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Customarily, speaking and singing have tended to be regarded as two completely separate sets of behaviors in clinical and educational settings. The treatment of speech and voice disorders has focused on the client's speaking ability, as this is perceived to be the main vocal behavior of concern. However, according to a broader voice-science perspective, given that the same vocal structure is used for speaking and singing, it may be possible to include singing in speech and voice therapy. In this article, a theoretical framework is proposed that indicates possible benefits from the inclusion of singing in such therapeutic settings. Based on a literature review, it is demonstrated theoretically why singing activities can potentially be exploited in the treatment of prepubertal children suffering from speech and voice disorders. Based on this theoretical framework, implications for further empirical research and practice are suggested.

This article reports on an exploratory research project to evaluate the usefulness or otherwise of real-time visual feedback in the singing studio. The primary purpose of the work was not to optimize the technology for this application, but to work alongside teachers and students to study the impact of real-time visual feedback technology use on the students' learning experiences. An action research methodology was used to explore the benefit of real-time displays over an extended period. The experimental phase of the work was guided by a Liaison Panel of teachers and academics in the areas of singing, pedagogy, voice science, speech therapy, and linguistic science. Qualitative data were collected from eight students working with two professional singing teachers. The teachers and students acted as co-researchers under the action research paradigm. Teachers and students alike kept journals of their teaching and learning experiences. Singing lessons were observed regularly by the research team, coded for teacher and student behaviors, and all co-researchers were interviewed at the mid- and endpoint of the project. The use of technology had a positive impact on the learning process, and this is evidenced through case study data.

Using an empirical design, this study investigated perceptual and acoustic differences between the recorded vocal products of songs and scales of professional female singers of classical Western Lyric (WL) and non-legit Musical Theater (MT) styles.A total of 54 audio-recorded samples of songs and scales from professional female singers were rated in a blind randomized testing process by seven expert listeners as being performed by either a WL or MT singer. Songs and scales that were accurately perceived by genre were then analyzed intra- and inter-genre using long-term average spectrum analysis.A high level of agreement was found between judges in ratings for both songs and scales according to genre (P 0.0001). Judges were more successful in locating WL than MT, but accuracy was always50%. For the long-term average spectrum analysis intra-genre, song and scale matched better than chance. The highest spectral peak for the WL singers was at the mean fundamental frequency, whereas this spectral area was weaker for the MT singers, who showed a marked peak at 1 kHz. The other main inter-genre difference appeared in the higher frequency region, with a peak in the MT spectrum between 4 and 5 kHz-the region of the "speaker's formant."In comparing female singers of WL and MT styles, scales as well as song tasks appear to be indicative of singer genre behavior. This implied difference in vocal production may be useful to teachers and clinicians dealing with multiple genres. The addition of a scale-in-genre task may be useful in future research seeking to identify genre-distinctive behaviors.

Summary Comparison is made between the vocal tract and voice source behaviours of sample professional bass/baritones (n = 6), tenors (n = 4), and countertenors (n = 9) using xeroradiographic-electrolaryngographic analysis (XEL). XEL analysis combines two known techniques: soft tissue radiographic imaging (xeroradiography) and an analysis of voice source vibratory patterning (electrolaryngography). Results indicate that (a) in the bass/baritone sample the lower oropharynx and laryngeal airway dimensions expand systematically with increasing pitch; (b) the principal differences between the bass/baritone and tenor samples are in the vertical dimensions of the vocal tract at rest and during phonation and in the voice source patterning; (c) the relationships between the vocal tract dimensions of bass/baritones and tenors tend to be maintained across registers; (d) there are significant differences between bass/baritone/tenors and countertenors for identical pitches, particularly at the voice source.

Summary Previous research indicated that, as groups, male (bass/baritone) and female (soprano) professional singers tend to exhibit differing vocal tract and voice source behaviours. The use of an objective measure of voice [xeroradiographic-electrolaryngographic analysis (XEL)] revealed differences between the two voice types, especially at the highest sample pitches (e, 330 Hz for bass/baritones, and e″, 1,320 Hz for sopranos). XEL analysis combines two known techniques, i.e., soft-tissue radiographic imaging (xeroradiography), and an analysis of voice-source vibratory patterning (electrolaryngography). Subsequent to this investigation, interest centered on the male professional falsetto voice over a two-octave range (E 165 Hz to e′ 660 Hz) using a sample (n=9) of professional countertenors. Results suggest that there are characteristic trends in the patterning of the male professional falsetto register, but there is also evidence of within-group variability. The subjects significantly increased the size of the pharyngeal tube area during phonation. ANOVA and Trend Analysis revealed ventricular space as the only measure to expand systematically and consistently as sung pitch increases.