bodymind & voice: foundations of voice education, Revised Edition, Vols. 1 - 3

Page 1

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

280633_CVR_1BodyMd.indd

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1 6/9/08

7:17:25 AM


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)

iv


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

ix


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

xi


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.

xii

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.

xxiii


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.

xxiv


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

2

bodymind

&

voice


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

bodymind

&

voice

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.

6

bodymind

&

voice


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.

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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

such as languages and the expressive arts play a significant

role in the sense making. (Deacon, 1997; Langer, 1951, 1953, 1967, 1972, 1982; Searle, 1998).

General Fancher, R.E. (1979). Pioneers of Psychology. New York: Norton.

Mithen, S. (1996).

The Prehistory of the Mind: The Origins of Art, Religion and

Science. London: Thames and Hudson.

Smith, R. (1997). The Human Sciences. New York: W.W. Norton. von Leden, H. (1997). A cultural history of the larynx and voice. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care (2nd Ed., pp. 7-86). San Diego: Singular.

Philosophy Churchland, P.M. (1984). Matter and Consciousness: A Contemporary Introduc­

tion to the Philosophy of Mind. Cambridge, MA: MIT Press. Descartes, R. (1641). Meditation on First Philosophy (trans., L.J. Lafleur, 1951).

New York: Liberal Arts Press. Dewey, J. (1934). Arts as Experience. New York: G.P Putnam. Dewey, J. (1938). Experience and Education. Bloomington, IN: Kappa Delta Pi.

Fodor, J.A. (1981).

Representations: Philosophical Essays on the Foundations of

Cognitive Science. Cambridge, MA: MIT Press.

Kant, I. (1781).

Critique of Pure Reason (trans, by N.K. Smith, 1958).

New

York: Random House. Lakoff, G., & Johnson, M. (1999). Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. New York: Basic Books.

Figure I-1-1: Lifelong experience cycle.

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Langer, S.K. (1951). Philosophy in a New Key (2nd Ed.) Cambridge, MA: Harvard

Lewin, K. (1935). A Dynamic Theory of Personality. New York: McGraw-Hill.

University Press. Pavlov, I.P. (1927). Conditioned Reflexes. New York: Dover. Langer, S.K. (1953). Feeling and Form: A Theory of Art. New York: Charles

Scribner's Sons.

Skinner, B. F. (1974). About Behaviorism. New York: Vintage Books.

Langer, S.K. (1967). Mind: An Essay on Human Feeling (Vol. 1) Baltimore: Johns

Thorndike, E.L. (1905). The Elements of Psychology. New York: A.G. Seiler.

Hopkins University Press. Langer, S.K. (1972). Mind: An Essay on Human Feeling (Vol. 2) Baltimore: Johns

Turing, A. (1963). Computing machinery and intelligence. In E.A. Feigenbaum & J. Feldman (Eds.), Computers and Thought. New York: McGraw-

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Langer, S.K. (1982). Mind: An Essay on Human Feeling (Vol. 3) Baltimore: Johns

Watson, J.B. (1914). Behavior: An Introduction to Comparative Psychology. New

Hopkins University Press.

York: Holt, Rinehart and Winston.

Locke, J. (1690). An Essay Concerning Human Understanding (PH. Niddich, Ed., 1975). Oxford, United Kingdom: Clarendon Press.

Wiener, N. (1948). Cybernetics, or Control and Communication in the Animal and the Machine (2nd Ed., reprint, 1961). Cambridge, MA: MIT Press.

Russell, B. (1945). A History of Western Philosophy. New York: Simon & Schuster.

Woodworth, R.S., & Sheehan, M.R. (1964). Contemporary Schools of Psychol­ ogy (3rd Ed.). New York: Ronald Press.

Searle, J.R. (1992). The Rediscovery of the Mind. Cambridge, MA: MIT Press. Searle, J.R. (1998). Mind, Language, and Society: Philosophy in the Real World.

New York: Basic Books. Whitehead, AN. (1925). Science and the Modern World. New York: Macmillan.

Cognitive Neurosciences, Neuropsychobiology, and Psychoneuroimmunology Andreason, N.C. (1997). Linking mind and brain in the study of mental

illnesses: A project for a scientific psychopathology.

Psychoanalytic Psychiatry, Psychology, Cognitive Science, and Cognitive Linguistics

Science, 275, 1586-

1593.

Changeaux, J-P. (1985). Neuronal Man: The Biology of Mind (Trans., Laurence Garey). New York: Oxford University Press.

Chomsky, N. (1975). Reflections on Language. New York: Pantheon Books. Churchland, P, & Sejnowski, T. (1992). The Computational Brain. Cambridge,

Chomsky, N. (1986). Knowledge of Language: Its Nature, Origin, and Use. Cam­

MA: MIT Press.

bridge, MA: Greenwood Press. Clynes, M., (Ed.). (1982). Music, Mind, and Brain. New York: Plenum Press,

Deacon, T.W (1997). The Symbolic Species. New York: W.W. Norton.

Crick, F. (1994).

The Astonishing Hypothesis. New York: Charles Scribner's

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Sons.

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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).

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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)

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ness. New York: Basic Books.

tion. New York: Basic Books.

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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.

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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

bodymind

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voice

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

bodymind

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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

32 bodymind & voice

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

bodymind

Schwartz, & Jessell (Eds.), © 1991, Principles ofNeural Science(3rd Ed), published by Appleton & Lange. Reproduced with permission of The McGraw-Hill Companies.]

permission.]

34

within the brain (the four ventricles).. The arrows indicate the direction of flow [From Kandel,

&

voice


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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35


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

&

voice

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

&

voice


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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41


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

&

voice

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

bodymind

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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

bodymind

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voice

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.]

human

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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.]

52

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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

54

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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

nervous

system

55


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

bodymind

&

voice

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.

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Feldman, R.S., Meyer, J.S., & Quenzer, L.F. (1997).

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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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60

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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

67


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

system

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

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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

competence during stress, bereavement, and depression: Focus on neu­ roendocrine function. American Journal of Psychiatry, 144, 1123-1143. Charney, D., & et al. (1993). Psychobiologic mechanisms of posttraumatic

stress disorder. Archives of General Psychiatry, 50, 294-305.

Cohen, S., Tyrell, D.S., & Smith, A.P (1991). Psychological stress in humans

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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

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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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The Color Compendium.

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Joki, M.V. (1984). The psychological effects on man of air movement and the colour of his surroundings. Applied Ergonomics, (June), 119-125.

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Kuyller, R., & Lindsten, C. (1992).

Health and behavior of children in

classrooms with and without windows. Journal of Environmental Psychology,

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12, 305-317.

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Visual Sense Ainsworth, R., Simpson, L., & Cassell, D. (1993). Effects of three colors in

an office interior on mood and performance. Perceptual and Motor Skills, 76(1), 235. Albers, J. (1963). Interaction of Color. New Haven, CT: Yale University Press. Babbitt, E. (1967). The Principles of Light and Color. Secaucus, NJ: Citadel Press.

Barinaga, M. (1997). Visual system provides clues to how the brain per­ ceives. Science, 275, 1583-1585.

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Light, Color and Environment.

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Livingstone, M., & Hubei, D. (1988). Segregation of form, color, movement, and

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ments. New York: Van Nostrand Reinhold. Maas, J.B., et al. (1974).

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Mechanisms in the eye that mediate the biological and therapeutic effects of light in humans. In L. Wetterberg (Ed.), Light and Biological Rhythms in Man (pp. 29-53). Stockholm: Pergamon Press. Brainard, G.C., Rosenthal, N.E., Sherry, D., Skwerer, R.G., Waxier, M., & Kelly, D. (1990). Effects of different wavelengths in seasonal affective dis­ order. Journal of Affective Disorders, 20(4), 209-216.

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Circadian

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The Timing of Biological Clocks.

sensory

New York: Scientific

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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

86 bodymind & voice

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

processing

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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

processing

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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.]

internal

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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

92

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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,

immune system

94

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

internal

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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

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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

References and Selected Bibliography

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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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,

selves,

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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,

selves,

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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,

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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,

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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

lytic, sequential experiences of music are engaged to sup­ 172

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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,

selves,

interaction

173


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'

174

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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.

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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,

188

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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

learning

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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

human-compatible

learning

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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

out in?" human-compatible

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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,

accomplish the written goals of the learners and a learning center. 232

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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

asks questions for deeper understanding, asks opinions 276

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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.”

v


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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

big

picture

303


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.]

336

bodymind

(A-

upper) compares the angles of pelvic tilt and spinal lumbar curves when

&

voice

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

voice

skill

337


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.

338

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

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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.

creating

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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.

creating

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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.]

348

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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.]

creating

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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.

3 liters. creating

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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

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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

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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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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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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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References and Selected Bibliography

Larson, C. (1988). Brain mechanisms involved in the control of vocaliza­ tion. Journal of Voice, 2(4), 301-311.

Speech Physiology and Acoustic Phonetics. New York:

Lieberman, P. (1977).

Anderson, J.L., Schjerling, P, & Saltin, B. (2000). Muscle, genes and athletic

performance. Scientific American, 283(3), 48-55. Baer, T., Sasaki, C., & Harris, K. (Eds.) (1983).

Macmillan. Martensson, A., & Skoglund, C.R. (1964). Contraction properties of intrin­

Laryngeal function in Phonation

and Respiration. Boston: College-Hill Press.

sic laryngeal muscles. Acta Physiologica Scandinavia, 60, 318-336. Martin, F., Thumfart, W.F., Jolk, A., & Klingholtz, F. (1990). The electromyo­

Bakken, R.J. (1991). An overview of laryngeal function for voice produc­

tion. In R.T. Sataloff (Ed.), Professional Voice: The Science and Art of Clinical Care

(pp. 19-47). New York: Raven Press.

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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

pitches

are

sustained

383


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).

how

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sustained

385


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).

388

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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

Arts.

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.

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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,

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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).

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for the Performing Arts.

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:

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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

how

sound

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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

Titze, I.R. (1994b). Control of fundamental frequency. In I.R. Titze, Prin­

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Titze, I.R. (1994f). Vocal registers. In I.R. Titze, Principles of Voice Production

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fold tension and thyroarytenoid activity on the infraglottic aspect of vocal Liljencrants, J. (1995).

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fold vibration and glottal source sound quality.

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Pabon, J.P.H. (1991).

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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-

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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

registers

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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

ynx coordinations that are necessary for singing pitches 430

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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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registers

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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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registers

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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

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&

(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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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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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

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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

Voice Quality (Vol. 2). Santa Rosa, CA: Estill Voice Training Systems. Estill, J. (1995). Some basic voice qualities. In Voice Craft: A User's Guide to Voice

Quality. Santa Rosa, CA: Estill Voice Training Systems. 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.

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).

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Estill, J., Baer, T., Honda, K. & Harris, K.S. (1984). The control of pitch and voice quality: An EMG study of infrahyoid muscles, In VL. Lawrence (Ed.).

Transcripts of the Thirteenth Symposium: Care oftheProfessional Voice (pp. 65-69). New York: the Voice Foundation.

Garcia, M. (1984). Hints on Singing. New York: Schuberth. [Reprint of origi­ nal work: Garcia, M. (1894). Hints on Singing (Trans, by Beata Garcia). Lon­

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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.

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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

tract

contributions

to

qualities

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;

vocal

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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.]

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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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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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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

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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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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

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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.]

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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

506

bodymind

&

voice


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

Hakes, J., Shipp, T., & Doherty, E. (1987).

Acoustic properties of straight

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

spectral correlates. Unpublished Ed.D. dissertation, Teachers College, Co­

Videotaped Demonstrations on the Development of Female Vocalists' Belted

lumbia University.

Vocal Technique.

Bevan, R.V. (1989).

Belting and chest voice:

Unpublished Ph.D. dissertation, University of Miami

(Florida).

Boardman, S.D. (1992).

Vocal training for a career in music theater: A

review of the literature. National Association of Teachers of Singing Journal, 48(5),

Lawrence, V.L. (1979).

10-14, 42.

Journal of Research on Singing, 2, 26-28.

Colla, R.J. (1989).

To belt correctly or not to belt: That should be the

Laryngeal observations on belting,

International

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64-70.

Colton, R.H., & Estill, J.A. (1978). Mechanisms of voice quality variation:

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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

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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

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ability

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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

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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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reactions

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.

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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

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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

&

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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.

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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

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&

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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Higgins, M.B., & Saxman, J.H. (1989). Variations in vocal frequency per­ turbation across the menstrual cycle. Journal of Voice, 3(3), 233-243.

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Davis, C.B., & Davis, M.L. (1993). The effects of premenstrual syndrome (PMS) on the female singer. Journal of Voice, 7(4), 337-353.

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Orr, W., Hoffman, H., & Hegge, F. (1974). Ultradian rhythms in extended performance. Aerospace Medicine, 45, 995-1000. Orth, D.N., Kovac, W.J., & DeBold, C.R. (1992). The adrenal gland. InJ.D. Wilson & D.W. Foster (Eds.), Williams Textbook of Endocrinology (8th Ed., pp. 489-619). Philadelphia: W.B. Saunders. Poirel, C. (1982). Circadian rhythms in behavior and experimental psy­ chotherapy. In F. Brown & R. Graeber (Eds.), Rhythmic Aspects of Behavior (pp. 363- 398). Hillsdale, NJ: Erlbaum. Puczynski, M.S., Puczynski, S.S., Reich, J., Kaspar, L.C., & Emanuele, M.A. (1990). Mental efficiency and hypoglycemia. Journal of Developmental and Behavioral Pediatrics, 11(4), 170-174. Ritter, F.N. (1973). Endocrinology. In M. Paparella & D. Shumrick (Eds.), Otolaryngology (Vol. 1, pp. 727-734). Philadelphia: W.B. Saunders.


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

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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

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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

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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.

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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

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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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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.

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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

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&

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

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&

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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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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

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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

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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

diagnosis

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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

diagnosis

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tre a t m e n t

603


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

diagnosis

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tre a t m e n t

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

606

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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

diagnosis

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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

------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

-------- 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

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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-

614

bodymind

&

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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

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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

bodymind

&

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.

636

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&

voice

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

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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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Rejeski, W.J. (1981). The perception of exertion: A social psychophysiological integration. Journal o f Sport Psychology, 4, 305-320.

Stainsby, W.N., & Brooks, G.A. (1990). Control of lactic acid metabolism in contracting muscles and during exercise. Exercise and Sports Sciences Re­ views, 18, 29-63.

Rejeski, W.J., & Kenney, E. (1987). Distracting attentional focus from fa­ tigue: Does task complexity make a difference? Journal o f Sport Psychology, 9, 66-73.

Stemple, J.D., Lee, L., DAmico, B., & Pickup, B. (1994). Efficacy of vocal function exercises as a method of improving voice production. Journal of Voice, 8, 1-8.

Roth, D.L. (1989). Acute emotional and psychophysiological effects of aerobic exercise. Psychophysiology, 26, 593-602.

Steptoe, A., & Cox, S. (1988). Acute effects of aerobic exercise on mood. Health Psychology, 7, 329-340.

Roth, D.L., & Holmes, D.S. (1985). Influence of physical fitness in deter­ mining the impact of stressful life events on physical and psychological health. Psychosomatic Medicine, 47, 164-173.

Tiidus, P.M. (1995). Biochemical responses to endurance training. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 498-501). St. Louis: Mosby.

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Tomporowski, P.D., & Ellis, N.R. (1986). Effects of exercise on cognitive processes: A review. Psychological Bulletin, 99, 338 -346.

Safron, M.R., Garret, W.E., Seaber, A.V., et al. (1988). The role of warmup in muscular injury prevention. American Sports Medicine, 16, 123-129. Saltin, B., & Rowell, L.B. (1980). Functional adaptations to physical activ­ ity and inactivity. Federation Proceedings, 3 9, 1506. 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. Saxon, K.G., & Schneider, C.M. (1995). Vocal Exercise Physiology. San Diego: Singular Publishing. Shepherd, R.J. (1995). Exercise and the quality of life. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 555-557). St. Louis: Mosby. Shepherd, R.J. (1995). Exercise, fitness, and health. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 479-484). St. Louis: Mosby.

Vander, A.J., Sherman, J.H., & Luciano, D.S. (1994). Human Physiology: The Mechanisms o f Body Function (6th Ed.). New York: McGraw-Hill. Vegso, J.J. (1995). Principles of strength training. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 474-476). St. Louis: Mosby. Vegso, J.J. (1995). Principles of stretching. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 476-478). St. Louis: Mosby. Viru, A. (1995). Humoral functions and exercise. In J.S. Torg & R.J. Shephard (Eds.), Current Therapy in Sports Medicine (3rd Ed., pp. 501-506). St. Louis: Mosby. Wildmann, J., Kruger, A., Schmole, M., Niemann, J., & Matthaei, H. (1986). Increase of circulating beta-endorphin-like immunoreactivity correlates with the change in feeling of pleasantness after running. Life Sciences, 3 8, 9971003. Wilmore, J.H., & Costill, D.L. (1988). Training fo r sport and activity: The Physi­ ological basis o f the Conditioning Process (3rd Ed.). Dubuque, IA: William C. Brown.

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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

vo ic e

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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

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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.

650

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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

b i g

p i c t u r e

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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)

662

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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

666

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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 ,

i n f a n t

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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 ,

i n f a n t

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669


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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671


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

672

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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)

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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

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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

Benes, F.M. (1994). Development of the corticolimbic system. In G. Dawson, & K.W Fischer (Eds.), Human Behavior and the Developing Brain (pp. 176-206). New York: Guilford. Bennett, N., Wood, L., & Rogers, S. (1997). Teaching through Play: Teachers'Think­ ing and Classroom Practice. Buckingham, United Kingdom: Open University Press.

Du O (three times), Shake those fingers down"

Bloom, L., & Capatides, J. (1987). Expression of affect and the emergence of language. Child Development, 58, 1513-1522.

C o n c lu s io n

Bornstein, M.H. (1985). How infant and mother jointly contribute to devel­ oping cognitive competence in the child. Proceedings o f the National Academy of Sciences, USA, 82, 7470-7473.

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

parents and all educators can learn effective ways to help children of all ages learn to sing very skillfully and expres­ sively (Bennett & Bartholemew, 1997, 1999; Bredenkamp & Copple, 1997; Campbell & Scott-Kasner, 1995; Feierabend, 2000a,b,c; Fox, 1990).

Bornstein, M.H. (1989). Sensitive periods in development: Structural char­ acteristics and causal interpretations. Psychological Bulletin, 105(2), 179-197. Bowlby, J. (1988). A Secure Base: Parent-Child Attachment and Healthy Human Development. New York: Basic Books. Brackbill, Y (1979). Obstetrical medication and infant behavior. In J.D. Osofsky (Ed.), Handbook on Infant Development. New York: Wiley-Interscience. Bracco, L., Tiezzi, A, Ginanneschi, A, Campanella, C, & Amaducci, L. (1984). Lateralization of choline acetyltransferase (ChAT) activity in fetus and adult human brain. Neurosciences Newsletter, 50, 301. Brazelton, T.B. (1978). The remarkable talents of the newborn. Birth and the Family Journal, 5, 4-10.

W hat if all the societies of the world were populated with people who always talked with comfortable, confident

Brazelton, T.B., & Cramer, B. (1990). The Earliest Relationship: Parents, Infants, and the Drama o f Early Attachment. Reading, MA: Addis on-Wesley.

expressiveness? W hat if all those people sang every day with unself-conscious, full-voiced singing? W hat if singing was as common and ordinary as talking, and what if that potential began to be fulfilled very early in every person's life?

Brazelton, T.B., Koslowski, B., & Main, M. (1974). The origins of reciprocity in mother-infant interaction. In M. Lewis & L.A. Rosenbloom (Eds.), The Effect o f the Infant on Its Caregiver (pp. 178-196). New York: Wiley Bredenkamp, S., & Copple, C. (Eds.) (1997). Developmentally Appropriate Practice in Early Childhood Programs. Washington, DC: National Association for the Education of Young Children.

Perhaps there would be only full-voiced, free-singing bluebirds.

Brooks-Gunn, J., Liaw, F.R., & Klebanov, PK. (1992). Effects of early inter­ vention on cognitive function of low birth weight preterm infants. Journal of Pediatrics, 102, 350-358.

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

Bruer, J.T. (1999). The Myth o f the First Three Years: A New Understanding o f Early Brain Development and Lifelong Learning. New York: Free Press.

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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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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

p r e b i r t h

to

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

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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

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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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&

voice

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

Allen, T.H., Anderson, E.C., & Lagham, W.H. (1960). Total body potassium and gross body composition in relation to age. Journal o f Gerontology, 15, 34 8 -357. Ballenger, J.J. (Ed), (1969). Diseases o f the Nose, Throat and Ear. Philadelphia: Lea & Febiger. Birnholtz, J.C., & Benacerraf, B.R. (1983). The development o f hum an fetal hearing. Science, 222, 516-518. Bosma, J.F. (1975). Anatomic and physiologic development of the speech apparatus. In D.B. Tower, (Ed), The Nervous System: Human Communication and Its Disorders (Vol. 3). New York: Raven Press.

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

Bouhuys, A. (1977). The Physiology of Breathing. New York: Grune & Stratton. Cervette, M.J. (1984). Auditory brainstem response testing in the intensive care unit. Seminars in Hearing, 5, 57-68. Cotes, J.E. (1979). Lung Function, (4th Ed). Oxford, United Kingdom: Blackwell Scientific.

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Cox, L.C. (1985). Infant assessment: Developmental and age related consid­ erations. In J. Jacobson (Ed.), The Auditory Brainstem Response (pp. 2 98-3 16). San Diego: College-Hill.

Hately, B.W., Evison, G., & Samuel, E. (1965). The pattern of ossification in the laryngeal cartilages: A radiological study. British Journal o f Radiology, 38, 585-591.

Crelin, E.S. (1987). The Human Vocal trad. New York: Vantage Press.

Henick, D.H., & Sataloff, R.T. (1993). Laryngeal embryology and vocal de­ velopment. In W.J. Gould, R.T. Sataloff, & J.R. Spiegel (Eds.), Voice Surgery (pp. 275-290). St. Louis: Mosby-Year Book.

Daw, S.F. (1970). Age of boys' puberty in Leipzig, 1727-49, as indicated by voice breaking in J.S. Bach's choir members. Human Biology, 42, 87-89. DeCasper, A., & Fifer, W (1980). Of hum an bonding: Newborns prefer their m others'voices. Science, 208, 1174-1176.

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.

DeCasper, A., & Spence, M. (1986). Prenatal maternal speech influences hum an newborns' perception of speech sounds. Infant Behavior Development, 9, 133-150.

Hirano, M., Kurita, S., & Nasashima, T. (1981b). Growth, development and aging of hum an vocal folds. In D.M. Bless & J.H. Abbs (Eds), Vocal Fold Physi­ ology: Contemporary Research and Clinical Issues. San Diego: College-Hill Press.

Dunkel, L., Alfthan, H., & Stenman, U., et al. (1990). Pulsatile secretion of LH and FSH in prepubertal and early pubertal boys revealed by ultrasensitive time-resolved immunoflourometric assays. Pediatric Research, 27, 215-219.

Hixon, T.J. (1987). Respiratory Function in Speech and Song. Boston: College-Hill Press.

Dunnhil, M.S. (1962). Postnatal growth of the lung. Thorax, 17, 32 9 -333.

Hollien, H. (1980). Developmental aspects of neonatal vocalizations. In T. M urry & J. M urry (Eds.), Infant Communication: Cry and Early Speech. New York: College-Hill Press.

Eichorn, D.H. (1970). Physiological development. In PH. M ussen (Ed.), Carmichael's Manual o f Child Psychology (3rd Ed., Vol. 1). New York: John Wiley & Sons.

Jansen, A.H. & Chernick, V (1983). Development of respiratory control. Physiology Review, 63, 4 37-483 .

Eisenberg, R.B. (1969). Auditory behavior in the hum an neonate: Functional properties of sound and their ontogenic implications. International Audiology, 8, 34-45.

Kahane, J.C. (1988). Anatom y and physiology of the organs of the periph­ eral speech mechanism. In N.J. Lass, L.V. McReynolds, J.L. Northern, & D.E. Handbook o f Speech-Language Pathology and Audiology. Philadelphia: B.C. Decker.

Eisenberg, R.B. (1976). Auditory Competence in Early Life: The Roots o f Communica­ tive Behavior. Baltimore: University Park Press.

Kahane, J.C. (1982). Growth of the hum an prepubertal and pubertal larynx. Journal o f Speech and Hearing, 25, 446-455.

Eisenberg, R.B. (1983). Development of hearing in children. In R. Romand, (Ed.). Development of Auditory and Vestibular Systems. New York: Academic Press.

Kahane, J.C. (1978). A morphological study of the hum an prepubertal and pubertal larynx. American Journal o f Anatomy, 151(1), 11-19.

Fleming, P. (1984). Development of respiratory patterns: Implications for control. 17th Annual Intra-Science Symposium, International Symposium on Sudden Infant Death Syndrome. Santa Monica, CA, February 22-24.

Kahane, J.C. (1983). Postnatal development and aging of the hum an larynx. Seminar in Speech and Language, 4, 189-203 .

Galambos, R., Wilson, M.J., & Silva, PD. (1994). Identifying hearing loss in the intensive care nursery: A 20-year summary. Journal of the American Acad­ emy of Audiology, 5, 151-162. Goldman, A S. (1993). The immune system of hum an milk: Antimicrobial, antiinflammatory, and immuno-modulating properties. Pediatric Infedious Dis­ eases Journal, 12(8), 664-671.

Kahane, J.C. (1984). Weight measurements of infant and adult intrinsic la­ ryngeal muscles. Folia Phoniatrica, 36, 129-133. Klock, L.E. (1968). The growth and development of the hum an larynx from birth to adolescence. Unpublished M.S. thesis, University of Washington School of Medicine. Kolata, G. (1984). Studying learning in the womb. Science, 225, 3 0 2 -303 .

Grimwade, J., Walker, D., Bartlett, M., Gordon, S., & Wood, C. (1971). Human fetal heartrate change in response to sound and vibration. American Journal of Obstetrics and Gynecology, 122(4), 86-90.

Laitman, J., & Crelin, E.S. (1976). Postnatal development of the basicranium and vocal tract in man. In J.F. Bosma (Ed), Symposium on Development of the Basicranium. Washington: Department of Health, Education and Welfare.

Grumbach, M.M., & Kaplan, S.L. (1990). The neuroendocrinology of h u ­ man puberty: An ontogenetic perspective. In M.M. Grumbach, PC. Sizonenko, & M.L. Aubert (Eds.), Control o f the Onset of Puberty (pp. 1-68). Baltimore: Wil­ liams & Wilkins.

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 .

Grumbach, M.M., & Styne, D.M. (1992). Puberty: Ontogeny, neuroendocri­ nology, physiology, and disorders. In J.D. Wilson & D.W. Foster (Eds.), Wil­ liams Textbook o f Endocrinology (8th Ed., pp. 113 9-1221). Philadelphia: W.B. Saunders.

Laufer, M.Z. (1980). Temporal regularity in prespeech. In T. Murry, & J. Murry, Infant Communication: Cry and Early Speech. New York: College-Hill Press.

Hagg, U., & Tarranger, J. (1980). M enarche and voice change as indications of pubertal growth spurt. Acta Odontology Scandinavica, 38(3), 179-186.

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.

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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Mitchell, R.A., & Berger, A.J. (1981). Neural regulation o f respiration. In T.F. Hornbein (Ed), Regulation o f Breathing, (Pt. I). New York: Marcel Dekker. Musiek, F.E., Gollegly, K.M., & Baran, J.A. (1984). Myelination of the corpus callosum and auditory processing problems in children: Theoretical and clinical correlates. Seminars in Hearing, 5(3), 23 1-241. Musiek, F.E., Baran, J.A., & Pinheiro, M.L. (1994). Involvement of the audi­ tory areas of the corpus callosum. In F.E. Musiek, J.A. Baran, & M.L. Pinheiro, Neuroaudiology Case Studies. San Diego: Singular. Murry, T., Murry, J. (1980). Infant Communication: Cry and Early Speech. New York: College-Hill Press. Nielsen, C.T., Skakkebaek, N.E., Darling, J.A., et al. (1986). Longitudinal study of testosterone and luteinizing hormone (LH) in relation to spermarche, pubic hair, height and sitting height in normal boys. Acta Endocrinologica [Suppl], 279, 98-106. O'Dell, W.D. (1995). Endocrinology o f sexual maturation. In DeGroot, L., et al., Endocrinology (3rd Ed., Vol. 2, pp. 1938-1952). Philadelphia: WB. Saunders. Ogura, J.H., & Mallen, R.W (1977). Developmental anatom y of the larynx. In J.J. Ballenger (Ed), Diseases o f the Nose; Throat and Ear; (12th Ed.). Philadel­ phia: Lea & Febiger. Panneton, R.K. (1985). Prenatal auditory experiences with melodies: Effects on postnatal auditory preferences in hum an newborns. Unpublished Ph.D. dissertation, University o f North Carolina at Greensboro. Peiper, A. (1963). Cerebral Function in Infancy and Childhood. New York: Consult­ ants Bureau.

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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v o i c e s

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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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voice


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

b o d y m i n d

&

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

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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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voice


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

&

voice

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

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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.

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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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&

voice

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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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

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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.

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,___ : 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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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.

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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

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

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.

R e fe r e n c e s a n d S e le c te d B ib l io g r a p h y

Cooksey, J.M. (1977c). The development of a contemporary, eclectic theory for the training and cultivation o f 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. The Choral Journal, 18(4), 5 15. Cooksey, J.M. (1978). The development of a contemporary, eclectic theory for the training and cultivation o f the junior high school male changing voice: Part IV, selecting music for the junior high school male changing voice. The Choral Journal, 18(5), 5-18. Cooksey, J. M. (1993). Do adolescent voices 'break' or do they 'transform ? VOICE, The Journal o f the British Voice Association, 2(1), 15-3 9.

Adcock, E.J. (1971). A comparative analysis o f vocal range in the middle school general music curriculum. Unpublished Ph.D. dissertation, Florida State University.

Cooksey, J. M. (1985). Vocal-Acoustical measures of prototypical patterns related to voice m aturation 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.

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.

Cooksey, J.M. (1988). Understanding m ale-adolescent voice maturation: Some significant contributions by European and American researchers. In G. Paine (E d .), Five Centuries o f Choral Music: Essays in Honor o f Howard Swan (Festschrift Series 6, pp. 75-92). Stuyvesant, NY: Pendragon Press.

Beckett, R.L. (1969). Pitch perturbation as a function of subjective vocal constriction. Folia Phoniatrica, 21, 416-425. Beckett, R.L., Bonsangue, N.J., & Jones, N.K. (1980). An investigation of the anatomic, physiologic and acoustic factors related to voice m utation in the adolescent male. Paper, State Conference o f the California SpeechLanguage-Hearing Association, Los Angeles. Bonsangue, N.J. (1981). An investigation of selected acoustical factors as­ sociated with voice mutation in the adolescent male. Unpublished master's thesis, California State University at Fullerton. Boone, D.R. (1977). The Voice and Voice Therapy (2nd Ed.). Englewood Cliffs, NJ: Prentice Hall. 736

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Cooksey, J.M., Beckett, R.L., & Wiseman, R. (1984). A longitudinal investi­ gation o f 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 o f New York at Buffalo Press. Cooksey, J.M., Beckett, R.L., & Wiseman, R. (1985). A longitudinal investi­ gation o f selected vocal, physiological, and acoustical factors associated with voice maturation in the junior high school male adolescent U npub­ lished research report, California State University at Fullerton. Cooksey, J., & Welch, G.F. (1998). Adolescence, singing development and National Curricula Design. British Journal o f Music Education, 15(1), 99-119.


Cooper, I., & Kuersteiner, K.O. (1965). Teaching Junior High Music. Boston: Allyn and Bacon. Dann, H. (193 6). Conductor's Book: Hollis Dann Song Series. New York: Ameri­ can Book Co. Fischer, K.W., & Rose, S.P. (1994). Dynamic development of coordination o f com ponents in brain and behavior: A framework for theory and re­ search. In G. Dawson & K.W. Fischer (Eds.), Human Behavior and the Develop­ ing Brain (pp. 3 -66). New York: Guilford. Frank, F., & Sparber, M. (1970a). Stimmumfänge bei Kindern aus neuer Sicht (Vocal ranges in children from a new perspective). Folia Phoniatrica, 22, 3 97-402. Frank, F., & Sp arber, M. (1970b ). Die P rem u ta tio n sstim m e die M utations stimme und die Postm utationsstim m e in Sonagram m (The premutation voice, mutation voice, and the postmutation voice in the sonogram). Folia Phoniatrica, 22, 4 2 5 -4 3 3 . Friesen, J.H. (1972). Vocal mutation in the adolescent male: Its chronology and a comparison with fluctuations in musical interest. Unpublished Ph.D. dissertation, University of Oregon. Gehrkens, L.W. (193 6). Music in the Junior High School. Boston: C.C. Birchard. Greene, M.C.L., & Mathieson, L. (1989). Voice mutation: Infancy to senes­ cence. In The Voice and Its Disorders (5th Ed.). London: W hurr Publishers. 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. Harries, M.LL., Griffin, M., Walker, J., & Hawkins, S. (1996). Changes in the male voice during puberty: Speaking and singing voice parameters. Logo­ pedics Phoniatrics Vocology, 21(2), 95-100. Hirano, M., Kurita, S., & Nasashima, T. (1981a). The structure o f the vocal folds. In M. Hirano (Ed), Vocal Fold Physiology. Tokyo: University of Tokyo Press. Hirano, M., Kurita, S., & Nasashima, T. (1981b). Growth, development and aging of hum an vocal folds. In D.M. Bless & J.H. Abbs (Eds), Vocal Fold Physiology: Contemporary Research and Clinical Issues. San Diego: College-Hill Press. Hollien, H. (1960). Vocal pitch variation related to changes in vocal fold length. Journal o f Speech and Hearing Research, 3, 150-156.

Howard, D.M., Lindsey, G.A., & Palmer, S.K. (1991). Larynx closed qu o­ tient measures for the female singing voice. Proceedings o f the 12th Interna­ tional Congress o f Phonetic Sciences. France: Aix-en-Provence, 5, 10-13 . Howard, D.M., & Collingsworth, J. (1992). Voice source and acoustic mea­ sures in singing. Acoustics Bulletin, 17(4), 5-12. Joseph, W. (1969). Vocal growth measurements in male adolescents. Jour­ nal o f Research in Music Education, 17, 4 2 3 -426. Kahane, J.C. (1982). Growth of the hum an prepubertal and pubertal lar­ ynx. 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 o f Anatomy, 151(1), 11-19. Kent, R.D. & Forner, L.L. (1979). Developmental study of vowel form ant frequencies in an imitative task. Journal o f the Acoustical Society o f America, 65(1), 208-217. Ladefoged, P. (1975). Jovanovich.

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

b o d y m i n d

&

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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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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

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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.

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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

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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

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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

b o d y m i n d

&

voice


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

o l d e r

a d u l t

v o i c e s

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

v o i c e s

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

b o d y m i n d

&

voice


"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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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

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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

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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!'

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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.

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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

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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

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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

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Once singers' voices are labeled, often in their preteen

&

voice

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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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,

776

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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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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

voices

for

singing

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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voice


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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register coordinations (see Book II, Chapter 11).

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

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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

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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

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&

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

-

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( 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

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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

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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.

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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

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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.

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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

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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

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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.

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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.

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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?"

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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

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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

f e m a le

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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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(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"?

male

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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

tra n sfo rm in g

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825


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.

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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

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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

828

bodym ind

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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

830

bodym ind

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voice


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

a d olescen t

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voices

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

832

bodym ind

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voice

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

&

voice


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

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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

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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

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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

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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

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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

842

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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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845


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

J 850

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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

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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

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&

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

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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

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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

index

86 1


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

862

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voice

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

index

8 63


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

864

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voice

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

the

index

865


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

866

bodym ind

&

voice

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

the

index

867


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

868

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&

voice

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

the

index

869


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

870

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voice

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

the

index

871


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

872

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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)

the

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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

the

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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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