Managing Voice Problems in the Private Studio
By Amanda Brunk, B.Mus.
As published in the NATS Journal Of Singing, May/June 2008
The most common questions routinely asked by young, inexperienced singers and their parents are about how to get started on a successful voice training regimen. This commentary will address the things every voice student should expect of his teacher, and will focus on how a teacher should prepare herself for the possibility of being faced with managing a troubled voice in her studio.
All voice teachers have a responsibility to their students to be well acquainted with up-to-date pedagogical theories and practices, yet it is difficult to know simply by meeting a teacher whether or not she manages to hold herself to such standards. There are specialized accreditations that a school teacher must acquire before being considered as a possible employee, or that a massage therapist must have by law before opening a practice. There are even specific certifications for an aesthetician to obtain before he is permitted to give a pedicure, but there is nothing in our society to monitor a voice teacher and her level of knowledge of the human body before she takes a delicate young instrument into her care.
In most new jobs, adopting a trial and error mentality helps in learning what is required of the position. After a thorough screening and hiring process, there is usually a training phase, a supervisor to ensure that correct procedure and duties are being followed, and a probationary period. A private voice teacher just starting out, however, must start his “job” without any of these cautionary measures. To implement a trial and error policy in the voice studio can be a dangerous undertaking if the proper pedagogical training is not in place. The teenaged student is the one who loses, in the end.
The body in its entirety is the instrument of a singer and, as an organist has an intimate understanding of the workings and acoustics of the organ from the pedals to the pipes, so too should a singer. Richard Miller comments on this in his book The Structure of Singing:
Students should be alerted that there are no mysteries regarding the technical aspects of singing. The teacher who regards the technical work of singing as shrouded in mystery inadvertently admits to a lack of information on the physical and acoustic nature of the vocal instrument. Singing appears to be a kind of magical process to this person, and the technique of singing is an idiosyncratic structure built on intuition and trial and error.[1]
From the student’s perspective
As a voice teacher to young, pre-university level voices and a producer of amateur musical theatre, I have seen a myriad of vocal problems in otherwise healthy singers. I have come to the realization that, despite the numerous voice studios in the area, most of these affected students are not aware that they have any vocal issues, let alone how to work them out. Someone as trusting and naive as a young beginner may find it difficult to know how to look for the appropriate teacher who possesses the necessary knowledge to sustain healthy voices in the studio. A student wishing to find good vocal training wooed by catchy phrases such as “voice builder” or “find your inner voice” only has the word of the teacher to go on, perhaps accompanied by formal training and performance credits. This is not to say that there is anything wrong with using strong catch-phrases such as these. On the contrary, good marketing is an integral part of establishing a private studio. Rather, a student has the right to assume that a teacher claiming to be a voice builder, for example, actually does have the tools and trade knowledge to do so.
Assuming that one would not presume to teach singing without first securing one’s own formal musical education, the acquisition of such knowledge begins at the institutions of higher learning. Yet, it is unfortunate that there are still many well-renowned undergraduate voice programs that do not present their performance-stream singers with more than one voice pedagogy course. In fact, an investigation into five of Canada’s most popular and well established undergraduate degrees in vocal performance demonstrates the reason for concern. The University of Toronto, Wilfrid Laurier University, University of Western Ontario, McGill University and University of Calgary all only offer only one course in vocal pedagogy, but none of them even list it as a required credit, putting Canadian-trained singers at a significant disadvantage for understanding the importance of voice science in today’s teaching. Wouldn’t more voices be healthier if all post-secondary vocal education included required courses in anatomy, physiology (especially the respiratory and immune systems), acoustics and voice disorders? It is exciting to see more and more universities offering these classes but, unfortunately, it is not yet common practice and, in Canada at least, there is still a long way to go.
Performance credits are certainly an important and valuable asset to any singer’s career. Too often, a singer will believe that, because of her excellent artistic and vocal ability and career successes, she will be successful in teaching anyone to sing. In some such cases there will undoubtedly be triumphs, but what about the student who slips through the cracks? Who is the advocate for the promising performer who “couldn’t break that bad technical habit,” or “has a naturally raspy voice?” These are the cases in which an awareness of voice disorders can be invaluable, and to be unable to offer assistance to these students would be unfortunate and unfair.
Why learn about voice disorders?
A healthy singer/teacher with a flourishing career may not want to think about the possibility of a voice disorder and the horrifying “what if” that comes to mind. No singer chooses to imagine her life without her instrument, and yet, Dr. Anat Keidar, PhD; CCC-SLP estimates that 10 – 20% of singers sustain some form of chronic voice disturbance[2]. Most vocal fold lesions, or benign mucosal disorders (BMD)[3], such as nodules, cysts and polyps, for example, are known to be caused by vocal misuse and abuse, and should be taken very seriously in a singer. Although voice disorders are more commonly found in jazz, pop and musical theatre performers than in classical singers[4], even a well-trained opera singer with many years of successes behind her can find herself struggling with taking on too large of a role too early in her career and end up with a mucosal swelling and, in turn, a BMD. Also, according to Dr. Anat Keidar, vocal fold lesions are very closely linked to extroverted personality types, such as performance-driven thespians.
The new teacher
A singer fresh out of a music program and setting out on a performance career will undoubtedly consider opening a voice studio of his own, or at least taking on a few students to gain an income and “experience” in the field of teaching (certainly, this author was not the only one to get started that way!). Most likely, this singer has spent at least four years studying the art of singing and has an advanced knowledge of classical repertoire and a solid musical training. He will (hopefully) be familiar with basic laryngeal anatomy, and will perhaps have spent time working in a voice laboratory with acoustic analysis, examining various technical practices. Is he truly prepared though, based on these factors, to deal with the delicate voice of an aspiring young singer, unknowingly struggling with chronic laryngitis?
The ideal situation would be that this new teacher has studied the anatomy, physiology and voice disorders pertinent to the function of the vocal mechanism and the body as an instrument. This ideal teacher understands that amateur voices require different attention than those at a university level and he knows the specific reasons for each and every exercise he asks his student to perform. This ideal, however, is rare and unfortunately not often the case.
The teacher’s responsibility to her student
There are basic expectations that every voice student should automatically have of his teacher. He should know that, if a problem should develop in his voice, his teacher will be able to recognize it as such and follow through with the necessary guidance in seeking diagnosis and, if needed, treatment. He should assume that he is being taught the proper techniques in breathing, phonation and muscular action, and that all exercises have a function.
Most importantly, the student has every right to believe that his teacher knows her limitations, will be open to discussions with other knowledgeable voice professionals, and will not attempt to diagnose or intervene beyond her ability. A NATS membership is a wonderful step for the teacher wanting to give her students these basics of vocal preparation because it initiates dialogue amongst teachers and students alike, and, most importantly, assuages the mystery of vocal production.
If a teacher at any level suspects a voice problem, no matter how small or insignificant it may seem, she has a responsibility to her student to take the following steps:
· Go through the student’s vocal history to look for signs of possible vocal abuse and/or misuse;
· Ensure that uninhibited posture and breathing are being applied during speaking and singing;
· Inform the student and/or the parents (if the student is a minor) of her suspicions;
· If the problem does not go away on its own, direct the student to a laryngologist who is skilled in treating singers for a visual diagnosis, or at least to rule out the possibility of a BMD;
· If nothing can be seen on the folds, get an informed aural and visual diagnosis by a voice therapist (usually a speech-language pathologist);
· Not attempt her own “voice therapy” without having done the essential training and research involved;
· Not let her personal pride impede the possibility of the student receiving treatment from a more appropriate source.
The distinction between a laryngologist and an otolaryngologist or ear, nose and throat specialist is that the former specializes in the care of voice problems and is more likely to work with a team of voice care professionals[5]. As well, it is crucial to find a speech-language pathologist with a specialization in voice disorders and rehabilitation therapy. Voice disorders make up only a small part of the clinical training of most speech-language pathologists, so one should not assume that every practicing SLP has a current familiarity with voice therapy. It should be stated clearly that many have limited knowledge in this area, and a thorough search should be made to find the appropriate person with suitable experience in treating singers[6].
This article is not intended to expose particular voice teachers for their lack of education in the sciences. Truly, most are caring, conscientious people with a commitment to the art of singing. Rather, the purpose here is to create an awareness of how much we need each other as colleagues in order to maintain our personal continued education in matters of the voice. The most dangerous voice teacher is the one who believes she already has all the answers. As teachers of singing, we should be held accountable for our students’ vocal problems and not lay the blame on the student who has come to us for direction in voice management.
Readers of the Journal of Singing will undoubtedly be more diligent voice teachers than most, in that they have taken it upon themselves to read up on the newest research in voice science and to consider many different views on efficient vocal technique. This is commendable, and has been an inspiration to this author over the years. Hopefully, in the future, further consideration will be given to implementing the scientific aspects of singing into post-secondary musical education. The graduates, and therefore potential voice teachers, of these institutions today are not necessarily equipped to manage the disabled voice of an otherwise talented singer, deserving of the chance of a musical career.
[1] Richard Miller, Structure of Singing. New York: Schirmer, 1996, 211.
[2] A. Keidar, “A Singer’s Guide to Self-Diagnosis.” G. Davies and A. Jahn, Care of the Professional Voice, 2nd Edition. New York: Routledge, 2004.
[3] Ibid.
[4] Anthony Jahn and Garfield Davies, “A Clinical Approach to the Professional Voice.” A. Blitzer, M. Brin, C. Sasaki, S. Fahn, and K. Harris (Eds.) Neurologic Disorders of the Larynx. New York: Thieme Medical Publishing, Inc., 1992, 155-156.
[5] Clark A. Rosen, “How to Find a Voice Doctor,” Journal of Singing 60, no. 4 (March/April 2004): 373.
