Vocal Pedagogues Training Dysphonic Voices: Treatment Seeking Approaches and Practices.

OBJECTIVE: This study examined the practices of current professional voice teachers' management of voice disorders. TYPE OF STUDY: Survey. METHODS: An online survey was developed and made available to vocal educators who had membership in organizations within the field of voice. Respondents rated their comfort with management of voice disorders, criteria for accepting a dysphonic student, and their approach within the multidisciplinary environment. RESULTS: Of 786 responses from professional vocal educators, 48% had worked with a vocalist recovering from dysphonia, vocal surgery, or a vocal pathology. Two-thirds reported management of nodules, polyps, or cysts. The majority of respondents working with injured voices had advanced degrees in vocal performance, but few had cross-training as an speech-language pathologist. Pedagogues focused on breathing strategies while speech-language pathologist pedagogues focused on resonance and reduction of phonotrauma. Pedagogues sought information on voice science and medicine from scholarly journals, attending conferences, and medical professionals. CONCLUSIONS: Vocal pedagogues were interested members of the interdisciplinary team with a desire to seek knowledge beyond their initial career training, even though additional continuing education or licensure is not mandated for vocal educators. Findings show a need for vocal degree programs to include anatomy and physiology and multidisciplinary management of voice disorders.

A Vocal Health Survey Among Amateur and Professional Voice Users.

An international survey was conducted to provide insights into current practices related to vocal health among amateur and professional voice users. Vocalists of various genres completed an online survey related to their practice in seeking medical care for vocal health concerns, and their preferences for the type of medical help they seek. Specific vocal symptoms or conditions which the subjects feel would warrant evaluation was also queried, as well as their preference for voice use and management should laryngeal pathology be diagnosed during a medical examination. Participants were knowledgeable in both traditional and alternative medical approaches but showed a preference for those options most readily available, as opposed to those best suited for a vocal issue. Ideally, a combination of traditional and alternative management would appear to be the best long-term strategy for professional and amateur voice users.

Follow-up Contemporary Commercial Music (CCM) Survey: who's teaching what in nonclassical music.

A previous study, published in the Journal of Voice in 2003, revealed that a majority of teachers of Music Theater (MT), a style of Contemporary Commercial Music (CCM), had little professional experience and little formal training in vocal pedagogy for this style. Those who did indicate that they had had training did not describe the training nor quantify it in any manner. To ascertain what type of training was available for CCM in general and MT, in particular, a follow-up study seemed warranted. A new questionnaire was developed which asked for further information from teachers of MT in several areas including performance experience, training methods, teaching philosophy, the use of terminology, knowledge of voice science and medicine, and other parameters. Responses were gathered from 145 singing teachers throughout the United States and several foreign countries. Statistical analysis obtained from the data may lead to both a better understanding of the kind of training available for teachers of CCM repertoire, and of its content and applicability.

Contemporary commercial music (CCM) survey: who's teaching what in nonclassical music.

Currently, there is an increasing interest in and demand for training in a wide variety of nonclassical music--contemporary commercial music (CCM)--and most particularly for music theater. A survey of singing teachers was completed to elucidate their training, education, and experience with and methods of teaching CCM. Teachers were at colleges, universities, and conservatories as well as in private studios, both nationally and in several foreign countries. A substantial percentage of those teaching CCM had neither formal education in teaching it nor professional experience. Many of the respondents indicated conflict between classical and CCM styles. Respondents were generally familiar with voice science and voice medicine as well as certain CCM terminology. Teachers expressed an interest in obtaining more information, with an emphasis on healthy vocal production. These results are discussed, as well as implications for the singing teacher who desires specific training to teach CCM.