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Summary Objective Vocal performance students at the collegiate level are faced with rigorous training protocols for which they are required to maintain optimal vocal quality and function. The purpose of this study was to compare the vocal habits and hygiene practices of incoming undergraduate Bachelor of Music (BM), Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD) vocal performance students at a tier I music conservatory. To date, no study has compared the reported vocal habits of undergraduate and graduate vocal performance students within the same music conservatory. Methods Two-hundred and eighty six incoming vocal performance majors including undergraduate (n = 79), graduate master's candidates (n = 171), and graduate doctoral/AD candidates (n = 36) at the University of Cincinnati College–Conservatory of Music over a period of 9 years (2008–2017) completed a questionnaire designed to gain information about their baseline vocal patterns and hygiene practices. The intake form included questions about daily liquid intake, past voice treatment, current adverse voice symptoms, warm-up and cool-down use, average time spent singing daily, and any harmful voice hygiene practices such as phonotraumatic behaviors (ie, yelling, frequent throat clearing). This data was retrospectively analyzed for significant findings within groups and between groups. Results/Conclusions Results from the questionnaires detailing the undergraduate voice performance participants’ self-reported current and past vocal symptoms, current vocal health and hygiene practices, reported voice training habits, and other pertinent factors that may lead to potential voice problems in comparison to those same factors presented in the graduate master's and doctoral/artist diploma voice performance participants’ questionnaires are provided. Data gained from the voice performance participants revealed that the potential for voice-related problems exists within all groups, as 45.5% of undergraduate students, 38.6% of graduate master's students, and 44.4% of graduate doctoral/artist diploma students stated at least one current voice issue or adverse symptom. The findings indicate that there is no significant difference regarding level of education in relation to percentage of subjects that reported at least one current adverse vocal symptom, current voice problem, and/or reported negative hygiene practice. The information provided in this study may be beneficial for those who are vocal performers as well as those involved in the training of collegiate-level vocal performance students.

Patient perceptions of the therapeutic process have been shown to influence outcomes in various healthcare fields. However, the voice therapy literature lacks a thorough examination of patients' perceptions of the voice therapy process. This cross-sectional pilot study analyzed patient perceptions of voice therapy across four different areas: patient understanding of therapy, the home therapy program, perception of improvement of symptoms, and prioritization of therapy. The study included patients receiving voice therapy for various disorders (n = 49). Results showed significant differences by patient age and the number of therapy sessions completed. Patients indicate increased understanding (P = 0.0676) and appeared to notice more improvement as therapy progressed (P = 0.010). Younger patients indicate higher adherence to their home program (P0.001, P = 0.003). Additionally, correlations were found between patient understanding and the extent to which they prioritize therapy (r = 0.53, P0.001) and the extent to which patients notice improvement (r = 0.51, P0.001). This study highlights possible age and gender differences and the ways in which perceptions may change over time and affect outcomes.

Voice therapy may offer a valuable and viable option for the treatment of vocal fold pathology. This article provides an overview of the history of voice therapy within the context of treatment of laryngeal disorders, types of voice therapy, efficacy and outcome data to support the use of voice therapy, and clinical considerations and caveats.

The use of singing voice exercises as a therapeutic modality within the traditional voice therapy session as a means to facilitate functional improvement will be the focus of this article. The reader will be presented with a brief review of the literature as it pertains to the American Speech-Language-Hearing Association (ASHA) guidelines and scope of practice. In addition, this article will provide insights for the speech-language pathologist (SLP) with respect to the clinical utility and functionality of singing voice exercises as a means to bridge the gap from vocal injury to restored vocal function. Relevant clinical examples for a variety of patient populations will be highlighted.

Summary Objective Collegiate-level musical theater performance students are a specialized group of vocal performers, who rely on frequent and optimal voice use for their academic advancement and ultimate livelihood. The purpose of this study was to gather information to develop a greater understanding of vocal health and practice patterns of incoming collegiate-level musical theater performers. Study Design Data obtained from questionnaires completed by freshman musical theater majors were retrospectively analyzed to gather information about baseline vocal habits of the participants. Methods Results of a questionnaire were obtained from incoming freshman musical theater students at the Cincinnati Conservatory of Music over a period of 10 years (2002–2011). One hundred eighty-eight participants (female = 90) (male = 98) with an average age of 18.28 years (standard deviation = 0.726) were included. Results Results specifying participants' self-reported vocal training and practice habits, vocal health and hygiene practices, and current vocal symptoms or contributing factors to potential voice problems are provided. Conclusions Data obtained from the participants revealed that the potential for vocal problems exists in this group of performers, as over half of the subjects reported at least one current negative vocal symptom. The findings from this study provide information that may be useful for individuals who are involved in the training of vocal performers.