380 closed quotient (CQ) 379 open quotient (OQ) 379 flow glottogram 378 laryngeal videostroboscope/videostroboscope 377-378 spectrogram 379 voice range profile (VRP) 404-406
Self/Human Selves (definition) 134 differentiation processes 140 emotional self-regulation/emotion regulation 142 human being/person/people 147 self-determination theory 149 self-identity 147 self-expression 148
Singing (see Vocal Function) Somatic Marker/Somatic Marker Hypothesis (see Neuropsychobiology)
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Somatic Sense kinesthesia/kinesthetic sensation 75 primary somatosensory cortex (SI) 81 somatotopic mapping/somatotopically mapped 82
Speaking/Speech/Spoken Language/Voice During Speech (see Vocal Function) Stress distress 22, 586-589, 591, 596-597 eustress 22, 588-589, 592 fight, flight, or freeze response 22, 588, 591 general adaptation syndrome 66, 71, 587 stress analgesia 67
Surgery (see Vocal Fold and Laryngeal Surgery)
T Train of thought and action (see Consciousness)
V Value-Emotive Categorization (see Neuropsychobiology) Vibrato (see Vocal Function) Visual Sense eye(s) retina 76-78 fovea 76, 82 rods and cones 76 optic nerve(s) 77-78 photon 76 primary visual cortex 77 topographic mapping 80 visual association cortex 77
Vocal Acoustics acoustic loading/acoustic overloading of the vocal folds (see Vocal Coordinations) amplitude 322 consonants 484 fricative consonants 485, 487, 799-800 liquid and glide consonants 486, 488, 801 manner of articulation 490 nasal consonants 486-487, 799 place of articulation 490 stop consonants 485, 487, 800 unvoiced consonants 484, 487, 491 voiced consonants 484, 487, 491, 800
formant frequency region(s)/formant frequency(ies)/ formant(s)/energy peaks 323, 447 first formant 404, 471-473, 478-482 second formant 471-473, 478-480 third formant 474, 481 fourth formant 481 fifth formant 481 formant tuning 476-477, 481-483 fundamental frequency/FQ 477, 480-481 intensity/SPL 470, 477, 482 radiated spectra 323, 470-471 radiated spectra 323 resonance frequency 470 singer's formant 481, 483 trained and untrained singers 476 vocal resonance/resonation 323, 470, 478, 480, 483 vocal sound spectrum/spectral envelopes 480, 483 partials 470-471, 478, 482 radiated spectra 470-471 voice source spectra 470, 478 voice quality/voice qualities 470-471, 476-477, 480-483 formant tuning 476-477, 481-483 voice quality families contributed by the larynx (see Vocal Coordinations, voice quality) voice quality families contributed by the vocal tract 457 balanced resonance family 457 balanced resonance 457 brighter 457 darker 457 fuller 457 overbright family 457 Bugs Bunny sound 457 narrow 457 overbright 457 pinched 457 squeezed 457 overdark family 457 bottled-up 457 sob-like 457 Ten Foot Giant sound 457 throaty 457 woofy 457 vowels/vowel qualities 470-483 diphthongs 475 speech vowel spectra 479-480 tongue back vowels/back vowels 473, 798 tongue front vowels/front vowels 473, 798 tongue middle vowels/central or middle vowels 473, 798 vowel intelligibility/vowel definition 476
Vocal Athlete(s) 304 874
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Vocal Conditioning 499, 504-506 variability of voice use 499, 505 voice cooldown 502 vocal fold "stretching" 502, 506 vocal warmup 501, 506
Vocal Fatigue 372-375, 499, 504-506 Vocal Fold and Laryngeal Surgery after a diagnosis, but before surgery is considered 621 establishing a mucosal disorder diagnosis 620 information about vocal fold microsurgery 622, 630 other laryngeal problems for which surgery may be an option 626 contact granuloma/ulcer 628 intubation granuloma 628 larynx cancer 629 recurrent respiratory papillomatosis 628 scarring of the vocal fold mucosa 623, 627-628 smoker's polyps 625-626 vocal fold bowing 626 vocal fold paralysis and paresis 629-630 perioperative music 630 phonosurgery 620, 630 social support from significant others 630
Vocal Folds (see Larynx) Vocal Coordination(s)/Laryngeal Function(s)/Vocal Function(s) (also see Larynx) acoustic loading/acoustic overloading of the vocal folds 429-430, 436, 446, 493, 496-499, 502 breathing/breath connection (see Breathflow/Breathing) learning fundamental voice skills xxi-xxiii, 786 non-melodic pathfinder pitch patterns 790 quasi-melodic pathfinder pitch patterns 796 template sensorimotor coordinations 796 use of language sounds 797 orofacial myofunctional techniques/therapy 499, 802 physical and acoustic efficiency/physical efficiency/ acoustic efficiency 400, 492-493, 497 pitch (also see Vocal Acoustics, F()/fundamental fre quency) 309-3 14, 424-448 accuracy 429-430, 442, 499, 501-502, 506 amplitude-to-length ratio 391, 437, 442 changing pitch(es)/changing fundamental frequency(ies) 382 inflection 382 interactions of vocal pitch and vocal volume 382, 385-386, 391 intonation 382 flat singing/"flatting" 498, 508, 510-512 sharp singing/"sharping" 498, 508, 510-512 pitch interval agility 502, 792
pitch speed agility 502, 792 primary lengthening influence on your vocal folds 383-385 primary shortening influence on your vocal folds 383-385 sustaining pitch(es)/sustaining fundamental frequency(ies) 383 speaking/speaking skills/voice during speech 765-771 common signs of physically efficient, expressive speech 766-767 efficient speaking/efficient larynx during speech/ speaking efficiently 506, 765-767 expressive speech 769 fluency 382 prosody/prosodic aspects of speech 35-37, 44, 107, 111, 117, 139-140, 162, 167, 171, 198, 208, 228, 252, 280, 382 speaking inefficiently/physically inefficient, overworked larynx during speech 771 where does your voice feel easiest?/feels-easiest voice 768 vibrato 386, 391 voice quality(ies)/vocal timbre/vocal tone quality 410, 417-520 breathy phonation 415 flow phonation 417 "forward placement" 468 hereditary influences 515 labeling voice qualities 516 musical style-specific voice qualities belting/belt voice 520-21, 783-785 "belted" singing skills for chil dren, adolescents, and adults 783-785 characteristics of belted singing 783-785 voice protection skills 783-785 foundational voice quality families 516521 opera 516-517, 519, 521 twang 519, 521 pressed-edgy phonation 412 "vocal carrying power"/"carrying power" 463 voice quality families produced in your larynx 409-419 breathy voice quality family 415 airy 416 breathy 415-419 clear and richer voice quality family 413-414 firm-flutier 413 richer/warm-mellow 413 richest-brassier 413 pressed-edgy voice quality family 412 constricted 412-413, 417
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edgy 413-414, 417 harsh 412-414, 417 pressed 412-419 strident 412, 414, 417 tense 414, 417 vocal registers chest register/chest voice/voce di petto/vox pectoris 421, 432, 437 falsetto register 421, 423-425, 428, 433, 436, 440-447 flute register 423, 425, 431, 436, 439-440, 442-444 flute/falsetto family of voice qualities 511 thinnest-lightest 512 head register/head voice/voce di testa/vox captis 421-424, 431, 433 heavy mechanism 421, 423-424, 432, 437 light mechanism 421, 423-424, 432, 437 loft 423-424, 433, 438 lower register family of voice qualities 427, 508, 518 thicker 508, 518 more full-bodied 508, 518 middle register 428, 433-434, 445, 447 modal register 424, 433, 437 passaggio/passaggi 429, 433, 445, 518 pulse register family of voice qualities 427, 433, 518 fry/vocal fry 423, 427, 433, 436437, 442, 447, 518 register break(s)/crack(s)/lift(s) 452 throat voice/vox gutturis 431 upper register family of voice qualities 509 lighter-thinner 508, 510 whistle register/whistle voice/flageolet register 433-434, 448, 511 whisper-noise family of sound qualities 412 vocal volume/volume 394-404, 407-408 auditory and kinesthetic feedback associated with vocal volume 400 gradual vocal volume changes/softness-toloudness continuum crescendo/crescendi 396-398, 402-403 dimenuendo/dimenuendi 396, 399, 403 messa di voce 403 high-volume voicing 399 low-volume voicing 398 voice range profile 404
Vocal Tract articulation 459, 464, 466-467 articulators 451, 465 oral cavity 468 lips 450-451, 453-454, 458-461, 468 mandible/jaw 460-461, 466-468 orofacial myology 467-468 tongue 467-468 nasal cavity 449, 451, 453-454, 457, 460, 464-468 nasopharyngeal port 465-466, 468 pharyngeal cavity 451, 458, 460, 464 ary-epiglottic sphincter/epilarynx/ laryngopharynx/vestibule 451, 453-454, 458-459, 461, 465 epiglottis 453, 456, 464, 466 larynx 449, 451-453, 455, 461, 463-467, 469 pharynx/throat 451, 453-454, 457-460, 462, 468 piriform sinuses 459, 465 soft palate/velum 449, 451, 453-454, 457-458, 460, 465-466 adult female(s) 460-461 adult male(s) 460-461 children 455 vocal tract growth and development (see Lifespan Voice Development)
Vocal Volume (see Vocal Function) Vocology (see Voice Education) Voice Change (see Lifespan Voice Development) Voice Classification commonly used criteria 773 optimum speaking pitch range 776 part reading 776 singing pitch range 773-775 vocal register transition 775 voice quality 775-778 determining voice classification 779 science-based criteria for classifying voices 776 fundamental frequency (pitch) range 776-778 voice quality 775-778
Voice Diseases and Disorders (see Diseases and Disor ders of... or Disorders Related to...)
Vocal Pedagogy (see Voice Education) Voice Education Vocal Registers (see Vocal Coordinations)
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auditory feedback 506 gestural metaphor 496 kinesthetic feedback 493
language sounds to enhance voice skills 797 principle of co-articulation 797 using vowels to help release vocal interferences 798 using consonants to develop skilled vocal coordinations 799 verbal metaphor and image 496 visual feedback 513 vocal pedagogy xx-xxi, 848 vocology xxi voice skill pathfinding and target practice 786 use of pitch patterns 790-797 neuromuscular and vocal fold tissue warmup/cooldown 789 non-melodic pathfinder pitch patterns 789 quasi-melodic pathfinder pitch patterns 796-797 voice conditioning 499-501, 504-506, 786, 788-789 voice skill development 492-499, 789, 799-801
sleep 647, 649, 653-655 stress inoculation and stress busters 647-653 appropriately raising the temperature of your body 647 laughter 647-648, 653 massage/touch 647, 650, 652, 654 music 650 visual volleyball 648 worry time/planning time 648 voice recovery time 528, 532, 535, 650, 654
Voice Medicine cooperative voice treatment team(s) xxiii, 524 otorhinolaryngologist(s)/ear-nose-throat (ENT) physicians/ENT physicians xxiii, 524 specialist voice educator xxiii, 524 speech-language pathologist(s) xxiii, 524
Voice Quality/Voice Qualities (see Vocal Acoustics and Voice Coordinations)
Voice Skill Pathfinders (see Voice Education) Voice Educator(s) xxii-xxiii, 525, 848-849 choral conductors xi, xv, xvii-xx, xxii comprehensive voice educators xxii-xxiii, 303 educators of self-expression 848 music educators xv-xvi, xix-xx, xxii singing teachers xi, xv, xvii-xxii specialist voice educators xv, xxiii, 525 speech trainers xix-xx, 848-849 theatre teachers xvii, 848-849
Voice Transformation (see Lifespan Voice Development) Vowels (see Vocal Acoustics and Vocal Tract)
Voice Health/Voice Protection body movement 637, 639-644 pleasure walking 640-642 get help early/seek help from a voice health professional 650, 655 hydration 632-634, 636 abundant, thin mucus flow 634-635 defense against upper respiratory infection 635 laryngeal tissue compliance and physical effi ciency 635 lubrication 632, 635 optimum amount of water in your body 635 support for immune system 635 nutrition 637-38, 643 macronutrients 638 micronutrients 638 optimum vocal conditioning 649 prevention 653 restoration response/restoration mode 648, 654 Going Toward Zero 648 physical stretching and movement 647 replenish your bodymind's "energy bank" 647
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