The Voice Foundation

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Titles that are not currently available in DVD format can be converted upon request.

ARYTENOID MOTION - James Letson, Jr., M.D., Renny H. Tatchell, Ph.D., Steve Zlotolow, Ph.D., and Greg de Lauro, M.A.
This videotape makes a significant contribution to the understanding of the complex movements of the arytenoid cartilages, and is a timely complement to chapter 6 of Professional Voice: The Science and Art of Clinical Care, Third Edition.

Color and Sound (1997), approximately 22 minutes

BASIC CONCEPTS PERTAINING TO VOICE DISORDERS - G. Paul Moore, Ph.D.
This lecture is illustrated with slides and laryngoscopic images in ultra-slow motion and regular speed. The images are of normal and abnormal adult female larynges which depict lesions common to vocal abuse (nodules, hematoma, contact ulcer). There is no audio superimposed on the laryngeal images.

Color and Sound (1984), approx. 59 minutes

CANCER OF THE LARYNX - Renny H. Tatchell, Ph.D., CCC-SLP, James Letson, Jr., M.D., Stephen Zlotolow, Ph.D.
This 9 minute educational videotape provides a review of laryngeal structures, as well as abnormal conditions. Stroboscopic examples of Reinke's edema, leukoplakia, and cancer are presented, along with brief discussions of causative factors and treatment approaches. This tape is best suited as an introduction to this subject for speech-language pathology students, singers, actors, educators, and voice patients.

Color and Sound (2004) Approximately 9 minutes

CARE OF THE PROFESSIONAL VOICE, Part I & II - Robert T. Sataloff, M.D., D.M.A.
This is a didactic slide lecture geared toward physicians, voice therapists, and voice teachers which gives the groundwork for a correct diagnostic and treatment procedure in the evaluation of singers.

Part I:
Dr. Sataloff begins by providing an in-depth description of the anatomy of the vocal mechanism and the vocal folds. Then he presents and elaborates upon a comprehensive list of what should be taken in the patient's medical history:

1. Gives examples of breathing technique in order for correct support assessment.
2. Presents the results of vocal aging and the value of the rehabilitative process.
3. Stresses the importance of separating acute and chronic problems and their associated illnesses.
4. Enumerates the common types of vocal complaints and their various etiologies.
5. Indicates the importance of obtaining a correct past training and professional singing history; schedule of physical/vocal exercises and warm-up exercises.
6. Lists the common patterns and causes of voice abuse.
7. The importance and effectiveness of a proper weight loss program.
8. Enumerates medical conditions which may manifest as vocal problems.
9. Describes the symptoms of gastroesophageal reflux laryngitis.
10. Describes the effects of hormonal imbalances.
11. The importance of screening for heavy weight loss.
12. The effects of stress and anxiety.
13. Exposure to irritants.
14. The effects of various drugs.
15. The consumption of certain foods before singing.
16. Obtaining a surgical history and the potential vocal complications of surgery.

Part II:
Dr. Sataloff continues his in-depth discussion:

1. Components of the physical examination:
   1. Complete ENT examination.
   2. Comprehensive voice examination and the value of stroboscopic assessment.
   3. General and neurotological examination, as indicated.
2. Common organic problems, pulmonary disease, allergy, and their treatment.
3. Consequences of voice rest.
4. The importance of understanding the skills and training of a singer.
5. Treatment with various types of drugs.
6. Treatment of serious voice abuse.
7. Treatment of vocal fold hemorrhage, laryngeal trauma, spasmodic dysphonia, and laryngeal cancer.

Color and Sound (1993) Approximately 1 hr. 25 min. (Part I)
Approximately 1 hr. (Part II)

THE COLLECTED WORKS OF HENRY RUBIN, M.D., Parts I and II
The world’s greatest collection of historical high-speed laryngeal videos.
Part I: approximately 42 minutes
Part II: approximately 41 minutes

DYNAMICS OF THE SINGING VOICE - Rafael García-Tapia, M.D.
Educational presentation of views primarily of a normal female larynx during singing, and also a view of a countertenor. Illustrates the phases of the vibratory cycle and the functions of the larynx and pharynx during singing as well as the concept of "registers" as defined by changes in laryngeal and pharyngeal position during singing through a wide range of pitches.

Color and sound (1987), approximately 20 minutes

EXPERIENCES IN VOICE THERAPY, Parts I and II - Friedrich S. Brodnitz, M.D.
Outlines voice therapy background and theory, examination of the patient, use of the voice in different occupations, psychologicial considerations, and technical problems.

Color and sound (1983), approximately 50 minutes (each tape)

FLEXIBLE FIBRE-OPTIC VIDEOLARYNGOSCOPY IN OFFICE PRACTICE - Robert J. Feder, M.D. and Alfred Lavorato, Ph.D.
An excellently photographed, detailed, technical discussion of flexible fiberoptic videolaryngoscopy equipment, office peripherals and examination techniques followed by a series of case studies of male and female patients. Pathologies shown: velopalatine insufficiency, vallecular cyst, congenital web, vocal fold paralysis (apparent and actual), abusive changes of vocal folds (submucosal hemorrhage, nodules, granuloma), carcinoma, polyps and plypoid degeneration, and vocal tract changes.

Color and sound (1983), approximately 30 minutes

GLOTTAL INCOMPETENCE: A CORRECTIVE PUSHING EXERCISE PROGRAM - Hiroya Yamaguchi, M.D. and Yoko Watanabe, Ph.D.
The pushing exercise program is discussed for patients with vocal fold imcompetence due to unilateral vocal fold paralysis, sulcus, or vocal fold bowing. The patient performs exercises to facilitate synchronization of the pushing movement with adduction of the vocal folds. Relaxation exercises are also demonstrated. The electroglottography results are shown after each exercise.

Color and Sound (1992), approximately 14 minutes

GLOTTIC RECONSTRUCTION FOLLOWING VERTICAL PARTIAL LARYNGECTOMY AND VIBRATION AT THE NEW GLOTTIS - Minoru Hirano, M.D.
For the technological audience, this tape shows Dr. Hirano's surgical technique for a vertical partial laryngectomy and the reconstruction of a new glottis. This tape is particularly interesting for its slow-motion demonstrations showing the vibratory movements of the reconstructed vocal fold. Several histological slides also illustrate the mucosal bulge.

Color and sound (1976), approximately 14 minutes

LARYNGEAL ANATOMY / LARYNGEAL VIDEOSTROBOSCOPY - William Paul Biggers, M.D., F.A.C.S.
This videotape presentation is designed to assist the student in seeing the living anatomy of the larynx during phonation and strobovideolaryngoscopic evaluation. The views are of non-anesthetized male and female patients and are produced using a rigid, fiberoptically illuminated endoscope and a CCD microcolor video camera. A description of normal anatomy and abnormal anatomy with various benign lesions accompanies each laryngoscopic presentation which includes the patient's voice in the background.

Color and Sound (1991), approximately 28 minutes

LARYNGOSTROBOSCOPY AND PHONOSURGERY - Guy Cornut, M.D., Marc Bouchayer, M.D. and Hans Hartmann
The authors of this film - a phoniatrician and two surgeons - discuss experiences via seven examples of laryngeal pathology which represent the main indications for phonosurgery: nodules, serous pseudocyst, polyp, mucous retention cyst, epidermoid cyst, Reinke's edema, and Teflon injection for recurrent vocal fold paralysis.

Color and Sound (1986), approximately 24 minutes. Available in French.

THE LARYNX AND VOICE: THE FUNCTION OF THE NORMAL LARYNX – Hans von Leden, M.D. and G. Paul Moore, M.D.
Classic, historical video demonstrating the anatomy and physiology of the voice and the mechanics of the vocal folds.

Color and Sound (1957), approximately 21 minutes

THE LARYNX AND VOICE: THE FUNCTION OF THE PATHOLOGIC LARYNX – Hans von Leden, M.D. and G. Paul Moore, M.D.
A staged, vintage visit to the laryngologist, complete with high-speed laryngeal videos of the pathologic larynx.

Color and Sound (1957), approximately 24 minutes

THE LARYNX AND VOICE: PHYSIOLOGY OF THE LARYNX UNDER DAILY STRESS – Hans von Leden, M.D. and G. Paul Moore, M.D.
Historical high-speed laryngeal videos of the vocal folds during singing, laughing, coughing, talking, and vocal fry.

Color and Sound (1957), approximately 23 minutes

THE LARYNX ONCE OVER LIGHTLY - Van L. Lawrence, M.D.
This is a revised edition of "The Laryngeal Image During Phonation" for the non-technical audience. A short history of the laryngeal examination describes the flexible fiberoptic laryngoscope and provides a diagrammatic anatomical description of the laryngeal structures. Dr. Lawrence does a self-examination with the laryngoscope and describes the upper phayrngeal and laryngeal structures. Descriptions and laryngoscopic views of normal and abnormal male and female larynges are presented showing the changes in structure during phonation and singing.

Color and Sound (1983), approximately 25 minutes

LARYNX PRINT: LOOKING INTO THE VOICE - Jean Abitbol, M.D.
Translated from French into English, a short introduction gives a history of laryngology and the anatomy and function of the phonatory structures. The non-scientific viewer will enjoy the music and the sequences of a variety of larynges involved in many normal and abnormal speaking and singing samples. The scientific observer will additionally enjoy the translations from French medical terminology into English.

Color and Sound (1983), approximately 30 minutes

METHODS AND CONTROLS USED IN LARYNGEAL EMG RESEARCH - Thomas Shipp, Ph.D.
Techniques are demonstrated for obtaining valid and reliable electromyographic data from relatively inaccessible intrinsic laryngeal muscles in conscious subjects. Intratracheal catheter placement is shown, and information on drug administration and physiological calibration are described in the narrative.

Color and sound (1982), approximately 16 minutes

MICROSURGERY OF THE LARYNX - Minoru Hirano, M.D. This tape shows Dr. Hirano's microlaryngeal surgical techniques for several procedures: removal of a nodule, cyst, and a polyp; laser excision of granuloma, a ventricular cyst, and epithelial dysplasia; laser cordectomy of glottic carcinoma; and laser correction of a subglottal stenosis using an endolaryngeal approach.

Color and Sound (1982), approximately 16 minutes

MUSCULAR TENSION DYSPHONIA - Linda A. Rammage, M.Sc., Murray D. Morrison, M.D. and Hamish Nichol, M.D.
A professional tutorial designed to assist speech pathologists and laryngologists in the diagnosis, evaluation and treatment of individuals with voice disorders characterized by generalized (muscular) hypertonicity in the vocal tract. The theoretical physiological basis for the psychosomatic syndrome of muscular tension dysphonia is presented along with results of research and clinical studies in support of these theories.

Color and Sound (1987), approximately 37 minutes

A PANEL ON THE HUMAN VOICE - Moderated by Anna Moffo Sarnoff, International Opera Singer
A discussion of the demands put on the voice by various professions and avocations, dissemination of information about the voice, the function of the voice in everyday life, current methods of voice evaluation, and good vocal hygiene. This presentation for the general audience involves a diverse panel: actor Douglas Fairbanks Jr.; noted laryngologist, Wilbur James Gould, M.D.; voice coach, Beverly Johnson; singer and creator of advertising materials, Linda November; television producer and commentator, Marie Torre.

Color and Sound (1981), approximately 26 minutes

PERFORMERS AND VOICE FATIGUE - Jean Abitbol, M.D.
A didactic physiological presentation on the vocal mechanism as it relates to medical problems of chronic vocal fatigue, especially as it affects performers. Diagrams, x-ray photography, laryngoscopic and stroboscopic images of males and females speaking and singing, and histological slide presentations augment the presentation.

Color and Sound (1986), approximately 25 minutes

PHONOSURGERY LECTURE NUMBER 1: THYROPLASTY I and III (and ARYTENOID ADDUCTION) - Nobuhiko Isshiki, M.D.
The four types of thyroplasty procedures are classified and the advantages of laryngeal framework surgery are given. An in-depth discussion of the thyroplasty I (vocal fold medialization) procedure used to correct imperfect glottic closure is given. A description is given of a combined operation of thyroplasty type I and thyroplasty type III used to correct vocal fold atrophy and sulcus. Videotaped highlights of the thyroplasty procedure are presented along with pre- and postoperative stroboscopic images of the patients. The arytenoid adduction procedure is discussed as is the combining of arytenoid adduction with thyroplasty type I to correct a large glottal chink. The vidoetape concludes with a short question-and-answer session.

Color and Sound (1993), aprroximately 93 minutes

PHONOSURGERY LECTURE NUMBER 2: MISCELLANEOUS PROBLEMS AND RESEARCH POTENTIALS - Nobuhiko Isshiki, M.D.
The effectiveness of the Silastic implants used in thyroplasty procedures is discussed. The focus is on pitch problems and how dysphonia develops. Highlights include the following surgical procedures: lowering vocal pitch, cricothyroid approximation, combined thyroplasty to correct an unusual functional-related dysphonia, thyroplasty type I for correction of spastic dysphonia, laryngeal web removal and mucosal transplantation. Concludes with a discussion of the acoustical analysis of the voice and applications for determining the ease of phonation, along with the importance of animal experimentation.

Color and Sound (1993), approximately 91 minutes

PHONOSURGERY ON SINGERS - Guy Cornut, M.D. and Marc Bouchayer, M.D.
Phonosurgery for singers poses delicate problems concerning surgical indications, surgical techniques and post operative care. This video illustrates four examples of the most common pathologies and summarizes the therapeutic orientation of the authors before, during and after the operation. Illustrations are done with larygoscopic images under normal and stroboscopic light.

Color and Sound (1988), approximately 18 minutes

THE REGULATORY MECHANISM OF THE VOICE IN SINGING - Minoru Hirano, M.D.
Dr. Hirano's tape features high speed photography of vocal fold vibration and the electromyography (EMG) of various laryngeal muscles. Also, it shows the EMG activity of laryngeal muscles during register changes.

Color and sound (1980), approximately 25 minutes

SPEAKING AND SINGING ON STAGE: A PERFORMANCE DEMONSTRATION - Ronald C. Scherer, Ph.D.
This videotape ushers in a relatively untouched research field of the marriage of broad artistic intents, physiological requirements of the vocal performer, and hall acoustics. The topics that are demonstrated, discussed, and given acoustic analyses include adequate soft vocal performance, consequences of using too low of a pitch in acting, singing off pitch, the importance and reasons for pitch inflection in acting, the importance and enhancements of seeing the front and face of the performer, overcoming problems of the highly reverberant hall, and vowel modification with pitch change to preserve vocal quality. Other topics discussed include the definitions of audibility, intelligibility, and interpretation from the performers' point of view, pitch matching problems, insights into adequate nonverbal performance, "cheating out", trading intelligibility for vocal quality, resonance for different vocal styles, and safe shouting.

Color and Sound (1996), approximately 80 minutes.
Copyright 1996 by the Acoustical Society of America.

STRAIGHT FROM THE LARYNX - Jean Abitbol, M.D.
An excellent video for the non-technical audience, this beautifully photographed series of normal and abnormal, male and female laryngeal images, also contains a brief depiction of a laser surgery procedure and electroglottography.

Color and Sound (1983), approximately 25 minutes

STROBO-FIBEROPTIC VIDEO RECORDING OF VOCAL FOLD VIBRATION - Minoru Hirano, M.D.
Describes the components of the strobo-fiberscopic system and how it is utilized. Examples of fiberoptic and strobo-fiberoptic images of adult and child, normal and abnormal larynges are presented. A brief summation of the advantages and disadvantages of strobo-fiberoptic versus strobo-telescopic imaging is also presented.

Color and Sound (1984), approximately 11 minutes

SURGERY OF THE VOICE - Robert Thayer Sataloff, M.D., D.M.A.
In this didactic lecture, Dr. Sataloff presents an in-depth look at the advancement of phonosurgery from the days of vocal fold "stripping" to the present age of delicate microsurgery. He describes the anatomy and physiology of the vocal folds; the prerequisites for determining potential surgical candidates; techniques of vocal fold surgery; the importance of excellent anesthesiology, surgical instruments and laryngoscopes; the advantages/ disadvantages of the use of the carbon dioxide laser; vocal fold lesions which require surgery; and a comparison of microflap versus miniflap surgery.
Dr. Sataloff continues with a discussion of surgical techniques for dissection of vocal fold masses (cysts), Reinke's edema, excision of papillomas, surgery for carcinoma, excision of vocal fold webs, treating vocal fold hemorrhage, treating vocal fold scar, treating sulcus vocalis, and treating "bowed vocal folds.

Color and Sound (1993), approximately 1 hour

THERAPY FOR SINGERS, PART I and II - Oren Brown
Part I: Lecture and Demonstration
Describes the range of the author's patients with voice disorders and some of the symptomatology they have presented. Points out patterns of voice abuse and aspects of healthy voice production. A demonstration of a singing voice therapy session is presented in which the patient relates a history of past voice use and symtomatology of the vocal problems.
Part II: Therapy Sessions with a Male and a Female Patient
The patient describes his or her vocal sympomatology and gives a brief singing and medical history. Exercises utilizing humming and scale patterns on different vowels are demonstrated. The patient describes his or her responses to the exercises after four weeks of treatment.

Color and Sound (1983), approximately 50 minutes (each tape)

THYROPLASTY AND SPASTIC DYSPHONIA SURGERY - Nobuhiko Isshiki, M.D.
Illustrates the principles and technical details of phonosurgery, including thyroplasty for reducing a glottal chink; surgical techniques for arytenoid reduction; surgery to correct bilateral vocal fold paralysis; thyroplasty to raise and lower vocal pitch; and thyroplasty for reducing spastic dysphonia.

Color and Sound (1981), approximately 28 minutes

THYROPLASTY DISSECTION TECHNIQUES - Nobuhiko Isshiki, M.D.
Dr. Isshiki narrates and demonstrates two of his thyroplasty techniques. Thyroplasty Type I: Exposing the thyroid cartilage, determining the location of the anterior commissure and dissection window, cutting and mobilizing the dissection window, inserting and fitting the Silastic shim. Thyroplasty Type III: Determining the location and executing the vertical incision, undermining the edges of the vertical incision, excision of the vertical strip of cartilage.

Color and Sound (1993), approximately 52 minutes

THE VALUE OF LARYNGOSTROBOSCOPY IN THE MANAGEMENT OF VOICE DISORDERS - Murray D. Morrison, M.D.
Gives examples of male and female laryngeal images under normal and stroboscopic light. Pathologies illustrated include nodules, edema, fibrosis, polypoid thickening, contact granuloma, diplophonia, vocal fold scarring secondary to vocal fold "stripping," vocal fold carcinoma, and glottic web.

Color and Sound (1983), approximately 13 minutes

VIDEO HIGHLIGHTS FROM THE VOICE CLINIC - Murray D. Morrison, M.D.
A collection of laryngoscopic images (normal and abnormal, male and female larynges during speech and singing) under normal and stroboscopic light. Effects of voice abuse and increased laryngeal tension, hiatal hernia, smoking, drinking, and other laryngeal irritants are illustrated.

Color and Sound (1983), approximately 29 minutes

VOCAL CORD VIBRATION - Minoru Hirano, M.D.
Vocal fold anatomy is illustrated using histological slides and schematic drawings. The mode of vibration is demonstrated using simplified schematic drawings. High-speed photography illustrates the vocal fold vibration of several male and female subjects with normal and abnormal larynges, then the vibration is simulated in schematic drawings.

Color and Sound (1976), approximately 16 minutes

VOCAL MISUSE AND ABUSE – James Letson, Jr., M.D., Renny H. Tatchell, Ph.D., Steve Zlotolow, Ph.D.
Presents various lesions which are secondary to phonotrauma.

Color and Sound (2001), approximately 10 minutes

VOCAL WAVES – Jean Abitbol, M.D.

Color and Sound, approximately 15 minutes

THE VOICE OF THE IMPERSONATOR - Robert J. Feder, M.D., F.A.C.S.
Impersonators Mel Blanc and Rich Little and ventriloquist Willie Tyler demonstrate their various characterizations and their normal voices. The patterns of vocal fold motion and the associated dramatic changes that occur in the supraglottic vocal tract are observed using flexible fiberoptic laryngoscopy.

Color and Sound (1984), approximately 30 minutes

VOICE THERAPY FOR CONTACT GRANULOMA - Carole Bloch, M.A.
A group of six professional men who are currently undergoing treatment for contact granuloma discuss their experiences with surgical, medical, and therapeutic treatment regimens. This video illustrates the value of voice therapy as a primary mode of treatment for this disorder.

Color and Sound (1983), approximately 25 minutes

Pop Music Is In: The Changing Sound of Musical Theatre
By Mark Meylan, London

No one can avoid having an opinion on or listening to pop music. It surrounds us in our daily lives, sneaking into our subconscious at every turn: on the car radio, in the store and on the television. The world of advertising uses pop songs and singers to sell us everything from cars to cola. The television industry has begun to produce such programes as Popstars and Pop Idol, where numerous contestants chosen from the general public are voted for based on musical talent until a select few are left. It doesn’t even matter who ‘wins’, because with a camera crew in every corner, these previously unknown finalists are shot to instant fame, with predicted chart success and multi-million dollar incomes.

Former Spice Girl Geri Halliwell covers the Weather Girls' classic "It's Raining Men" on the soundtrack to the recent movie "Bridget Jones's Diary." The soundtrack will also feature Robbie Williams remaking the song "Have You Met Miss Jones?", which introduces a new generation to the swing style of Frank Sinatra, while dance-pop singer Gabrielle's "Out of Reach" hit radio in the U.K.

In an environment where pop music has developed into quite a phenomenon, it was only a matter of time before the musical theatre industry followed. Many of the long-running musicals such as Cats, Starlight Express, Miss Saigon and Buddy have been replaced with pop driven shows like Taboo, We Will Rock You and Mamma Mia!, featuring the songs of Boy George, Queen and Abba. Long gone are the Lloyd Weber shows, such as Aspects of Love and Sunset Boulevard. The Jekyll and Hyde and Scarlet Pimpernel tours ended before even reaching London in order for theatres to be able to play Notre Dame de Paris, which ran for eighteen months, despite the fact that it was less of a musical and more of a fabulous pop extravaganza – an exciting fusion of MTV and a theatre stage.

These pop culture trends have led to a change in many singing teacher’s studios. There’s been a shift of focus in the vocal qualities and audition repertoire of students. For auditions, future performers must now have contrasting pop songs ranging from the 1950’s to the 21st century. Many singers find themselves working their voice at its extremes. One week a singer is developing a good ‘pop’ mix for an audition for the brand new musical, Our House, featuring the greatest hits of 80’s pop band, MADNESS, while the following week her larynx is headed southward, adopting a different posture for a rendition of a song in Michael Blakemore’s Broadway revival production of Cole Porter’s 1948 musical Kiss Me Kate.

Pop singers must maintain various forms of speech quality, which requires flexible chest and middle registers and good access to a mix (a forward speech-like middle register). As always in musical theatre, singers have to sing these types of songs several times a week, sometimes with the song having a shift in emotional demands. Some theatrical roles demand great vocal stamina, such as Donna in Mamma Mia!, who has three songs following each other in the second half of the musical, the third of which is “Winner Takes It All”, with a big belt finish. Belting, or perhaps I should say ‘rock-belting’, is a big part of the climax for this repertoire. Sometimes this seems more akin to screaming. While it may have been possible for the phenomenal Freddie Mercury to access top D's with no difficulty many rock tenors, may choose not to scream top D's several times a week.

These adjustments in sound and style only extend vocal flexibility of current musical theatre performers, and these young singers display a wealth of skill, resolve and resilience. The Voice Foundation and the British Voice Association, as well as the Association of Teachers of Singing, help everyone connected with today’s talent to understand, develop and maintain these voices and dreams.

VOICE FOR SALE! Studio Singers, Voiceover Performers, Vocal Health By, Bettye Zoller Seitz

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Public Speaking Featured at the 38^th Annual Voice Foundation Symposium

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Top Ten Mistakes Speakers Make (Excerpt from Knockout Presentations), by Diane DiResta

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Knockout Presentations Book Review, by Roseanne Legrand, M.A., CCC-SLP

8 WAYS to “BE HEARD THE FIRST TIME”, by Susan Miller, Ph.D.

Be Heard the First Time: The Woman's Guide to Powerful Speaking Book Review, by Thomas Calcagni

Stagefright Smashers for the Speaker By Lucille S. Rubin, Ph.D.

BREATHE & SPEAK WITH EASE PROFESSIONALLY SPEAKING TIPS, by Lucille Schutmaat-Rubin, Ph.D

Speakers Who Sing,Joan Melton, PhD, ADVS

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Conventional (Voice) Wisdom,Joanna Cazden, MFA, MS-CCC

VOICE FOR SALE! Studio Singers, Voiceover Performers, Vocal Health

By Bettye Zoller  Seitz - www.voicesvoices.com

I've been paid $1000 per word! ("Buy Oak Farms Milk at Seven Eleven"). I received $7000 in my mailbox every 13 weeks. Union spots pay residuals. The Burger King jingle paid residuals for 17 years. Bonanza Steakhouses paid for 16 years. I am one of the many telephone voices you hate: "The number you have dialed is out of service! Please look up your number and dial again." I've yelled at you from the TV and radio for nearly three decades. I've sung songs for the Ice Capades and Disney that I hope you enjoyed. As an RCA Recording Artist, Chet Atkins taught me how to sing country western. That was his ‘vision' of my talent. It was ‘an experience,' to say the least.

Although we're freelancers, the money can be wonderful. To outsiders, it may seem glamorous, but it's not. In the recording studio, time is money and a voice talent is "at the end of the food chain." (I often tell this to my students). There's no applause. Sometimes, at the end of a difficult recording session, someone murmurs, "Thank you." Many performers continue to seek theatrical or cabaret work because they crave a live audience. It can be lonely, just you and the microphone and an audio engineer. Competition is fierce. Vocal strain is commonplace. A cold or cough can cost you thousands in lost revenues. Take care of yourself. Talk over the music at a loud party? No! Yell at a sporting event? No! I'm saving my voice. The voice is paramount. It comes first-always.

We learn vocal tricks to make it through a jingle or a song that is pitched too high for comfort or  a cartoon role may call for a raspy, strident character voice. The role of a fairy godmother or elf may need a high, squeaky voice. Can you continue to produce that voice week after week and not end up voiceless? If the cartoon were to become a series, you'd get rich. The cast of the Simpsons TV show recently received a pay raise: Per person, each actor currently earns more than $300,000 per episode! Video games feature monsters and villains who yell and scream. Most female characters in video games meet horrid, bloody deaths. I can scream into a microphone without vocal harm. Voicing an audio book can sometimes take months if the book is a large one. Sessions usually are four hours each. Stamina is required.

Sometimes, sessions last all night. Recording stars need background vocals. They set the hours. We show up when we're called. Backing Willie Nelson, Joe Cocker, Country Joe and the Fish, Stevie Nicks, Stevie Wonder, ‘Doc' Severinson (and countless others whose names no one remembers) was tough. I somehow made it through. At 9 a.m. the next morning, I was sitting on a hard wooden stool in front of a microphone. Did the fried chicken and wine at four in the morning help? Maybe . . .

The Studio Singer and Voiceover Performer: Challenges to Vocal Health" Workshop, to be held Friday, June 4^th during the Voice Foundation Symposium, identifies the many kinds of voiceover job possibilities including commercials, narration, automated phone voices, trailers, radio spots, airline announcements, cartoon voices, book reading and backups vocals for recording stars. Potentially abusive vocal practices will be illustrated with volunteers. You'll hear recording examples of studio work. Tips are offered on coping with vocal fatigue, avoiding vocal misuse and rehearsing with warm-ups. There will be time for your questions.

Public Speaking Featured at the 38^th Annual Voice Foundation Symposium

The 2009 Voice Foundation Symposium featured a half-day session on the speaking voice, with special emphasis on public speaking.  Nancy Pearl Solomon, Research Speech Pathologist at Walter Reed Army Medical Center in Washington, DC, organized and moderated the session, with wonderful advice and guidance by Lucille Rubin, Director of Professionally Speaking in New York City.  Solomon began with a challenge to the audience to search for the science behind the art of public speaking.  She outlined general approaches that have been taken in speech and voice science, noting that typical speaking, singing, acting, and vocal loading have been well represented in the literature, but topics specific to public speaking have been virtually ignored.  To educate and inform the attendees of the Symposium, the Foundation invited speakers to address various aspects of public speaking.  Diane DiResta, founder of DiResta Communications, Inc., in NYC, gave a powerful presentation about how to speak confidently.  She outlined the 10 most common mistakes made by public speakers and demonstrated how to avoid them.   DiResta provided practical tips, flawless demonstrations, and an entertaining start to the morning!   

Deborah Rosen, Director of Healthcare Outreach at Temple University Health Care System, addressed the psychology of public speaking.  Rosen explained that the fear of public speaking, or glossophobia, is based on the brain's error in judgment that public speaking is a potentially catastrophic event, thus invoking the fight/flight or freeze/faint response.  As an existential psychologist, Rosen framed her approach to dealing with this phobia in terms of exploring one's personal meaning related to the event. 

Susan Miller, founder of Voicetrainer, LLC, in Washington, DC, and Clinical Associate for the George Washington University Voice Treatment Center in Washington, DC, provided valuable information about ways to assess and advise the public speaker from a variety of perspectives.  She introduced an extensive questionnaire that delves into the goals, message, and style of the speaker. Her typical evaluation follows with acoustic and video recordings.  As a speech-language pathologist, Miller pays particular attention to enhancing the use of the vocal instrument.

A panel discussion followed, including the podium speakers as well as three invited guest panelists.  Panelists were selected to represent various factions of the Voice Foundation membership: Donna Snow from the Theatre Department of Temple University provided the acting coach's view; John Rubin from the Royal National Throat, Nose & Ear Hospital and University College, London, invoked issues of importance from the laryngologist's perspective; and Ronald Scherer, Professor at Bowling Green State University in Ohio, provided the speech scientist's perspective.  Scherer wrapped up the session by presenting a framework from which the scientific voice community might begin to develop programs of inquiry to address the topic of public speaking. 

Questions amongst the panelists and from the audience clearly revealed the broad and intense interest in this topic.  Lively discussions continued into the coffee break and the lunch hour, and evidence for the effectiveness of the morning's sessions popped up throughout the symposium as scientific presenters reminded themselves to slim down content on their slides, not to look at the slides while addressing the audience, and to pause more effectively.  Individual coaching sessions to enhance presentation style at the symposium have been provided by Lucille Rubin and Susan Miller for the past several years, and were especially popular this year.  Just another perk of attending and presenting at the Voice Foundation Symposium! 

Your success today depends on how well you present yourself, present your message, and present your value to the marketplace. Life is a presentation and you’re always on stage.

Whether you’re pitching an idea, selling your service, or presenting at an industry conference, it’s all public speaking. And in today’s highly competitive environment you can no longer avoid this vital skill.

Here are the most common mistakes presenters make:

1. Lack of preparation/Focus-Most speakers have good content. But if the speech shoots out in all directions you’ll lose your audience. You must take the time to know your topic, focus your message, and rehearse your presentation until you’re comfortable. Practice your speech out loud, time it, and be prepared for questions afterward. To create focus, complete this sentence: At the end of the presentation the audience will__________. Build your points around this desired outcome.

2. Speaking too long-Starting and ending your presentation late shows a lack of respect for the audience. People have busy schedules. If your presentation is going to be delayed, make sure it’s not because of you. Allow time to get to the presentation early. Create a long and short version of your speech and know how to cut and summarize the presentation if you sense you’re running out of time.

3. Not knowing the audience-One of the biggest mistakes you can make as a presenter is not meeting the need of your audience. It’s a great way to turn an otherwise receptive group into a hostile one. Don’t talk over people’s heads, but don’t be too simplistic either. If you’re giving the same speech to different groups, tailor it for each audience. Profile the audience before you develop the talk.

4. Projecting the wrong image-This is an instant credibility killer, and it’s related to mistake No. three. A flashy outfit won’t work if you’re speaking to bankers. A slick, “big city” style doesn’t do it for farmers in Kansas. Study the audience ahead of time and dress and present appropriately.

5. Using visual aids ineffectively-If you fumble with visual aids, you’ll eventually lose credibility. Visuals should support and enhance the presentation, not take it over. Similarly, equipment that malfunctions can be disastrous to the speech. Check out all of your equipment before you speak, and have a backup plan in case the equipment fails. If you are using a laptop, always have overheads or handouts in case it crashes.

6. Data Dump/Starting with detail-More is better, right? Not really. You can overwhelm the audience with too much data. Don’t give them soup to nuts if you don’t have enough time. People can’t digest information if you give them too much to chew on, so give them the condensed version. Three or four points are sufficient for most presentations. Your message will be clearer and more memorable.

7. Using inappropriate humor-This mistake is also related to mistake No. three. The rules concerning humor have changed. Audiences are politically sensitive. All it takes is one questionable joke or statement to turn people off. Never tell off-color jokes. The best bet is to poke fun at yourself—or avoid jokes altogether.

8. Speaking in a monotone-Audience members will be bored if you’re a monotone speaker. Too many speakers fail to realize the importance the tone of voice plays in the success of their presentation. Get excited about your message or die on the platform!

9. Speaker-centered/No relationship with the audience-To be effective as a speaker, you must connect with your audience. If you’re self-absorbed and simply recite a speech, you’ll soon be talking in a vacuum. No one will be listening. Too many presenters start with their own agenda and then wonder why they don’t get the desired response from the audience. Surprisingly, many salespeople are speaker-centered. They’re so interested in pushing their product or agenda that they forget about the buyer’s needs. Begin your presentation from the listener’s point of view and continue to address what’s important to them.

10. Offering weak evidence-Some speakers don’t support their ideas with solid data or evidence They expect the audience to take things on faith. If your presentation is sketchy or lacks substance, flesh it out and fill in the details. It’s not enough to present your points; you must build a case. How? By including statistics, personal stories, examples, analogies, demonstrations, pictures, testimonials, conceptual models, and historical data. Construct a frame, then build the house.

Be Heard the First Time offers proven strategies for women to dramatically improve their communication skills by one of the country’s foremost voice trainers and vocal health experts, trainers and vocal health experts. Some of the times from her book include:

1. Use your body as a tool to present yourself professionally and to speak better with assertive posture, unambiguous eye communication, affirming gestures and body movement, engaging facial expressions, and impressive appearance.

2. Let your voice quality help convey your points. When speaking, utilize your best pitch and generate tone with air from your lungs. “Make your voice resonant by maintaining space between your teeth as you speak, forming your vowel sounds, and moving your lower jaw smoothly as you speak.” It is almost like speaking with your mouth relaxed as when you yawn.

3. Be aware of your voice’s volume. You do not want co-workers to tune you out because you speak too softly or cringe when you speak too loudly. “Compare your speaking intensity level to other speakers. Learn to calibrate your vocal intensity.”

4. Relax your breathing before you enter the office or make a presentation. Huffing and puffing in front of your boss or as you make a presentation makes you look unprepared and unprofessional. “Relax your breathing before you get to the office by breathing through your nose. Keep your molars slightly apart with your lips closed and place your tongue tip lightly behind your upper and lower front teeth. This will allow the perfect amount of air to come in.”

5. Put your best foot forward with your speech. “Speech clarity, including precise sound production and proper rate, cadence and pronunciation, and elimination of filler words are indispensable for anyone serious about improving her professional communication.”

   Call Kathleen Hughes, This e-mail address is being protected from spambots. You need JavaScript enabled to view it or 703-661-1511 for a review copy or interview with Susan Miller, author of BE HEARD THE FIRST TIME: The Woman's Guide to Powerful Speaking

6. Maintain your calm, even if you are nervous or scared of speaking in front of others. When your nerves appear, “welcome your physiological signs of arousal and begin relaxed non-speech breathing. Practice relaxing your throat which will allow air to expand your lower rib cage automatically. Voluntarily constrict then release tense neck and shoulder muscles.”

7. If your mouth gets dry before you speak, bite the tip of your tongue. When you get nervous, your mouth often gets dry and feels like you are speaking with Styrofoam in your mouth. Bite the tip of your tongue with your back teeth – hard! This will always bring moisture into your mouth so that you can speak clearly.

8. Keep a positive mental image of yourself. “Analyze your self-talk. Say loving comments to yourself. Create three powerful affirmations and say them every morning. Affirmations change your thinking. Change your thinking and your reality changes.”

Be Heard the First Time: The Woman's Guide to Powerful Speaking Book Review, by Thomas Calcagni

1. Get Organized: A clear organizational pattern keeps your mind on your message and off your nervousness. Speaking from prepared notes, an outline or a script provides a comfort level for you and your audience.

2. Breathe Low: Take the breath in through your mouth and down to your navel. Breathing low centers your breath and encourages a natural breath rhythm. Avoid chest breathing as it signals anxiety.

3. Project a Positive Posture: Stand with your feet 4”-6” apart. Lengthen your spine from base to skull, widen your chest and balance your weights (head-over-shoulder-over-hips-over-feet). 4. Memorize Your First and Last Three Lines: Direct each line to three separate people sitting in different areas of the room. Turn your body, face and eyes toward the person you select. Associating a physical action with your words is a memory aid and dismisses the fear of forgetting.

4. Speak With Vocal Confidence: If you SOUND confident you are more likely to FEEL confident. Avoid vocal trembling and shaking. Choose a vocal tone that reflects how you want to be perceived - Wimp or Winner - It’s your decision!

5. Maintain Vocal Energy: This doesn’t mean you have to shout, but it does mean that you must keep your engine going all the time. Put excess energy into your voice by pitching up, avoiding husky tones and using vocal variety. Release physical tension by engaging your body and using gestures.

6. Stay On Track: Keep focused by following your outline, notes or script. Avoid adlibbing unless you’re a pro. Practice side remarks in advance and avoid rambling.

7. Believe In Yourself/Product/Service/Cause: Gain confidence by investing in the purpose of your speech or the intention you want to fulfill. Know WHY you are making a speech or giving a presentation.

8. Make Use of the Dramatic Pause: Pauses keep listeners in suspense and add variety to your rate and rhythm. Avoid using filler words such as ”ah”, “that is to say”, “however”, “therefore”, etc. as a means of covering silences.

9. Rehearse! Rehearse! Rehearse!: Reserve twice as much time for rehearsing as you did in preparing the speech. Give your speech to the mirror, your dog or a friend—until you are bored.

Practice the above skills daily - on the phone, in conversation and during meetings both off and on the job. New skills become second nature and will put you at ease the next time you speak or present.

Copyright © 2002, Lucille S. Rubin, Ph.D.
Professionally Speaking, NYC This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Breathing is an involuntary process. There is no need to "work at" your breathing or manipulate your breath by pulling it in or pushing it out. Instead, release any light muscles in your throat and abdomen, feel your breath and voice as it flows through your throat, and maintain an open channel from your center to your lips.

1. Breathe in through your mouth when preparing to speak.

2. Relax the back of your tongue on inhalation to avoid a gaspy, noisy air intake.

3. Trace the breath low in your body sensing your belly rise as the air floats in and your belly fall as the air flows out.

4. Monitor your breathing. Do this by placing one hand above your navel and the other below your navel. Your belly will move out as you inhale and float in as you exhale. Be sure your breath is moving your body.

5. Speak on exhaled air as the belly floats in. Try this on a vocalized "AH" several times.

6. Maintain a smooth, uninterrupted voice flow as you again speak "AH". Repeat until you have given up throat and belly holding patterns.

7. WAIT for your breath to drop in, reverse directions and flow out. With practice this process will vary in rate as it reflects your intentions, ideas and emotions.

8. Speak in "sync" with your breath. Try this counting exercise allowing a new breath to drop in at each comma: 1, 12, 123, continuing until the count of 10. If that’s easy, go to 15 or 20. Add only one number at a time to encourage breath management.

9. Allow your breath (not your mind) to dictate your rate of breathing/speaking. 10. Trust that your intentions will dictate your breath rhythm.

Note: Abdominal muscles contract if you speak on extended breath spans. Practice using shorter breath spans to avoid both abdominal and throat tightening. Release your abdominal muscles at the end of the exhale and the new breath will drop in with ease!

Speakers Who Sing

by Joan Melton, PhD, ADVS

Author of ONE VOICE: Integrating Singing Technique and Theatre Voice Training, and Singing in Musical Theatre: The Training of Singers and Actors

Email address: This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Speakers who sing often have distinctive qualities that enhance their stage presence and ability to communicate. They move with confidence and ease, their voices have a certain "ring," and their speech is clear and interesting. Since we speak and sing with the same voice, singing can clearly influence the way we speak. For example, two physical actions basic to singing technique make an immediate difference in a speaker's available pitch range and resonance (or richness of sound). Here are two exercises that will help you to use these natural physical actions:

1. Relax the abdominal muscles and allow the lower ribs (mid-back) to widen gently on inhalation.

Exercise: While sitting, standing or moving about, keep the top of the sternum (breast bone)

lifted and the back of the neck long as you blow breath out in little spurts.  Notice the inward (or in and up) action of the abs as you exhale, and the immediate release of the abs as the breath drops in. Next, either count, or speak bits of a poem or song using the same abdominal action and release.  It's the release that's key!

NOTE: Although gym classes often encourage "tight abs," continuous contraction of the abdominal muscles makes for shallow breathing which often translates into shallow sound and a feeling of "not enough breath."  We speak on exhalation, or on outgoing breath.  The major muscles that manage breath movement are the abs, and in order to function efficiently, they need a balance of engagement and release. Additionally, the diaphragm, our major muscle of inhalation-which works without our direct attention-must contract downward toward the abs in order to make room in the chest cavity for the breath we need. So if the abs are tight, the diaphragm can't do its job.

2. Relax the jaw and make space in the throat, especially as you ascend in pitch.

Exercise: While sitting or standing, with the top of the sternum high and the back of the neck long, find the beginning of a yawn in the back of the throat, but keep your lips touching as you hum (sliding, as in a glissando or siren) up and down. Think of widening the back of the throat gently when you go higher in pitch. Then do the same thing on an "oo" with the lips puckered. This exercise is wonderful for blending the entire range of the voice. Repeat with one hand on the lower abs and note the connection between Exercise number 1 above and Exercise number 2.

NOTE: When we get excited or animated, our voices tend to ascend in pitch-which is fine. However, in order to use the upper part of our vocal range and maintain a pleasant sound, we need space in the throat, or a reasonably wide pharynx and lifted soft palate. Singing training is invaluable for opening that space and encouraging the habit of widening, instead of squeezing as you raise the pitch.

These simple and natural actions contribute to a feeling of calmness because they allow the body to breathe easily and release unproductive muscular tension.

Conventional (Voice) Wisdom

By Joanna Cazden

Tradeshows, conventions, and other high-contact events can be extremely useful for your business. They can also leave you hoarse.

The problem is not just the sheer number of hours that you spend verbally pitching ideas or products, schmoozing with old friends, and catching up on industry news and gossip. Other risk factors include background noise, poor acoustical environments, lack of sleep, different food and drink than your body and schedule are used to, and stress.

Each of these factors can contribute to wear-and-tear on your vocal cords. When these dangers are combined into a single week or weekend, it's no surprise that you come home sounding hoarse, your throat feeling sore, dry, or muscle-achy. Even worse, you might lose your voice completely while at the event and spend the last day or two croaking like an apologetic frog.

Trade-show hoarseness may even come to be a badge of honor: if you've used up your voice, surely your boss will believe that you've totally worked the show! But wouldn't it be nice to work that hard and still sound good when it's over? Here are some tips to help you.

• Stay hydrated. The vocal cords fatigue faster when your body is low on fluid, so keep a water bottle with you, sip, and refill it often. Coffee and alcohol are dehydrating, so drink water before and between those jolting cups-of-joe, and alternate alcoholic drinks with plain club soda.
• Avoid big meals late at night, especially if you've been diagnosed with acid reflux. Business dinners can be just as valuable if you eat lightly, drink plenty of water, and go easy on fatty or spicy foods. You'll sleep better too, and perhaps have more time for a solid, nutritious breakfast the next day.
• Hold one-on-ones and small meetings in the quieter corners of the lobby or convention site. Drawing someone aside might take a few extra moments, but it allows you both to focus on the work at hand, rather than on yelling over noise. If this isn't possible every time, even occasional breaks from the general din will help you survive the duration.
• When you can't avoid background noise at a crowded party or in a booming convention hall, talk a little slower and pronounce your consonants carefully. Instead of being intensely loud, be intensely clear. Listeners instinctively read lips when sound gets muddy, so when you over-articulate you're helping people to see as well as hear the details of your message.
• Find 5 minutes every hour not to talk at all. Bathroom breaks, walks or taxis between venues, and even elevator rides need not be crammed full of conversation. Instead, collect your thoughts and let your vocal cords recover for the next onslaught. Use texting, IM and email instead of the cell phone, even for quick meeting confirmations, just to give your throat a rest. Athletes are allowed to recover between even the highest-stress games, and your voice box will thank you for every brief "time out."
• Take longer showers, or more than one per day, so that the steam can soothe your vocal cords. Especially if you flew more than an hour or two to get to the event, shower as soon as possible on arrival to counteract the dryness on the plane. If your accommodations include access to a steam room, use it - but not the dry sauna.
• Finally: pitch your voice up rather than down to add strength. Despite the deeply-held cultural belief that a low-pitched voice carries authority, your healthiest (strongest) zone is not at the bottom of your range. An enthusiastic "Mm-Hmm!"  can show you the range where your voice is most resilient and resonant. Practice finding that sound in the days and weeks before your big event, and use it as much as you can when you're at risk for vocal fatigue. Work with a speech coach for fine-tuning.

Following these suggestions may take some advance planning. It can feel odd, at first, to be so conscientious about the communication tool you generally take for granted.  The reward for using some or all of these vocal health strategies will be a stronger, more confident voice that lasts through to the final hours of the show - just in time to close that most-important deal, and then to greet your family when you get home.

Joanna Cazden, MFA, MS-CCC, is a speech pathologist and vocal coach in Southern California, a frequent presenter at the Voice Foundation's annual Symposium, and the author of How to Take Care of Your Voice: The Lifestyle Guide for Singers and Talkers. Find her online at www.voiceofyourlife.com.

Bibliography listing:

Cazden, Joanna (2007). How to Take Care of Your Voice: The Lifestyle Guide for Singers and Talkers, Booklocker.com, Inc. 116 p. paperback or PDF download: www.booklocker.com/books/3026.html. ISBN# 938-1-60145-256-6.

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