Preparing the Singing Voice Specialist Revisited

Sharon L. Radionoff
Houston, Texas

Summary: In review of singing voice specialist preparation, discussion can

be chronicled prior to the establishment of Arts Medicine in 1987. Although
discussion began in 1984 (and earlier), no formal academic program currently
exists to train the singing voice specialist. The need now is greater than ever
for a formal program of study to prepare a person who seeks to be a singing
voice specialist. The question of adequate preparation continues to be in need
of an appropriate answer because no formal training programs or fellowships
are available. It is essential to first define the role of singing voice specialists and
the populations that they will encounter. To meet the needs of a diverse
population, care of the professional voice demands cross-disciplinary training.
Knowledge from the fields of music, science, medicine and communication
disorders and experience/observation, clinical preparation, and research would
provide for optimal preparation. To meet this need, development of a Masters
degree program seems highly desirable. The structure of such a program
is proposed, along with specific requirements outlined from the music and
singing voice pathology components for a Masters Degree in Arts Medicine
with a concentration in voice.
Key Words: Arts medicine—Voice—Curriculum—Cross-disciplinary
training.

INTRODUCTION of the Professional Voice” falls, but that he was

The discussion of singing voice specialist prepara-
tion began prior to the establishment of Arts Medi-
cine in 1987. In 1984, Dr. Robert T. Sataloff
presented a session entitled “Care of the Professional
Voice” at the Music Educators National Conference
at the University of Michigan. At that time, Dr.
Sataloff stated that there was no program as yet to
receive a degree in Arts Medicine under which “Care
Accepted for publication October 27, 2003.
From the Sound Singing Institute, Houston, TX.
Address correspondence and reprint requests to Sharon L.
Radionoff, Sound Singing Institute, 2303 Sul Ross, Houston,
TX 77098. E-mail: SoundSing@aol.com
Journal of Voice, Vol. 18, No. 4, pp. 513–521
0892-1997/$30.00
쑕 2004 The Voice Foundation
doi:10.1016/j.jvoice.2003.10.003
developing a program. So, not only did Dr. Sataloff
outline care of the professional voice in 1984 (and
earlier), but he also advocated the concept of Arts
Medicine.1
In 1991 at the Voice Foundation’s 19th Annual
Symposium on Care of the Professional Voice, a
discussion began concerning standards of training
for the singing voice professional. Dr. Ingo Titze
presented a proposed vocology curriculum, and Dr.
Sataloff proposed the establishment of a Ph.D. in
Arts Medicine.2,3 A panel discussion ensued after
the presentations. Dr. Robert Coleman stated that
“we want to deliver a great product to the voice
disordered patient. To do that we must all hang
together or surely we will all hang separately.”4
In 1992, a joint statement between ASHA and
NATS was published in the November/December

513
514 SHARON L. RADIONOFF
issue of the NATS Journal of Singing.5 This same
statement, entitled, “The Role of the Speech-Lan-
guage Pathologist and Teacher of Singing in Reme-
diation of Singers with Voice Disorders,” was also
published by ASHA and was then republished in
the 1998 NATS Journal of Singing.6 This joint state-
ment, which was 10 years in the making,7 cites
brief guidelines for preparing the singing teacher
and speech-language pathologist who desire to be
part of an interdisciplinary team in the management
of singers with voice disorders.
Now in 2003, more than ten years later, the need
is greater than ever for some type of degree plan or
certification to prepare a person who aspires to be
a singing voice specialist. As more clinics emerge and
more people become interested in the field of Arts
Medicine, it is critical that there are appropriate
means and standards for preparation. What is the op-
timal way to prepare a singing voice specialist? What
knowledge needs to be gained? Before answering
these questions, it is necessary to examine whom a
singing voice specialist is and what role the singing
voice specialist plays in the team management of
voice patients.
In a 2002 article in the Journal of Singing, Heman-
Ackah et al define the singing voice specialist as a
singing teacher with special training equipping him
or her to practice in a medical environment with
patients who have sustained vocal injury.8 The article
states further that the training is acquired by appren-
ticeship and observation because regrettably there
are still no formal training or fellowship programs
that assist singing teachers to become singing voice
specialists. This is a risky situation at best. The inter-
est in this field continues to grow, and the need
for qualified professionals is evidenced with busy
clinics unable to find a singing voice specialist.
Therefore, a means of appropriate preparation or a
formal program of study is required. Without a
means of licensure or endorsement, anyone can pro-
nounce him or herself a “singing voice specialist,”
without adequate credentials.
The role of the singing voice specialist in the team
management of voice patients includes four main
facets. The first is as a liaison between (1) patient and
laryngologist, (2) patient and the voice scientist,
(3) patient and speech-language pathologist, and (4)
patient and the voice teacher. The second is as an
Journal of Voice, Vol. 18, No. 4, 2004
educator. Education includes helping the patient
understand the anatomy and physiology of phona-
tion, what his/her diagnosis means for the current
function of the singing voice, and what to expect vo-
cally. This education will aid in reduction of the
patient’s anxiety level and help him/her cope emo-
tionally. The third facet is as a trainer. A trainer
helps the professional voice user to maximize the
balance of the vocal system. The term trainer is
synonymous with an athlete. If a professional athlete
has a physical problem, then he/she would most
likely see a sports medicine specialist for therapy
to mediate the problem. The singer is a vocal athlete.
As there is no licensure for a singing voice specialist,
legally the term therapist is not advocated. The
fourth facet is as a problem solver. This facet will
vary greatly depending on the patient’s area of exper-
tise. It may include discussing (1) lesson plans, class-
room management, and classroom layout with the
music educator; (2) rehearsal preparation, rehearsal
style, and conducting techniques with the choral di-
rector; and (3) character development with the pro-
fessional performer and how this affects the voice.
Additionally, there are elements of counseling that
occur during a session. This facet does not take the
place of a medical psychologist or psychiatrist, but
it is helpful if the patient knows that the singing voice
specialist understands how devastating the situation
makes him/her feel. In Psychology of Voice Disor-
ders, Rosen and Sataloff 9 discuss that in professional
voice users, the voice can be perceived to be the
“self” instead of perceived as being a vehicle in
which to express self. When a singer is unable to
see that the voice is a vehicle of expression and not
“self,” there can be a loss of identity and self-worth
and depression may result.9 If this situation goes
unrecognized, psychological factors may impair re-
sponse to medical and surgical therapy. The singing
voice specialist may be the first member of the team
to recognize this problem.
The singing voice specialist also needs to be pre-
pared to work with professional voice users from a
wide range of disciplines and genres. These chal-
lenges are more extensive than those addressed by
most singing teachers, and in addition, singing teach-
ers are experienced in addressing problems as they
confront healthy or superior voices, not injured
voices. These disciplines include, among others, (1)
 SINGING VOICE SPECIALIST
the singer/music educator, (2) the singer/choral di-
rector, (3) the worship leader/cantor, (4) the profes-
sional singer (opera, musical theater, clubs, etc.),
(5) the professional actor/singer (theatre), and (6) the
nonsinger whose speaking may benefit from singing
training (in conjunction with voice therapy), to name
a few. Basic issues that a few of these disciplines
may present are outlined below.
The music educator is a high-demand voice user.
Unfortunately, the music educator usually is not
prepared in the traditional educational setting for
healthy vocal survival within the rigorous vocal de-
mands of the job. A singing voice specialist’s inter-
vention with classroom teachers can deal with issues
concerning classroom size, room setup, and ambient
noise. Specific questions that originate include (1)
does one use and talk above AV aids such as CD’s
or videos, (2) does one play an upright piano and
sing while sitting or standing, (3) does one use a
roving cart going from room to room, and (4) does
one go between several schools to teach? Along
with classroom teaching, music educators often
direct both traditional ensembles, show/jazz choirs,
and school plays with choreography as well. When
one directs an ensemble with choreography, it is
imperative that there are mirrors in the rehearsal
room. Mirrors are beneficial because they allow the
singer to have immediate feedback concerning cho-
reography. There can be a difference between per-
ception and actuality. What we feel or think about
what we are doing may be different from what we
are actually doing physically. Have you ever argued
with someone about something that they have done
but were not able to see themselves do? Imagine that
multiplied by 10 to 15 students in a rehearsal for
choreography where there are no mirrors. Therefore,
mirrors also reduce the potential frustration level of
the director. Educators also often direct volunteer
church choirs, community choirs, serve as worship
leaders or cantors, have a choir section leader singing
job, teach private lessons, and have personal perfor-
mances. Each one of these settings has a myriad of
pitfalls that may injure the voice. Further examples
are beyond the scope of this discussion, but the
singing voice specialist must be familiar with them,
and with techniques to manage the professional de-
mands in a vocally healthy fashion. Interested read-
ers are referred to What Music Educators Wish They
515
Had Learned and The Music Educator: A High-Risk
Professional Voice.10,11
The worship leader position is becoming wide-
spread in many churches and warrants discussion.
The current genre of contemporary service music is
varied and eclectic. It is not unusual for a person
in this position to lead the congregation, along with
a praise and worship team of singers and instrumen-
talists, in singing up to an hour’s worth of music
leading into the service. Issues that a worship leader
needs to take into consideration include (1) where
one rehearses, (2) what kind of rehearsal setup
one uses, (3) microphone use in rehearsal, (4) micro-
phone placement/holding and body alignment in
performance, and (5) vocal stylisms. The singing
voice specialist must assess these concerns and
sometime suggest modifications without altering
performance “style.”
Professional opera singers are fortunate in that
many opera companies often schedule time for voice
rest between performances. Things to take into consid-
eration are the number of performances, the number
of rehearsals, the role being performed, travel de-
mands, hotel arrangements, and other factors. When
a performer develops the character of his/her particu-
lar role, he/she must be careful to maintain the integ-
rity of his/her personal vocal system. This means
that the posture and interpretation of the character
“created” by the singer must not interfere with the
balance of a healthy technique, and yet he must be a
convincing actor. When directors and performers
begin to develop a character, care should be taken
to assure that blocking, costume, and special effects
fit within the physicality of the individual.
Unfortunately, musical theater is not as kind to
its singers as the opera world concerning rehearsal
and performance schedules. Theater singers are ex-
pected to sing up to eight shows a week, with two
and even three shows a day, including a children’s
early morning program. One of the most difficult
roles for a male is the lead in “Jekyll and Hyde.”
In order to differentiate between the two characters,
one person is required to use different voice produc-
tions in extremes of range and quality. This particular
role with its vocally demanding extremes is difficult
enough for one show a day, let alone two or three.
Other musical theater performance difficulties in-
clude combining physical gymnastics with vocal
Journal of Voice, Vol. 18, No. 4, 2004
516 SHARON L. RADIONOFF
production. Examples of this include singing while
tap dancing from table to table or singing while doing
a back bend with ones ankles holding one suspended
from a metal bar. Unfortunately what suffers is not
the staging and choreography but the voice. The
same character development issues are pertinent
here, as discussed in regard to opera, and the singing
voice specialist needs to understand how to work
with all of them even in the context of a vocal
fold injury.
Singers who perform in clubs, give concerts (ie,
CD release parties), or sing for private parties have a
number of special issues to deal with. Often they
are expected to sing in a smoky environment with
little air circulation for three to four 45-minute sets
a night, with 15- to 20-minute breaks between
sets. They often fight bad sound equipment or frus-
trating sound engineer problems. The issue of com-
bining physical gymnastics with vocal production
is also a relevant concern. Another issue of these
singers is that they often have to do their own book-
ing, which means voice use during the day for
booking, and performing during the evening (often
without much warm-up or rehearsal).
Many of the same issues apply to the professional
actor/singer as to the opera and musical theater per-
formers. One difference is that it is common for one
actor to play more than one role in a show. This
becomes a problem when the actor has to create
believability with such diverseness as being a
German doctor, a Spanish grandmother, and a high
school cheerleader. Again, when creating characters
such as these, the actor must give the illusion of the
characters without compromising the vocal system.
He/she may have to contend with fumes from stage
fog or pyrotechnic effects, as well.12
The singing voice specialist may also be of benefit
to the nonsinging population. This population may
include preachers, educators, lawyers, news’ casters,
stockbrokers, and instrumentalists among others.
Singers train at a high athletic level balancing the
respiratory system, oscillator, and resonator. Once
simple sound is balanced, agility and power may
be developed. The nonsinger can use these “athletic”
techniques to (1) maximize access to the power
source of sound (respiratory system), (2) increase
vocal stamina, and (3) increase pitch variation, to
name a few. In the 2002 Hemah-Ackah et al article,8
Journal of Voice, Vol. 18, No. 4, 2004
an analogy in regard to singing is stated: Singing
is to speaking as running is to walking. Therefore, if
a voice-disordered patient is able to gain maximum
balance of the systems necessary for the athletic
sound production of singing, he/she will inherently
be improving the balance necessary for speaking.
There is only one vocal system which produces both
speaking and singing.
What knowledge needs to be gained to adequately
prepare the singing voice specialist to work with the
variety of cases such as mentioned above? Education
and experience/observation need to be considered.
The 2002 Heman-Ackah et al article states that the
singing voice specialist must acquire knowledge of
anatomy and physiology of the normal and disor-
dered voice, a basic understanding of the principles
of laryngology and medications, and a fundamental
knowledge of the principles and practices of speech-
language pathology. Again, as stated above, this
article reiterates that there are still no formal training
or fellowship programs that assist singing teachers
to become singing voice specialists, and that the
training is acquired by apprenticeship and observa-
tion. This article states further that the fundamental
approach to training (rehabilitating) singers with
vocal injuries is different from the approach used
commonly with training (habilitating) healthy voices.
Therefore, it is possible for harm to occur if an excel-
lent and experienced voice teacher works with an
injured voice but does not know the special considera-
tions for this population.8
Therefore, the singing voice specialist must
receive cross-disciplinary training to adequately pre-
pare to work in a medical setting. This includes
knowledge from different fields of music, science,
and medicine as well as communication disorders.
Additionally, areas of preparation need to include (1)
experience/observation (eg, live performance, studio
recording, classroom teaching, voice lessons, choral
ensembles, and conducting), (2) clinical preparation,
and (3) research.
How does the singing voice specialist gain the
knowledge to provide optimal service to the disor-
dered voice? One possible approach is to offer a
Masters Degree in Arts Medicine that combines ele-
ments of degree plans already in place at the univer-
sity level. It is actually not necessary to reinvent the
wheel because some pieces of the program are in
 SINGING VOICE SPECIALIST
TABLE 1. Music Component for Masters
Degree in Arts Medicine
Music Education
Music Psychology Research I
Music Psychology Research II
Seminar in Music Education
Pedagogy
Vocal Pedagogy I
Performance
Performance Studies
Ensemble
Music History
Survey of Music History
place. However, additional subjects need to be added.
Ideally, there might be an Arts Medicine Department
Chairperson, as well as faculty administrators from
the Music School, Speech-Language Pathology De-
partment, and Medical School who specialize in
Care of the Professional Voice,3 as well as analogous
personnel from disciplines that address hand disor-
ders, foot and ankle problems of dancers, and so
on. Only the voice component is presented in this
discussion. The courses for this master’s degree plan
may be segmented into four main components. There
will be a music component, speech-language pathol-
ogy component, medical component, and singing
voice pathology component.
The music component for the Masters Degree in
Arts Medicine might include courses from the fields
of music education, pedagogy, and performance
as well as music history (Table 1). A more detailed
description of course content will be outlined later
in this paper.
The speech-language pathology component for
the Masters Degree in Arts Medicine might include
current courses such as those in the vocology track
as outlined by Titze2 as well as an introductory
course for singing voice specialists providing an
overview of speech-language pathology and the
nature of therapy (Table 2). For a more detailed
description of vocology course content, refer to the
Journal of Voice2 or contact the University of Iowa.
The medical component for the Masters Degree in
Arts Medicine might include an anatomy course
such as outlined in Sataloff’s proposed Doctor of
Philosophy in Arts Medicine.3 Sataloff also states
the need for the singing voice specialist to have
517
TABLE 2. Speech-Language Pathology
Component for Masters Degree in Arts Medicine
Speech-Language Pathology
Intro to Speech Language Pathology and Voice Therapy
Principles of Voice Production
Voice Disorders
Instrumentation for voice analysis
knowledge of the principles of laryngology and med-
ications.8 Therefore, a logical progression would be
to offer the information as a course or as part of a
course (Table 3). Training would also need to include
instruction in medical documentation, confidential-
ity laws, and other subjects.
The Singing Voice Pathology component is neces-
sary because it includes courses, which are critical
for the training of the singing voice specialist. These
courses do not neatly fit into any of the traditional
fields or disciplines mentioned above. The Singing
Voice Pathology component for the Masters Degree
in Arts Medicine might include Seminar in Voice
Care and Management I and II that is a specially
designed course for the singing voice specialist in
addition to a traditional vocal pedagogy course.
Other courses could include voice training and reha-
bilitation, voice practicum, research practicum, and
thesis research (Table 4).
Additionally, there should be an elective compo-
nent in the degree plan. Potential electives could
include acoustics, acting, basic movement (Alexan-
der technique, basic dance steps, blocking, choreog-
raphy, Feldenkrais), conducting, counseling, dance,
foreign language, measurement, psychology, physi-
cal therapy, statistics, and vocal literature.
Specific requirements
A brief synopsis of the content of the proposed
courses for the Music Component and Singing Voice
Pathology Component will be discussed below. A
brief synopsis of the requirements for the compre-
hensive examination and thesis will also be outlined.
The Speech-Language Pathology and Medical com-
ponents will not be detailed in this paper as the
specialist in each field has already enumerated them.
The clinical fellowship requires deliberation before
the length and scope may be determined.
Journal of Voice, Vol. 18, No. 4, 2004
518 SHARON L. RADIONOFF
TABLE 3. Medical Component for Masters
Degree in Arts Medicine
Medical Component
Anatomy
Principles of Laryngology and medications
Music component
Music education
Music psychology research I
This required course is an introduction to research,
research methods, and statistics. It includes such in-
formation as microcomputer use and word pro-
cessing, bibliography, classifying research, selecting
a problem, hypotheses, planning a research project,
levels of measurement and central tendency, vari-
ability, distributions and standard scores, correlation
and regression, measuring instruments and reliabil-
ity, validity and item analysis, item formats, scoring
corrections and standard error of measurement, de-
scriptive methods, experimental research, internal
and external validity, experimental design, quasi-
experimental design, significance, standard error and
null hypotheses, type I, II error; one-two tailed tests, t-
tests, ANOVA, ANCOVA and planned comparisons,
nonparametrics, and multivariate analysis.
Music psychology research II
This required course is a continuation of MPR
I. It includes an overview of Music Psychology,
science and art of music, quantum interfacing sys-
tem for music and medicine, Science and art: A
modern dialogue, Acoustics of music, Human ear
and hearing music, Brain processing of music, Ho-
lonomic approach to the arts and sciences, Neuro-
logy of music making, Mind, muscle and music,
Man makes music (anthropology), and Functional
music (sociology).
Seminar in music education
This required course includes such information as
(1) Philosophies—Idealism, Realism, Pragmatism,
Behaviorism, Perennialism, Essentialism, Progres-
siveism, Reconstructionalism, Existentialism, Behav-
ioral Engineering; (2) Learning Theories—Gardner,
Piaget, Gagne, Laberge, Guilford, Gordon, Mursell,
Bruner, Skinner, Maslow; (3) Aesthetics—Reimer,
Journal of Voice, Vol. 18, No. 4, 2004
TABLE 4. Singing Voice Pathology
Component for Masters Degree in Arts Medicine
Singing Voice Pathology
Seminar in Voice Care and Management I
Seminar in Voice Care and Management II
Voice training and rehabilitation
Voice Practicum—Experience/Observation
Research Practicum—Experience/Observation
Thesis Research
Schwadron, Meyer, Elliott, Smith, as well as insight
into ontology, Epistemology, axiology, cyclical dis-
tance, and the absolutist versus referentialist.
Performance
Performance studies
This course requires training in voice performance
with voice lessons on a weekly basis. The literature of
this course includes traditional classic repertoire
as well as Broadway, jazz, and other commercial
styles of music. The student participates in weekly
studio classes as well as performs a jury at the end
of each semester of study. At the end of study, the
student presents a recital.
Ensemble
Students are required to participate in an ensemble
that is faculty approved. Students may elect to per-
form in an ensemble for no credit that allows for more
credit hours for private study or conducting.
Pedagogy
Vocal pedagogy I
This required course is an introductory course
providing an overview of the anatomy, physiology,
physics, and acoustics of voice production. Their
applications to various theories of voice teaching
will also be discussed. Other topics will include (1)
the history of pedagogy, (2) concepts of warm-ups
and cool downs, (3) developing an exercise strategy,
(4) repertoire and voice fach, (5) vocal health, and
(6) the psychology of singing.
Music History
Survey of music history
This requirement is designed as a two-semester
Survey of Music History concentrating on music
 SINGING VOICE SPECIALIST
from Antiquity through the Baroque period for the
first semester, and then from the Classical through
the present day. The main focus is Western Classical
music, but there is also attention given to the
vocal considerations of music from other cultures
(eg, Indian Music, Tibetan chanting, and Chinese
opera). Other areas of study include music in pop
culture.
Speech-language pathology component
The course details of this component are ad-
dressed in the program proposed by the specialist
in this field. For detailed information in regard to
the Speech-Language Pathology component, consult
the 1991 Journal of Voice publication entitled
“Rationale and Structure of a Vocology Curriculum”
by Dr. Ingo Titze.2
Medical component
The medical component course details are enu-
merated in the program proposed by the specialist
in this field. Consult the 1991 Journal of Voice publi-
cation entitled “ Proposal for Establishing a Degree
of Doctor of Philosophy in Arts Medicine” by Dr.
Robert T. Sataloff for information in regard to the
Medical Component.3
Singing voice pathology component
Seminar in voice care and management
(SVCM) part I
This required course is the first part of an introduc-
tory seminar to support the traditional vocal peda-
gogy course and is specifically tailored to meet the
needs of the singing voice specialist. This course will
include the following: (1) The vocal system intro-
duction—larynx, posture, airflow, phonation, res-
onance, articulation, registration; (2) Brief review of
history of vocal pedagogy; (3) Voice/Instrumental
Studio Observation; and (4) Studio Voice Practi-
cum—healthy vocal technique, practice, warm-up,
cool-down, voice training. The practicum is an intro-
duction in teaching techniques of healthy voices, and
each student has in-class demonstrations/critiques
of students that they are teaching. This course also
includes the history of arts medicine and care of the
professional voice and an introduction to clinical
practices and the instrumentation used for subjective
and objective evaluation.
519
Seminar in voice care and management part II
This required course is a continuation of SVCM
Part I. It includes (1) Injured voices: psychological
aspects and counseling; (2) Injured voices: physio-
logical/anatomical aspects; (3) Principles of as-
sessment; (4) Principles of intervention—vocal
maintenance, stress management; (5) Role of
Speech-Language Pathologist; (6) Role of Otolaryn-
gologist; (7) Role of Singing Voice Specialist; and
(8) Clinical Voice Practicum. The practicum consists
of observation of the singing voice specialist and
the team approach to voice care, as well as preclini-
cal experience.
Voice training and rehabilitation
This required course acquaints students with the
diagnosis and treatment of voice disorders. Typical
diseases of the larynx are described, and rationale is
given for choosing medical, surgical, or therapeutic
intervention. Neurologic diseases are contrasted
with disorders related to injury, vocal abuse, misuse,
and overuse as well as disorders related to surgery.
The main emphasis of the coursework is to recog-
nize and classify the type of disorder and determine
the best method of treatment. Methods of the behav-
ioral treatment of voice disorders are also studied
in this course.
Voice practicum—experience/observation
In order to prepare the singing voice specialist to
work with a wide range of patients, it is necessary
that he/she be familiar with a wide range of disci-
plines. A singing voice specialist cannot be a master
of all areas, but there must be knowledge gained
through experience and observation. This required
course primarily includes observation and perhaps
experience in the following areas: (1) Classroom
teaching—all levels, (2) Choral Ensemble—tradi-
tional and commercial (with and without choreogra-
phy), (3) Live Performance—a variety of genres,
(4) Studio Recording, and (5) Voice Lessons.
Research practicum—experience/observation
This required practicum acquaints the singing
voice specialist with the use of laboratory equipment
for clinical assessment and for research in voice
science as it relates to singers from different disci-
plines. There are lectures and hands-on laboratory
Journal of Voice, Vol. 18, No. 4, 2004
520 SHARON L. RADIONOFF
time, as well as observation of clinical voice labora-
tories. At the end of this course, the student will be
able to discuss the various subjective and objective
tests and equipment available and be able to apply
this knowledge in clinical assessment. As part of this
course, students also observe and participate in data
gathering and analysis of projects being carried out
by a voice care team.
Thesis/professional project
The thesis and project work proceeds as follows:
(1) agreement with advisor on general direction or
topic; (2) selection of committee and thesis/project
director; (3) completion of one-page topic state-
ment for director and committee; (4) agreement with
director and committee on specific topic; (5) comple-
tion with director, of detailed proposal including
background, related literature, statement of purpose,
hypotheses or questions (if any), limitations, defini-
tions, all aspects of procedure, description of the
resulting document, and a proposed timetable (com-
mittee members should be consulted); (6) submis-
sion of proposal to committee members for approval
or revision (this continues until approval); (7) work
as proposed; (8) submission of portions of report
to director and committee as they are completed
(material goes to committee after director has ap-
proved it); (9) submission of complete report to
committee at least 2 weeks before oral exam (theses
must be submitted earlier, according to deadlines set
by the University with final report in the required
format); (10) revisions, if needed; (11) oral exam;
(12) final editing, if needed; (13) committee signa-
tures on half-title page; and (14) copying and bind-
ing, paid for by the student.
Comprehensive examination
There is a comprehensive examination upon com-
pletion of the degree requirements. This written
examination includes a music segment, speech-
language pathology segment, medical segment, and
singing voice pathology segment. There will be
essay format as well as terms to define.
Clinical fellowship
A clinical fellowship is completed before certifi-
cation is granted. The length and scope of this fel-
lowship is TBD.
Journal of Voice, Vol. 18, No. 4, 2004
The Master’s degree plan outlined above is, of
course, a long-range goal as is the program that Dr.
Sataloff has proposed for a Doctorate in Arts
Medicine with a voice emphasis. However, there
is a critical need for an immediate goal to protect
the injured voice patient and to be able to offer
the best care possible.4 Some options may include
instituting a certification program for the singing
voice specialist, an endorsement plan that could in-
clude an outlining of courses (and places such as
clinics/practices and colleges/universities where
these could be fulfilled) that someone interested in
becoming a singing voice specialist needs to take
that could go through a national clearing house or
center such as the Voice Foundation or the Denver
Center for the Performing Arts.4 In regard to certifi-
cation, a note of caution is necessary. Certification
without adequate preparation is still inadequate.
Whether Arts Medicine training should begin at
the doctoral or the masters level has yet to be deter-
mined. Ultimately, this training will provide a model
for other Arts Medicine disciplines (hand disorders,
etc.). The Arts Medicine pathway will adequately
prepare the singing voice specialist. However, in
the meantime, an immediate short-term mechanism
needs to be implemented. As interest in this field
continues to grow, the need for a singing voice
specialist program of study heightens. Drs. Titze and
Sataloff have begun to address this issue: (1) Dr.
Titze with an M.A. specialty track in speech-lan-
guage pathology called Vocology, and (2) Dr. Sata-
loff with a proposed Ph.D. in Arts Medicine and
a vocology program in conjunction with Dr. Rein-
hardt Heuer at Temple University. Although Titze’s
program offers licensure, because it is a specialty
track of a speech-language pathology degree, it does
not meet all of the needs for preparing the singing
voice specialist. The balance between science and
art weighs heavily toward science, specifically some
arguably dispensable speech-language pathology
courses that are required to receive ASHA certifica-
tion. The Sataloff Heuer program addresses these
issues somewhat more completely but is open only
to speech-language pathologists who already hold at
least a master’s degree. The Ph.D. program proposed
by Sataloff is comprehensive and quite extensive.
Because it is a cross-disciplinary degree and there is
no precedent for it, the acceptance of this degree
 SINGING VOICE SPECIALIST
by universities is proving to be slow; but the quest
continues.
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Journal of Voice, Vol. 18, No. 4, 2004