The Effects of Childhood Sexual Abuse on the Adult Singing Voice

By

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Grace Weber Johnson
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November 2004
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A Dissertation submitted to the Graduate Faculty and Dissertation Committee

of Shenandoah Conservatory of Shenandoah University in partial
fulfillment o f the requirements for the degree of
Doctor o f Musical Arts in Performance

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 UMI Number: 3173558

Copyright 2004 by
Johnson, Grace Weber

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 Title o f Dissertation The EtTects o f Childhood Sexual Abuse
on the Adult Singing Voice

Author Grace Weber Johnson

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Date o f Oral Defense November 12,2004

Read and Approved by

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’h y / '- v

.....
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This Lecture-recital is accepted by the Graduate Music Faculty and Doctoral Committee
of Shenandoah Conservatory in partial ftdfdlment of the requirements for the degree of
Doctor of Musical A rts in Performance

Date

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 ABSTRACT

The Effects o f Childhood Sexual Abuse on the Adult Singing Voice

By

Grace Weber Johnson

This qualitative, holistic, post-factum, phenomenological reflection study

explored the relationship between the adult singing voice and childhood sexual abuse

(CSA) through case studies and a review o f the literature in Vocal Pedagogy,

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Psychology, Speech-Language Pathology, and Music Therapy. Although a search of the

literature yielded no reference to the effects of CSA on the adult singing voice,
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information in each discipline regarding separate components o f CSA and/or singing was
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examined. From this information, effects of CSA on the singing voice were inferred.

These inferences were compared to essential themes derived from case studies.

The research indicated that adult singers with a history o f CSA could present
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symptoms associated with posttrauma that were directly counterproductive to singing.

Furthermore, symptoms o f both fxjsttrauma and therapeutic treatments for posttrauma

could be impacted by the act o f singing. It was determined that to be prepared for the

inherent potential each condition/activity carried to effect change in the other,

professionals who teach (treat, coach, etc.) singers with a history o f CSA would benefit

by having the knowledge both o f the mechanical/psycho-physical aspects of singing and

of the dynamics o f posttrauma response. Curroitly, singers seeking help must bridge

multiple disciplines. However, professionals teaching/treating singers could promote

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 optimal treatment strategies by supporting an interdisciplinaiy exchange of information

regarding CSA and singing.

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 To Bill

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 ACKNOWLEDGEMENTS

The heart of this research rests in the testimonies o f the case study participants. I

was moved by their courageous generosity and grateful for their immeasurable

contributions.

The successful completion o f this study was due to the unflagging vision and

support o f my voice teacher, mentor, and dissertation committee chair Dr. Janette Ogg,

Professor of Music-Voice. I express my heartfelt appreciation to her. She and the other

committee members represented four departments from two different schools o f the

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university with a level o f collegjality and scholarly intercourse that exemplified the very
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spirit o f interdisciplinary communication inherent to the purpose o f this research. They

presented to me a united front o f challenge and support. It has been my privilege to work
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under their guidance. I am indebted to each: Dr. Steven Cooksey, Professor o f Music-

Organ/Church Music; Dr. Kathryn Green, Associate Professor o f Voice; Dr. Michael

Rohrbacher, Associate Professor o f Music Therapy; and Dr. Gretchen Stone, Professor of
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Psychology and Occupational Therapy.

For assistance with institutional permission and support, I express appreciation to

Dr. Charlotte Collins, Dean o f Shenandoah Conservatoiy; Dr. Danny Phipps, Professor of

Music and Associate Dean o f Shenandoah Conservatory, and Dr. Adrienne Israel, Vice

President and Academic Dean o f Guilford College. I thank additional colleagues at

Guilford College for assisting me with triangulation: Dr. Kathryn Adams, Dana Professor

of Psychology; and Dr. Claire Morse, Professor o f Psychology.

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 I am fortunate to have a long list o f people to acknowledge. They appeared when I

most needed them and served in many capacities. For their assistance with reading the

work in progress, I am grateful to Jim Bumgardner, Carol Hoppe, and Sue Keith. For

their encouragement and advice I thank Dr. Harold Andrews, Dr. Glenn Busch, Kathryn

Cloyd, Barbara Crowell, Dr. Jerry Godard, Colleen Hartsoe, Judy Hueston, Ellen Linton,

Ernest McCoy, Dr. Lisa McLeod, Dr. Ellen Markus, Evelyn Moralez, Clarajo Pleasants,

Teresa Radomski, Carol Stonebumer, Dr. John Stonebumer, Kathryn Beam Troxler, and

Dr. Nancy Walker.

I am gratefiil for ongoing encouragement from my husband Bill Johnson and our

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daughters Sarah Bowen and Molly Johnson; the sustaining memory o f my parents

Macbeth and Helen Weber that refreshed me throughout this venture; and the long-ago
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memory o f learning songs from my sister Elizabeth Burford.
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Written permission was obtained from Carolina Biological Supply to use their art

piece titled Human Respiratory System (Larynx and Trachea) and from Meribeth Bunch

(Dayme) to use ihustrations from her text Dynamics o f the Singing Voice T ‘^ ed., 1999.
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 LIST OF MGLMES AND TABLES

Figures Page

1. The Human Respiratory System (Larynx and Trachea).........................................25

2. Diagram o f the pleural cavities...............................................................................26

3. Diagram of the intercostal muscles.........................................................................27

4. Cartilages o f the larynx.......................................................................................... 28

5. Movements of the vocal folds............................................................................... 29

6. Sagittal section o f the vocal tract........................................................................... 30

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7. Representation of voice lessons for a healthy student.......................................... 148

8. Representation of voice lessons for a student with a medical problem................ 149

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9. Representation of voice lessons for a student who fears success......................... 149
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10. Representation of voice lessons for a student with a somatoform disorder..........150

11. Representation of voice lessons for a indent who has trouble with authority... 151
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Tables

1. Possible Effects o f CSA Sequelae on Singing Voice.......................................... 134

2. Components of Singing and Possible Effects o f CSA Sequelae..........................135

3. Possible Effects of Singing Practice and Techniques on CSA Sequelae.............141

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 TABLE OF CONTENTS

Abstract...............................................................................................................................iv

Acknowledgments............................................................................................................. vii

List of Figures and Tables...................................................................................................ix

Chapter page
1. Introduction to the Study.................................................................................... 1
Purpose........................................................................................................3
Methodology............................................................................................... 4
Design............................................................................................. 4
Participants...................................................................................... 5
Procedure......................................................................................... 5
Data Analysis...................................................................................6

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Limitations o f Study.................................................................................... 8
Definitions; Sexual Abuse; Singing................................. 8
Definition o f Vocal Pedagogy Terms..........................................................9
Definition o f Psychology Terms............................................................... 12
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Organization o f Literature Review and Chapters.......................................15

2. The Singing Voice: Review o f the Literature........................................................ 18

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Anatomy and Physiology: Vocal Pedagogy Literature............................. 19
Generator........................................................................................19
Vibrator......................................................................................... 20
Resonator....................................................................................... 23
Mechanics/Process: Vocal Pedagogy Literature....................................... 31
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Areas o f Technique.................................... 31
Classification.................................................................................39
Health o f Singer.............................................................................40
Role o f the Brain: Vocal Pedagogy/Psychology Literature...................... 43
Voice as Self: Vocal Pedagogy/Psychology Literature.............................47
Timbre: Speech-Language PathoIogyA^ocal Pedagogy Literature........... 48
Therapeutic Use o f Voice: Music TherapyA7ocal Pedagogy Literature... 50

3. Case Studies.............. 54
Procedure....................................... 54
Themes.......................................................................................................56
Physiological Problems with Singing........................................... 56
Physical Response to CSA............................................................ 58
Reaction to Feedback: Visual, Aural, Teacher/Coach.................. 59
Relationship with Teachers........................................................... 61
Correlation between CSA and Singing......................................... 62
Effect of Therapy for CSA on Singing......................................... 64

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 Pattern of Awareness.................................................................... 65
Fear of Success ;....................................................................... 66
Performance Anxiety.................................................................... 67
Trust.............................................................................................. 67
Pow er............................................................................................ 68
Sex and Singing............................................................................ 69
Teaching........................................................................................69
Benefits o f Singing; Problematic and/or Therapeutic................... 70
Summary.................. 71

4. Adult Survivors o f CSA; Review of Psychology Literature.................................73

Prevalence................................................................................................. 74
History of Research on Sexual Abuse.......................................................75
Likelihood of Long-Term EfFects o f CSA.................................................82
Psychological Response to CSA............................................................... 84
Posttraumatic Stress Disorder.......................................................86
Cognitive Distortions .............................................................. 89

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Altered Emotionality..................................................................... 90
Dissociation...................................................................................93
Impaired Self-Reference............................................................... 94
Disturbed Relatedness................ 95
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Avoidance......................................................................................96
Somatic Response to CSA........................................................................ 97
Overview of Somatoform Disorders............................................. 98
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Selected Disorders.......................................................................103
Body Im age................................................................................. 107
Trauma Memory...................................................................................... 110
Neurological Considerations....................................................... I l l
Psychological Considerations...................................................... 114
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Somatic Considerations................................................................118
Philosophy o f Trauma Treatment............................................................ 122

5. Adult Survivors o f CSA and Singing ................. 125

Relationship o f CSA to Singing.............................................................. 125
Themes from Case Studies Examined in Literature....................126
Effects o f CSA on Specific Components o f Singing...................133
Effects O f Singing On CSA Sequelae................................... 141
Special Considerations Regarding Breathing.............................. 141
Selected Treatment Options.................................................................... 142

6. Discussion and Recommendations ................................. 147

Considerations for Voice Teachers......................................................... 147
Examples o f Theoretical Lesson Scraiarios............................................ 148
Scenario I: Healthy Student......................................................... 148
Scenario II: Medical Problem...................................................... 148
Scenario III: Fear of Success................... 149

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 Scenario IV: Somatoform Disorder.............................................150
Scenario V: Relationship with Teacher/Trouble with Authority. 150
Recommendations for Voice Teachers....................................................151
First, Do No Harm.......................................................................152
Proceed with Confidence............................................................ 156
Recommendations for Further Research.................................................156
Conclusions............................................................................................. 158

References....................................................................................................................... 161

Bibliography.................................................................................................................... 168

Appendices
A. Questionnaire 1......................................................................................... 184
B. Questionnaire II........................................................................................185
C. SU HSRB Informed Consent Long Form.................................................187
D. SU HSRB Consent for Voice Recording..................................................190

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E Permission for Copying from Carolina Biological Supply Co................. 191
F. Permission for Copying from Spring^-Verlag, W ien.............................192
G. Permission for Copying from Meribeth Bunch........................................ 193
H. Revised Permission for Copying from Carolina Biological Supply C o.. 195
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 C hapter One

MTRODUCTION TO THE STUDY

Research has shown that childhood sexual abuse (CSA) can silence the voice-

both the figurative voice (the self, the expression o f personal identity) and the actual

(physical) voice. When the silenced voice is that o f a singer, issues o f both CSA and

singing are compounded because o f the cyclical nature o f vocal and psychological

problems. Robert SatalofiF and Deborah Rosen, a physician-counselor team in Arts

Medicine, classify this vocal/psychological condition as a state o f grief, because the

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singer’s sense o f self is threatened. They explain:

Psychological factors can be causally related to a voice disorder and/or

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consequences of the vocal dysfunction. They are usually interwoven. The
essential role of the voice in communication of the “self’ creates special potential
for psychological impact. Severe psychological consequences of voice
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dysfunction are especially common in individuals in whom the voice is
pathologically perceived to be the “self,” such as professional singers. ^

The grief of a voice disorder, with its accompanying identity crisis, is fiirther complicated
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when symptoms of CSA are present. Psychotherapies for CSA can compromise the

singing voice; vocal therapies designed for “r e ^ la f ’ singers may be inappropriate for

singers with symptoms o f trauma associated with CSA.

Currently, a singer seeking help for vocal disturbances related to CSA must take

the responsibility to bridge disparate disciplines. (This assumes that the singer will have

enough self-awareness to coimect his/her vocal diflBcuIties to a history o f CSA.) The

acceptable level o f vocal dysfunction differs for singing and speaking. (For example, a

^Deborah Rosen and Robert Satalofl^ Psydhology o f Voice Disorders (San Diego:
Singular, 1997), 2-3.

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 slight cold may be an annoyance for most people, but for a singer it could be life

changing if it interfered with an audition or performance.) Just as singers may need to

make that variance clear to medical doctors, so must they educate other professionals

assisting them with voice problems.^

Effective treatment/teaching strategsf for a singer with CSA-related complaints

entails incorporating knowledge of the voice with an understanding o f posttrauma

response.^ But a lack of research coupled with insufficient communication regarding

CSA and/or singing among the disciplines o f Vocal Pedagogy, Clinical Psychology,

Speech-Language Pathology and Music Therapy compromises treatment and teaching

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decisions. IE
The need for research on CSA and singing is great, but the risks for harm are

high. Any research on a sensitive topic such as CSA carries a potential for harm, but one
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that combines two emotionally charged areas—^voice disorders and CSA—is especially

troublesome. However, the lack o f existing research handicaps professionals serving

singers with voice disorders connected to CSA—disorders that could counteract the
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healing aspects of singing when they are most needed. Until research is undertaken,

singers are denied optimal treatment/therapy. Thea-efore, the potential benefits o f research

^ Vocal pedagogue Daniel Boone listed the following specialists who might be of
help to singers: Allergist, Audiologist, Choir Director, Drama Teacher, Endocrinologist,
Inhalation Therapist, Otolaryngologist, Pharmacist, Physiatrist, Plastic Surgeon,
Prosthodontist, Psychiatrist, Psychologist, Speech-Language Pathologist (a.k.a. Voice
Pathologist), Speech Therapist, Voice Coach, and Voice Scientist. Daniel Boone, Is Your
Voice Telling on You? 2d cd. (San Diego: Singular, 1997), 174-5.

^ As the concept o f the condition o f post-trauma gained acceptance, it became a

term and lost its hyphen. The use of the hyphen was maintained in this study only when
quoting.

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 on singing and CSA—for singers, voice teachers, and health professionals—outweigh the

risks.

This study has stemmed from my experiences as a singer and as a college voice

teacher, where I have encountered singers with voices compronoused by the complexities

of CSA. During my nearly two decades o f teaching voice, I have come to a gradual

realization that singa*s who confide a histoiy o f CSA seem to share common but

perplexing difficulties with singing and with studying voice. One dramatic incident, a

student’s negative emotional response to success with breathing, stands out as a clear

indication for the need to understami the effects o f CSA on the singing voice. My search

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of the literature has been to no avail. With the exception o f Music Therapy studies on the

voice as a healing agent for effects o f CSA, to date I have found no research on the
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effects of CSA on the singing voice. This study is based on (1) case studies from
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interviews with voice teachers who have a personal history o f CSA and (2) literature in

disciplines relevant to singing and/or CSA.

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Purpose

The purpose o f this study has been (1) to e?q)and the knowledge base regarding

the effects of CSA on the adult singing voice, by describing the experiences o f singers

with a history of CSA, and by inferring effects through an interdisciplinary literature

review; and (2) to encourage communication among professionals (i.e. voice teachers,

clinical psychologists, speech-language pathologists, music therapists, etc.) who treat

singers with voice disorders stemming from CSA. In order to promote communication

and to serve the diverse audience o f the second part, the study provided educational

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 information (purposely non-esoteric and accessible) about Vocal Pedago^ (the

anatomy/physiology o f the larynx and the mechanics of singing) and research in

Psychology regarding CSA posttrauma symptoms and treatments.

Methodology'*

Design

The design was qualitative, holistic, post-factum, phenomenological reflection, as

described by Wheeler (1995)^ and Creswell (1998).^ The sensitive nature of the research

dictated the decisions for design. The focus to derive meaning and essence from abusive

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experience was best served through a reflective, phenomenological approach—obviously

post-factum. The study integrated (1) case studies based on interviews with participants
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and (2) an interdisciplinary literature review. The format and writing style o f the report
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followed guidelines specific to qualitative design as described in Wolcott (1990).^
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^ Although it served as a catalyst for initiating this study, my personal experience

as a voice teacher was held in abeyance for the actual research. The lack of records
regarding former students’ experience with CSA coupled with ethical issues (e,g.
boundaries, consent, confidentiality, etc.) proscribed designing a clinical study.
Circumstances determined the most rdevant and appropriate methodology.

^ Barbara Wheeler, ed.. M usic Thercqpy Research: Quantitative and Qualitative

Perspectives (Phoenixville, PA: Barcelona, 1995).

^ John Creswell, Qualitative Inquiry and Research Design: Choosing Among Five
Traditions (Thousand Oaks, CA: Sage, 1998).

^ Harry F. Wolcott, Writing Up Qualitative Research^ Qualitative Research

Methods Series, vol. 20 (Newbury Park, California: Sage, 1990).

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 Participants

The participants were trained singers who self-identified as having a history of

CSA. They were volunteers who learned o f the study through word of mouth in

professional (i.e. school, confa-ence etc.) settings. From the pool of participants, a

convenience sampling was narrowed to four singers who were also voice teachers. All

had advanced music degrees; all were female; all had undergone psychotherapy for issues

related to CSA, and their ages ranged from early thirties through mid-fifties.

Procedure

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The first part of the research was comprised o f four case studies. Voice teachers

with a self-identified history o f CSA answa-ed specific questions, in a face-to-face

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interview, regarding their experience with CSA and singing. (See Appendices A and B
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for questionnaires.) Participants w ^ e given information regarding the research, including

the value of the research; confidentiality; possible harm; and the option that they could

refiise to answer selected questions, stop the interview at any time, and withdraw from
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the research at any time. This information is included in the Shenandoah University

Informed Consent Long Form, which follows the guidelines presented in the Shenandoah

University Human Subjects Review Board (HSRB) Summary o f Review Procedures

(Revised November 1996). (See Appendices C and D.)

The second part o f tte study was an interdisciplinary literature review. Research

in Clinical Psycholo^ on the psychological effects o f CSA, research in Speech-

Language Pathology on voice disordm attributed to psychological origin, and research in

Music Therapy on music as a treatment for conditions of posttrauma were compared to

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 the current body of knowledge in Vocal Pedagogy on the mechanics and structure of the

voice to infer effects o f CSA on the singing voice

Data Analysis

Narratives from the interviews were transcribed to protect the identity of the

participants’ voices. The shortest interview was forty-five minutes; the longest was nearly

three hours (including periods o f rest). Three participants answered all o f the questions;

one answered only nine o f the second set and asked to end the interview before

completing the questionnaire. Each participant was given the opportunity to request that

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some of her testimony be omitted. Two chose to do that. With their permission, their

answers were recorded for later transcription. The recordings were listened to only for
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transcription; no attempt was made to use the recordings to determine emotional content
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from vocal timbre.

Two readers (psychology professors from Guilford College, Greensboro, NC)

examined the transcriptions to derive themes from experiences described in the

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narratives. Later, in two additional meetings, the readers and I met to establish agreement

on themes. Consensus was reached easily, entailing little debate. I had anticipated four

themes, but had not shared that information with either the participants or the readers.

They were (1) mechanics o f singing, (2) psychosomatic response to CSA, (3) reaction to

feedback, and (4) correlation between CSA and singing. The readers also chose those

themes but advised that the label o f the second be changed to “physical response to

CSA” It was agreed that the word “physical” was less problematic than “psychosomatic”

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 because of controversy in the field of psychology regarding the meaning of

“psychosomatic.” Negative connotations o f the term misrepresented the intent.

Readers determined sub-themes for the first (mechanics of singing), third

(reaction to feedback), and fourth (correlation between CSA and singing) themes and

derived six additional ones. This brought the total number o f themes to fourteen, which

were agreed upon by consensus.

For clarity in the write-up I made some organizational decisions. I merged

“mechanics of singing” with its sub-theme, “physiological problems with singing,”

because the content o f the narratives that we had labeled for one turned out to be identical

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to the other. Furthermore, I grouped the six additional themes (8-14) under two
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categories: emotions and singing. (These categories were not determined in our

meetings.) Finally, rather than attempting to avoid redundancy, I strove to report each
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theme with examples fix>m the narratives. But identification o f more than one theme in

several portions of the narratives required some repetition. The themes derived are as

follows:
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(Physiology)
1. Physiological Problems with Singing
2. Physical Response to CSA

(Reaction to Feedback)
3. Visual, Aural, Teacher/Coach
4. Relationship with Teachers

(CSA and Singing)

5. Correlation of CSA to Singing
6. Effect of Therapy for CSA on Singing
7. Pattern of Awareness

(Emotions)
8. Fear of Success
9. Performance Anxiety

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 10. Tnist
11. Power

(Singing)
12. Sex and Singing
13. Teaching
14. Benefits of Singing: Problematic and/or Therapeutic

Limitations of the Study

There were several limitations to this study. (1) With few exceptions (all noted)

the singing technique described was classical. This decision was prompted by the

primarily classical orientation o f the j^rticipants, my background, and the current Vocal

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Pedagogsf literature. (This singing technique and the term “classical” are explained in

Chapter Two.) (2) The focus was primarily (but not entirely) on the experience of
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females. A greater amount o f literature exists regarding the experience o f CSA for
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females than for males* and all o f the participants for this study are female. (3) The

research was limited to the experience of adults^—^as singers and as survivors of CSA.
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Defmitinns

Sexual Abuse/Singing

The terms sexual abuse and singing have gradations o f meaning. The following

definitions guided this study:

Sexual abuse: The variance of degrees o f sexual behavior considered in sexual

abuse literature has affected empirical data regarding prevalence,
affected fxtpulations, and posttrauma effects. In regard to this
study, the meaning o f the terms is based on a general definition in

* Chantal Jolly, “Breaking Out o f Silence; Breaking into Song: A Music Therapy
Model o f Practice for Witnessing the Healing o f Adult Survivors o f Childhood Sexual
Abuse” (M. A. thesis. Open University o f British Columbia, 1998).

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 the Oxford Dictionary o f Psychology and a more specific
description by psychologist John Briere. The Oxford Dictionary o f
P sycM ogy defines sexual abuse as “the subjection of a child or
other vulnerable person to sexual activity liable to cause physical
or psychological damage.”^ Briere defines childhood sexual abuse
as . .sexual contact^ ranging from fondling to intercourse,
between a child in mid-adolescence or younger and a person at
least five years older...

Singing/Singer; Unless otherwise noted, the use of the term singing (or singer) will
denote a “classical” style or technique. (This technique is covered
in more depth in Chapter Two.) It should be kept in mind that a
possible change o f data could result with a non-classical singing
orientation.

Vocal Pedagogy Terms

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During the latter part o f the twentieth century, voice teachers were encouraged to

adopt a more scientific understanding and vocabulary regarding singing, in order to

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communicate better with the medical community. Furthermore, the progressive
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technology, which has made the voice more “visible,” (e.g. fiber optics, magnetic

resonance imaging, stroboscopes, etc.) has also required an expanded vocabulary.

However, singers still sing by sensation and often respond to the vocabulary o f imagery.
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Therefore, this vocabulary list includes both scientific and idiomatic terminology since

both are used traditionally in voice lessons. Discussing a singe’s complaints might entail

a “bilingual” conversation.

abduct: To open.

^ A Dictionary o f Psychology. (Oxford, 2001), s.v. sexual abuse 672.

John Briere, Child Abuse Trauma: Theory and Treatment o f the Lasting Effects,
Interpersonal Violence: The Practice Series, ed. Jon R. Conte (Newbury Park, CA: Sage,
1992), 4.

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 adduct; To close.

appoggio- “Ah-pah-joe.” Italian for “to lean against.” The perfect balance of
subglottal breath pressure to vocal fold adduction. (See glottis.)

approximate: Touch.

articulation: Changing acoustic properties of vocal tract by use of lips, tongue,

teeth and palate.

attack: The onset of phonation, (speaking or singing). A glottal attack

b ^ in s with the vocal folds pressed together before vibration. An
aspirated attack begins with breath drawing the vocal folds
together. (See Bernoulli effect.) A balanced attack combines the
two.

belting: A custom/style in non-classical singing o f carrying chest register

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beyond the first passaggio without the use of cover or vowel
modification. IE
Bernoulli effect: Vocal folds are drawn together because o f Bernoulli principle—^air
pressure will be less when air flows through a constricted area.

break: (1) Location o f passaggio; (2) Sudden cessation o f vocal fold

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vibration. Also known as “crack.”

breath support: The use o f abdominal muscles to delay the ascent of the diaphragm
during phonation. (Also called “support.”)
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cover: Technique of singing in head register comfortably achieved

through the use o f a slightly lowered larynx and vowel
modification.

crack: See break.

dead: Lack o f resonance in room and/or voice.

empathy: In singing: a bodily response to what is heard. (E.g. a student’s

throat will relax when hearing the teacher demonstrate a tension-
fi*ee tone.)

Fach: Voice classification, such as soprano or tenor.

fault: Vocal technique considered unacceptable for current classical

aesthetic values. A vocal feult is not necessarily a voice disorder.

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 flutter: Very rapid vibrato. Considered a vocal fault.

formant: A resonance frequency reinforced in the vocal tract; bands of

resonance frequencies inherent to each vowel.

GERD abbrev.: Gastroesophageal Reflux Disorder, regur^tation o f stomach acid

into the esophagus.

glottis: Space/hole betweca abducted vocal folds. Subglottal refers to area

beneath the glottis; supraglottal refers to area above the glottis.

PVCD abbrev.: Paradoxical vocal cord disorda"; condition in which the vocal
cords adduct during inhalation causing a wheezing sound that
mimics asthma.

passaggio/i: “Pah-sah-joefpah-sah-jee.” The pitch area(s) designating passage

from one register to the adjacent re^ster. Also knovra as break and

W
lift.

pharjmx: The back wall o f the throat.

IE
phonation: A spoken or sung sound.

placement: Location o f sensation o f tone.

EV

proprioception: Sensation o f the body’s position. Also known as “singer’s sixth

sense.” (See also under Definition o f Psychology Terms.)

register: An area o f the voice in which all o f the pitches have the same tone
PR

quality and are executed with the same mechanism. Opinions vary
on the number o f registers in a voice. The ideal is to blend them so
that they sound like one.

release: End o f phonation.

ring; Optimal resonance heard in voice. Indicates presence o f singer’s

formant.

singer’s formant: The ring in the voice; a formant frequency at approximately 2800
Hz. for males and 3300 Hz. for females that occurs when
resonators are the correct shape for the pitch and vowel.

singer’s sixth sense: Propriocq)tion. Sensation o f body’s position. (See proprioception

also imder Definition o f Psychology Terms.)

support: See “breath support.

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