VOLUME 23, ISSUE 2

The Voice

VOICE OF THE

The Voice

EDITOR

Kim Steinhauer, PhD

IN THIS ISSUE:
THE VOICE OF
THE EDITOR

1BY EDITORKIM STEINHAUER,PHD
PHYSIOLOGICALLYOPTIMAL
BREATHING IN
VOICE TRAININGBY KIM STEINHAUER, PHD
2, 3, 45, 6, 7BY DIANE GAARY,MFA
TALKING ABOUT
BREATHING IN
THE VOICESTUDIO8, 9, 10BY FILIPA LÃ,
PHD
JOHAN SUNBURG,
PHD
TOOLS FOR THE
VOICE BOX

Current research reveals
a heterarchical interplay

foundations of respiratory
function with their students
and patients.

among Power, Source, and

HADAS GOLAN,
MS, CCC-SLPI TEACH VOICEAND SPEECH, BUT
I DON’T TEACH
BREATHING

BREATH IN VOICE EDUCATION
AND REHABILITATION

11, 12BY MARIANNE
CORNETTI
47TH ANNUALSYMPOSIUM INFO12

INDIA - WORLDVOICE DAY

13

Filter for voice production;

Our “Tools for youryet, Breath (Power) often

Voice Box” features expert

leads the way in exercises

advice from international

used in training and treat-

opera mezzo soprano, Mari-ment. This issue of The

anne Cornetti. Not only did

Voice Foundation Newslet-

she describe her favorite

ter is devoted to the role ofwarm-up, but she also

Breath in Voice education

shared her daily regimen

and rehabilitation. Our con-that epitomizes the effective

tributors, Hadas Golan, Di-training habits highlighted

ane Gaary, Filipa Lã, andin motor control and learn-

Johan Sundberg provide

ing research. It’s clear that

insights into their applica-

her superior focused andtion of breathing principles

deliberate practice has yield-in their respective disci-

ed superior performance andplines. They generously

longevity in the vocally ath-share how deeply they ex-letic and demanding world

plore strategies and scientificof Opera.

KIM STEINHAUER, PHD

President
Estill Voice International

CONTACT

Voice of the Editor

TH E

Page 2V O I C E

P H Y S I O L O G I C A L LY O P T I M A L
B R E AT H I N G I N V O I C E T R A I N I N G
BY HADAS GOLAN, MS, CCC-SLP

In recognition of the influence oftem, postural and motor control, cardi-

breathing on vocal function, breathing

ovascular, and stress response regula-tasks frequently are included in voicetion1,2.

lessons and therapy. Voice profession-

DB underlies many disorders in-als do not typically have extensive

cluding asthma, snoring, sleep apnea,

training in respiratory physiology andparadoxical vocal fold motion disorder,

disordered breathing, and little atten-

chronic cough, and anxiety. Common

tion has been paid to the breathingco-morbidities include pulmonary dis-pattern of the voice client. Dysfunc-

ease, psychological illnesses, and voicetional breathing (DB) is common but

problems. Individuals with these disor-

HADAS GOLAN, MS,poorly understood and may go unrec-

ders may require a different approach

CCC-SLPognized and untreated by practitioners.

to breath training, as deep breathing

Breathing involves much morepractice may trigger hyperventilation

than the mechanics of moving air inand worsen their condition. Voice pro-and out of the lungs to support thefessionals should be aware that dysfunc-

voice. We regulate our biochemistrytional breathing can explain clients’

through breathing: therefore, breathinglack of response to training or therapy

is fundamental to optimal health andand may underlie reports of dizziness or

physical function. Breathing patterns

discomfort. Breathing-based therapies

respond to mental, emotional, andmay be of benefit to these populations.

physical states and often change when

Seemingly unrelated symptoms cana person is sick, overly stressed, or

resolve when breathing issues are pro-traumatized. Changes in breathing canductively addressed.

lower CO2 levels and disrupt regulation

Department of Otolaryngology
Center for Voice and Swallowing
Boston University Medical Center
A Buteyko breathing practitioner
and trainer

During rest, respiration is throughof pH, interfering with homeostasis

the nose, warming, filtering and humid-and healing in multiple body systems

ifying the air. Breath rate ranges be-

including the autonomic nervous sys-

tween 9-14 breaths per minute, with(Continued on page 3)

The Voice of the
Speech-Language Pathologist

V O L U M E

2 3 ,I S S U E

2(Continued from page 2)

Page 3

airway, as well as excessive mucus. These symptoms
early in the morning are sometimes attributed to acid

500 ml of air in each tidal breath, summing to a total of

reflux but may be caused by mouth breathing during

only 4-5 liters of air per minute. A common form of DB

the night. Mouth breathing has been found to signifi-

is over-breathing or hyperventilation: Breathing be-cantly increase phonation threshold pressures5.

yond metabolic demands eliminates excessive amounts

People who are overly stressed typically exhibitof CO2 (hypocapnia) leading to respiratory alkalosis.

dysfunctional breathing. Acute hyperventilation dur-This hinders release of oxygen from hemoglobin to tis-

ing a panic attack is obvious. More prevalent, but com-sues, resulting in decreased cellular oxygenation, or

monly unrecognized are the following behaviors typical

hypoxia (suppressed Bohr effect).

of DB:
Habitual or occasional mouth breathing"PARADOXICALLY, THE
MORE YOU BREATHE, THE
LESS OXYGEN IS AVAILABLE
TO TISSUES.

Excessive sighing, yawning, sniffing, throat clear-

ing/coughing
Fast respiratory rate or breathing without a pauseAudible breathing
Taking large breaths and visible movement in theupper chest and/or abdomen
Paradoxically, the more you breathe, the less oxygen is available to tissues. Poor oxygenation leads to amyriad of problems. Hypocapnia can cause spasms inbronchi and other smooth muscle tissue, including
blood vessels, gut, bladder, and uterus. Lightheaded-Breathlessness while speaking or singing
Hyper inflating the upper chest when speaking or

singingSpeaking to the end of the out breath, followed bya gasping inhalationness, visual changes, numbness, tingling, cold hands
and feet, and dizziness are all symptoms associatedMost singers I see confess to “not using enoughwith hyperventilation and low CO2. Biomechanicalbreath support.” In my experience, voice patients use

and psychophysiological symptoms include an inability

too much breath. Both straining with excessive respir-

to take a deep breath, chest tightness and shortness ofatory effort and guarding using a soft breathy style ofbreath 3. People who snore, for example, breathe in

speaking trying to spare the voice, are common mala-~15 liters per minute: they over breathe.

daptive compensations. Many injured singers push

DB can be both the cause and the result of voicebreath, sometimes confusing it with “breath sup-disorders. Abnormal respiration has been implicated in

port.” Using low, gentle, quiet nasal breathing for vo-

muscle tension dysphonia, and patients commonly

cal tasks will help maintain autonomic stability, andcomplain of phonatory dyspnea. Vibratory patternproper function of all body systems and increase pho-irregularities or incomplete closure of the glottis arenatory efficiency. The following tips should help:

often present in voice disorders. Both interfere with theThe training baseline should not depart fromefficient valving of airflow and promote over-physiologically correct breathing and natural function-breathing, i.e., women with vocal nodules use higher

ing of inspiratory and expiratory muscles6

lung volumes during syllable train production 4. In
addition, over-breathing through the mouth may result
in dehydrated and inflamed tissues throughout theOver use of chest, shoulders, and neck muscles

interferes with effective diaphragmatic excursion.
(Continued on page 4)

T H EVO I C E(Continued from page 3)

Explore Resting Expiratory Level (REL):

Passive forces acting on breathing return the system to REL effortlessly, and inspiratory checking
action counteracts the relaxation pressures to promote the steady lung pressure necessary for phonation. Many speakers and singers use too much effort
for inhalation and/or exhalation.
Subglottal pressure is determined by the de-Page 4sively through the nose. The volume should be no
more than tidal volume. Avoid sucking the air in andtaking more air than is necessary for only 5 numbers.
4)Continue, “Six, Seven, Eight, Nine, Ten.”
Pause for breath. Go on. Next, add to the number of
numbers before the pause.
5)Practice quiet nasal breathing with reading, 5note scales, and progress to conversational speech or
singing tasks.

gree of expiratory force and by the resistanceagainst airflow provided by the glottis. The extent
to which the vocal folds close, and the length oftime they remain closed will influence subglottalpressure, directly influencing loudness. To getthrough longer phrases without having totake a breath in the middle, and to project
the voice more efficiently, clients should
learn that monitoring the glottal “valve” isas important as the size of the breath.
Simple phonation tasks such as counting orreciting the alphabet can be used to put all this information to practice:1)Sit in a tall comfortable posture. Maintainthe tongue, jaw, neck, eyes, shoulders, and chest
muscles relaxed.
2)Count slowly aloud, “One, two, three, four,
five.”
3)Pause for breath. Keep the mouth closed andallow some air to come in slowly, quietly and pas-

Reference
1. Courtney R. The functions of breathing andits dysfunctions and their relationship to breathing
therapy. IJOSM International Journal of Osteopathic
Medicine. 2009;12(3):78-85.
2. Chaitow L, Bradley D, Gilbert C, Bartley J,Peters D. Recognizing and treating breathing disorders : a multidisciplinary approach. 2014.
3. Courtney R. Breathing training for dysfunctional breathing in asthma: taking a multidimensional approach. ERJ Open Res. 2017;3(4).
4. Sapienza CM, Stathopoulos ET, Brown WS,
Jr. Speech breathing during reading in women withvocal nodules. J Voice. 1997;11(2):195-201.
5. Sivasankar M, Fisher KV. Oral breathing
increases Pth and vocal effort by superficial drying of
vocal fold mucosa. J Voice. 2002;16(2):172-181.
6. Chapman JL. Singing and teaching singing :a holistic approach to classical voice. 2017.

V O L U M E

2 3 ,I S S U E

2

BY DIANE GAARY, MFA

Page 5level. In essence, I train the tri-

An efficient and controlled

athletes of the vocal world.

breath is essential to all healthy

But I don’t teach breathing.

vocalizations; but, when I teach

It’s not as though myperformers in theater training pro-students don’t need to know

grams, I don’t teach breathing. In

about breath. Breath speed,

their careers, my students will bepressure, and quantity directly

expected to use their voices in aeffect vocal ease, expressive-variety of athletic situations; theyness, duration of phonation,

will speak for hours on stage to 800

resonance, range, and volume.

seat houses, and for minutes into

Breath use so directly effects vo-

microphones on movie sets. They

cal production, that breath

will be asked to talk, whisper, cry,awareness and control are essen-and scream in a variety of language

tial to the athleticism required ofand performance styles ranging

a vocal performer. But, I don’t

from commercials to Shakespeare.

teach people how to breathe be-

Many of my students will be asked

cause a healthy nervous system

to sing everything from cabaret

knows how to breathe far bettercrooning, to rock operas. While athan anything I could teach.

speech pathologist works to restore

With no training at all, most of us

an injured voice to normal func-

coordinated breath and voice

tioning, my work is to train per-quite efficiently in our first

formers’ voices to healthily func-

minutes of life as we emergedtion on an athletic super-normal(Continued on page 6)

T he Voice of the Acting CoachDIANE GAARY, MFA

Voice and Movement Coach
Temple University, Arcadia University,
Westminster Choir College

VOLUME 23, ISSUE 2Page 6I TEACH VOICE AND SPEECH , CONTINUED"THROUGH SELF-EXPLORATION AND OBSERVATION, STUDENTS
DISCOVER THAT BREATH AND POSTURAL USE ARE INSEPARABLY
CONNECTED AND, FOR MOST OF US, COULD USE IMPROVEMENT."
a little information and under-

our own bodies. Through self-

standing. Common misconcep-

exploration and observation, stu-from the womb and lustily let

tions such as “I need to breathe

dents discover that breath andout our first belting cry. How

into my stomach,” “I shouldn’t

postural use are inseparably con-

can you train a vocal perform-

move my ribs,” “My lungs arenected and for most of us, could

er to make athletic choicesin the front of my body”, “I

use improvement. I teach many

about breath use without in-need to take in as much breathawareness exercises that highlightterfering with their innate

as I can to get to the end of a

relationships between posture,breath/voice coordination?

phrase,” “I need to relax every-

breathing and easeful vocal reso-

My approach teaches perform-

thing to be healthy”, or “I neednance We do observational home-ers an understanding of how

to use a lot more air to get loud-work and vocal explorations that

breathing and voice work, aer or to sing the high note,” re-highlight different posture andmoment to moment awarenesssult in unproductive tensions

breath choices. We focus on cause-of how their own breath iswhich inhibit the free function-effect relationships rather than onfunctioning and interacting

ing of breath and voice. In class,right or wrong to bypass tenden-with the vocal mechanism,

we discuss how breathing works

cies to increase amounts of effort

and access to choices that takeand how it interacts with theand tension to “get it right.” Ex-advantage of cause and effectvocal mechanism. We use pic-ploration of the responsive rela-relationships between breath-tures, work with the skeleton,

tionship between posture, move-ing, posture, and vocal pro-and watch simple short videos.

ment, resonance, and breath

duction. I teach people to un-

Then we get up on our feet andteaches students that they don’t

learn acquired habits that in-

act out the mechanics of breath,need to take in large amounts ofterfere with breathing, and to

how sound travels through vi-

air and provides them with meth-learn how to work with their

brations, and how breath effects

ods of releasing any interference

natural coordination.

the vocal folds.

of the reflexive inhalation process.

(Continued from page 5)

Allowing freedom of movement in

Performers deserve toknow the basic anatomy andAfter we cover the basic con-the Primary Control enables theprinciples of their vocal instru-

cepts of the breath/voice interac-

natural process of appropriate

ment. It’s surprising howtion, we run experiments on our-inhalation to happen on its own.

many problematic tension

selves to develop accurate kines-

habits can be eliminated withthetic awareness of the highly
responsive nature of breathing in

Since effective inhalation is an
issue of providing structural sup(Continued on page 7)

VOLUME 23, ISSUE 2Page 7I TEACH VOICE AND SPEECH , CONTINUED

port for a natural process and removing interfer-

the structures of the vocal mechanism will start toence from that natural process, breath training forbrace. The symptoms of using too little air are

vocal athleticism focuses on making choices which

also recognizable. I teach students to monitor

control the exhale. Exhalation control adheres totheir breath by developing their awareness of how

what I call, “The Goldilocks Principle” – to oper-

the larynx, throat, jaw, tongue, soft palate, lips,

ate at it’s healthiest, the voice needs not too much

Primary Control, and vibratory experience arebreath and not too little. The voice operates at it’s

responding to breath use.

best with just the right amount of breath to vi-

Yes, I don’t teach breathing; but, I do teachbrate freely for each vocal demand. In speaking or

performers how to accurately feel, and how to use

singing, breath acts like the gas that powers aawareness of cause and effect to work with theircar’s engine. Common vocal tensions in thenatural vocal coordination. I do teach performers

tongue, jaw, throat, and shoulders are usually in-

to confidently make choices that result in flexible,

voluntary reactions to an imbalance between

powerful, and expressive coordination between

breath quantity, speed, or pressure, and the size,

breath, body, emotion, and voice. I teach people

shape, and texture of the vocal mechanism. I

to be aware of their choices, so that they can ef-

teach students to view jaw, neck, tongue, throat,

fectively and beautifully express themselves withand shoulder tensions as invaluable symptoms

honesty and health.

that their breath use and/or postural support needadjustment. This approach is rather like using the
speedometer on your car to know when to takeyour foot off the gas pedal. If too much air is used,VOLUME 23, ISSUE 2Page 8TA L K I N G A B O U T B R E AT H I N G I N T H E
VO I C E S T U D I O
BY FILIPA M.B. LÃ, PHD
JOHAN SUNDBERG, PHD

they move the abdominal con-Breath management is essen-tent toward the ribcage and sotial in building up a voice. Aware-

restore the upward-vaulted form

ness of how the breathing appa-of the diaphragm.

ratus functions facilitates the ac-Students profit from becom-

quisition of breath control. The

ing conscious of how these com-basic components of such control

ponents work and experience

are the diaphragm muscle and the

how it feels to use them. For in-muscles in the rib cage and in the

stance, pronouncing a soft /s/

abdominal wall. These determine

consonant while straining thethe air pressure in thelungs, i.e. the subglottal pressure (Psub),which is a key factor
in controlling phona-abdominal wall is an

for wilful
Science exercise
contraction of the diaas only conVoice phragm,
traction of the dia-tion. There are bothphragm can prevent

inhalatory and exhala-

the high pressure be-

FILIPA M.B. LÃ, PHD
Filipa M.B. Lã
Center for Social Sciences
Institute of Interdisciplinary Research
University of Coimbra
Portugal
Colégio de S. Jerónimo
Spain

Voice low the diaphragm tocage, expanding andenter into the ribcage.
contracting it, respecScience Contraction of thetory muscles in the ribtively. The dia-diaphragm is typical-

phragm, an upward-

ly associated with anvaulted muscle that
constitutes the bottom of the rib cage,is an inhalatorycomponent
Voice abductoryin the larynx,
reduces the
Scientist whichrisk for over-muscle; when contracting, it flat-

adducting the vocal folds, i.e.

tens and thus increases the vol-pressed phonation. Habitual ex-

ume in the ribcage and thus also

aggeration of glottal adductionin the lungs. The abdominal wall

tends to result in voice disorders.

muscles have the antagonistic
function. When they contract,(Continued on page 9)

Johan Sundberg
Institute of Music Education
Stockholm
KTH Royal Institute of Technology
SwedenT H EVO I C E

Page 9TALKING ABOUT BREATHING… (CONTINUED)(Continued from page 8)

Also lung volume tends to affect glottal adduction. At highlung volumes, i.e. after a deep
inhalation, glottal adduction istypically less than at low lungvolumes, at the end of longphrases. Hence, descending exercises are often beneficial forstudents that tend to run into
pressed phonation at highpitches, since that places thehigh notes at high lung volumes. Conversely, for students
that tend to use breathy phona-tion at high notes, ascending ex-inhalatory muscles , i.e. the dia-

ercises can help them to reducephragm and/or those in the rib

glottal leakage at high pitches.

cage (“inhalare la voce”). To

The breathing apparatus pos-train this ability, it can be helpful

sesses elasticity. At high lung vol-to sing exercises that require softumes, the elasticity is an exhala-phonation after a deep inhala-tory force while at low lung vol-tion. Also messa di voce exercises

umes it is inhalatory. This means

may contribute to an efficientthat elasticity alone produces a

way of developing a perfect syn-quite high Psub after a deep in-chronisation between Psub andhalation, prone to produce loudchanging of elasticity forces.

phonation. As we phonate, lung

As the elasticity forces arevolume constantly decreases andexhalatory at high lung volumes

hence, also the elasticity contri-

and inhalatory at low lung vol-bution to Psub. To gain full con-umes, they are zero at a certain

trol over Psub at high lung vol-lung volume. This lung volume isume, students need to activate(Continued on page 10)

T H EVO I C E

Page 10TALKING ABOUT BREATHING… (CONTINUED)(Continued from page 9)

count the air consumption needed
for the musical phrase.

referred to as the resting expira-Psub must be tailored topitch, i.e., the fundamental fre-Air consumption depends on

quency (F0); the higher the pitch

tory level (REL), which is af-

several factors: glottal leakage,

the higher Psub is needed. Thus,

fected by several factures, in-vocal loudness and type of pho-

before starting a phrase, singers

cluding posture. In passive

nation. Pressed phonation con-need to be prepared with thebreathing, inhalation is started

sumes less air than neutral andPsub needed for the comingfrom REL so inhalation is driv-

flow phonation; however, as men-tone. To develop this skill of tun-en by contraction of inhalatory

tioned, habitual use of pressed

ing Psub to pitch, one can prac-

muscles and exhalation is driv-

phonation should be avoided.

tice staccato exercises on the

en by elasticity. Phonating

Acquaintance with and control ofsame and on different notes. An

above and bellow REL feels

phonation therefore is crucial inascending/ descending triad in

comfortable and uncomfortable,

voice training. Louder tones con-legato, and then repeated in

respectively. The latter is typi-sume more air than soft tones;

staccato, is another useful exer-

cally associated with increased

vocal loudness is directly depend-cise, as this requires quick andglottal adduction, at least in

ent on Psub. Thus, practicing

accurate change of both pitch

untrained voices. Thus, it is im-

exercises of different lengths andand Psub.

portant to plan the depth ofdegrees of vocal loudness are use-

inhalation by taking into ac-

ful.

TOOLS FOR THE VOICE BOX

AN EXPERIENCED DRAMATIC MEZZO: WHAT WORKS FOR ME
BY MARIANNE CORNETTI

The warm up and practice session that I have used forthe past 17 years is absolutely
vital to my singing.
Every day for an hour and ahalf I use this routine. There isnever a time when I sing, whether
it is for a lesson, coaching, rehearsal or a performance that I
don’t warm up. The routine that
I've developed for my singing isvery simple and regimented.

of the opera. For example, in Il

I am a Mezzo, and my routine

Trovatore, the role of Azucena

is as follows: 30 minutes of lip trills

begins with “Stride la vampa”. I

followed by 30 minutes of the /i/sing through this aria first (notvowel. Then, I sing “In Questa

the second, heavier aria Condot-

Reggia,” the aria from Turandot!

ta), because if I start with the

I sing it phrase by phrase at asecond aria, it could really inter-mezzo forte dynamic and very

rupt the bel canto style of singing

slowly, much like a vocal-“Stride la vampa”. I believe theise. Then, I sing through an aria

throat memorizes and warms up

from the opera I am doing at thecorrectly if you continually repeat

time, starting from the beginning(Continued on page 11)

T H EVO I C E

Page 11

TOOL BOX… (CONTINUED)

the exact, same preparation all
the time.
My actual vocalise starts in

For the final 30 minutes I use
the aria “In Questa Reggia” as a
vocalise, breaking up each phrase

the F below middle C and I singand singing it slowly. I sing at

lip trills from F to F#, G, G#

mezzo forte - until the really highetc., clear up to the C above mid-section that becomes louder - be-dle C and then back down to thecause of where it lies in the upper

starting F. Then two notes of lip

register. After I sing through thetrills starting on the same F go-

aria, then I slowly start to singing up chromatically to the Cfrom the beginning of the opera

above middle C, and back downthat I am preparing, or the aria

again to the F below middle C. I

that I am working on with myrepeat that on three notes, thenteacher or coach. My throat must

five notes, then an octave. All

memorize the positions of the mu-very slowly and at a mezzo pi-

sic, whether an aria or a duet,ano. It takes about 30 minutes.

from the very beginning. For ex-

MARIANNE CORNETTI

Dramatic Mezzo-Soprano
International Opera Singer

ample, I would never try to sing
the ending of Lady Macbeth

rizes the position of each aria

the same exercise on the /i/ vow-

(Macbeth) without singing every-

and the entire opera. Marking

el. The exact same way. As I as-

thing from the beginning of thedown the octave only confusescend the octave, I must allow theopera. My throat simply can’t ad-

the throat; one might tend leavevowel to be modified ever sojust!

the tones unsupported. Con-The next 30 minutes, I doslightly. And, the tongue is al-versely, I find that when I markways in the high position of aThis daily practice is part ofpure /i/ vowel. The modification

my preparation as a singer. No one

port the sound. I recommend

happens at the very top aroundruns a marathon without warming

singing it at a dynamic level ofA, B flat, B and C, but the modi-

up. Well, the same goes for singing

mezzo piano to mezzo forte.

fication is on the tongue and thean opera. Warming up is a must. I

open space within the back of thealso do not believe in marking

I hope my routine will help

throat. The voice has to turn as

down the octave in rehearsal tosomeone develop their own best

it goes in to that higher register.

save your voice. I believe youpractice.

Again, I always so this mezzo

MUST mark in voice and on pitch

forte and slowly.

because, again, the throat memo-

in voice on the pitch, I must sup-

V O L U M E

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2Page 12

VOICE FOUNDATION NEWS4 7 TH A N N U A L S Y M P O S I U M :CARE OF THE PROFESSIONAL VOICECHAIRMAN, ROBERT T. SATALOFF, MD, DMA,FACS

MAY 30—JUNE 3, 2018 PHILADELPHIA PENNSYLVANIA

Wednesday, May 30

Saturday, June 2

Basic Science Tutorials

Medical, SLP Session

Presentation Coaching

PanelsAccent Reduction Coaching

G. Paul Moore Lecture: Nicholas Maragos, MD
Vocal Master Class with Simon Estes

Thursday, May 31
Science Sessions
Quintana Awardee: Luc Mongeau, PhD
Keynote Speech - Boris Alexander Klebe,

Sing Along with
Grant Uhle

PhD

Friday, June 1
Special Session: Exercise and the Voice
Nancy P. Solomon, PhD

Sunday, June 3
Medical Session
PanelsYoung Laryngologists Study Group

Voice Pedagogy Session

Vocal Workshops*Voices of Summer Gala*

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THE VOICE FOUNDATION BOARD OF DIRECTORS
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Robert Thayer Sataloff, MD, Harolyn Blackwell
DMA, FACS
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Walt Hunter
PRESIDENT
Stuart Orsher, MD
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Justice Sandra Newman
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VICE-PRESIDENT
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SECRETARY
Mary Hawkshaw
TREASURER AND
GENERAL COUNSELBrian P. Flaherty, Esq.

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THE VOICE FOUNDATIONMaria Russo, MM
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JOURNAL OF VOICE
Katie Erikson, MM

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Television Interview: What is
New in the Management of
Voice Disorders?

WORLD VOICE DAY IN
INDIA
16th April 2018
The following
events were conducted at
Guntur in Andhra Pradesh
State of South India

Prof.Phaniendrakumar Valluri
Director Sri Sathya Sai Institute of ORL& Research center for voice disorders
Founder: The Associoation of
Phonosurgeons of India

A meeting about Voice Awareness for Lecturers and Lawyers