VOLUME 22, ISSUE 1

The Voice

VOICE OF THE

The Voice

EDITOR

Mary Sandage, PhD

VOICE PEDAGOGY WITH SCIENCE & STYLE

IN THIS ISSUE:
THE VOICE OF
THE EDITOR

1

Excellent vocal tech-

BY EDITORMARY SANDAGE
PHD
STRUCTUREDPEDAGOGY FORJAZZ ANDCOMMERCIAL
VOICE

2, 3, 4BY LIZ JOHNSONSCHAFER, MM
UNTANGLINGSKILLACQUISITION IN
CLASSICAL
VOICE

5, 6, 7

healthy voice production,cise science, it is clear that

despite the singing stylesinging pedagogues have ap-

used. In this edition of theplied this principle for far

Voice Foundation Newslet-

longer than has been formallyter, I have invited two recog-

recognized.

MARY SANDAGE, PHD

nized teachers of singing to

Our third author, Brian
Petty, provides a spiritedtake on the role of the speechlanguage pathologist (SLP) in
treating the professional singer, particularly if the SLP
lacks a singing training background.

Assistant Professor
Dept. of Communication Disorders
Auburn University

whom actively incorporate
exercise science principles
into their work. Liz Johnson
Schafer skillfully weaves a

BY BRIAN PETTY,
MA, CCC-SLP
46TH ANNUALSYMPOSIUM
INFO

11

CONTACT

12

muscle specificity is a contemporary term used in exer-

vocal pedagogy, both of8, 9, 10training. While the termnique is a cornerstone ofcontribute to a discussion on

BY MATTHEW
HOCH, DMA
ON THEFETISHIZATION
OF THE
CLASSICALSINGER

BY MARY SANDAGE, PHD

muscle physiology perspec-

Let the discussion begin!

tive into her scaffolding ap-

Voiceproach to jazz technique. To
the best of my knowledge,
Liz is one of the first, if not
the first, to formally write
about applying the principleof specificity to jazz pedagogy.
Matthew Hoch has beeninterested in the merger ofmuscle physiology with classical singing pedagogy forsome time and expertly provides an historical review ofskill acquisition and singing

of theEditorV O L U M E

2 2 ,I S S U E

BY LIZ JOHNSON SCHAFER, MM

1Page 2brain to practice unfamiliar
harmonic structures.

As a teacher of jazz

Jazz is highly rhythmic.

voice at a university that

In fact, mastery of rhythm isoffered no other commercial

one of the most importantvoice lesson options, I at-

aspects of traditional swing-

tracted a range of students

style jazz playing. In order

who wanted non-classicalto be a rhythmic singer, thevoice lessons for a wide

voice has to be able to moverange of reasons. Charged

between intervals quickly

with teaching “jazz,” I dis-and smoothly, and withincovered that jazz-style sing-

the prosody of speech. The

ing was an effective tool for

melodies of jazz standards

proximates the rhyth-training healthy vocal func-

are so well crafted that the

mic and conversationaltion and musicianship thatvoice must be functionallyapproach of jazz,

mapped onto other styles of

viable in order to executeteaches vocal function that

contemporary music. This

them and still sound conver-

can be used as a foundation

lower volume singing en-sational. Along with tradi-for most other styles of com-

courages vocal fold flexibil-

tional vocal exercises, themercial singing.

ity, airflow management,

process for being able to singdiction practice, and ear

a jazz standard gives con-voice training using a jazztraining. It was the perfecttemporary singers an excep-

standard is through interval

style of music in which totional training opportunity.

analysis and practice. In thisaddress functional issues

Working through a songarticle, I offer one way to use

and very often get a voicefrom the Great Americana song from the Great Ameri-up and running while sim-

Songbook from a stylistic

can Songbook, sung in jazzultaneously training theperspective that even ap-

style, for functional voice

LIZ JOHNSON SCHAFER, MM

One way to approachtraining. Since most jazz“Within the confines of thesethree bars, one can cull amyriad of vocal exercises”

standards are full of interesting intervals, one does nothave to search long or hard
to find a song that offers a(Continued on page 3)

Nashville Jazz Workshop
Certif. of Vocology
loverevolutionvocalstudio.com

VOLUME 22, ISSUE 1

Page 3

STRUCTURED PEDAGOGY...CONTINUED

kinds of intervals from note to note.

pending on their resonance andObviously, this greatly surpasses thefunctional needs. Then, I have thetreasure trove of vocal exercises.

intervallic athleticism of the average

student put the words back in and

For this example, I’ll focus on theradio pop song. Sing Skylark and get

match the notes to the prosody oftune, Skylark by Hoagy Carmichaela workout? I argue “yes.”

their everyday speech. This way,

(Continued from page 2)

and Johnny Mercer (1941).
Measures 22-24 in Figures 1 and 2
are from the bridge of the song andcontain seven different kinds ofintervals when counting from note
to note: 2 half steps, 4 whole steps,
4 minor thirds, 1 major third, 3major fourths, 1 tritone, and 1 major sixth.
These bars of Skylark are shown
below in the standard key of E♭
Most singers will need to transpose
this song into a key that sits as
comfortably as possible in theirlower to middle/mixed register. Although pure upper or head voice
register is necessary for a fully functional voice, it is typically not usedin the bulk of a jazz melody. If asinger can execute these three bars,
they have practiced seven different

Within the confines of thesethree bars, one can cull a myriad of
vocal exercises. For example, if I
have a student who had trouble singing the tritone interval, I would isolate bar 22, shown in Figure 1, andhave them sing just those 5 notes on
the vowels of the lyric. I would thenmove that passage up and down byhalf steps so their muscles could learn
those intervals (muscle specificity) on
different pitches or at different vocal
fold lengths with the corresponding
vowel shapes. Once a student could
smoothly transition from vowel tovowel with correct intonation in several key areas, I mix it up and havethem sing the notes with nonsensevowels like “blah, blah, blah,” or“yah, yah, yah,” or “lo, lo, lo,” de-the student learns the melody, has
the vocal ability to move from note
to note, and can relate the melody
to the text in a conversational way.
Not only can these three bars
become an entryway for addressing
any number of functional vocal issues such as breathing, tone, resonance, registration, intonation,
vowel color choices, enunciation,
tongue/jaw independence, etc., they
can also be used for training musicianship and pitch perception. Another exercise I have students do forshort passages such as this, is toplay the bass note of the chord
while slowly singing the written
melody note above, either on a nonsense syllable or the lyric. This(Continued on page 4)

T H EVO I C E

Page 4

JAZZZZZZZZZ
this manner, a singer will experi-

the classical singing of theence the tonic (or unison with

contemporary voice world.

teaches a singer to hear andthe bass note), 3 major thirds, 1

If a student can sing in aexperience the interval be-

fourth, 1 tritone, 1 fifth, 1 sharp

style that even approxi-

tween voice and piano. The

fifth, 1 sixth, 2 minor sevenths,

mates jazz, they will haveears and body start becom-

1 major seventh, and 2 ninths, ingained vocal and musician-ing aware of simultaneous

just the three bars of Skylark as

ship skills foundational topitches and their relation-

shown in red in Figures 1 and 2.

any kind of contemporary

ships in real time. Sung in

In some ways, I think of jazz as(Continued from page 3)

Liz has a Master’s Degree in Commerical Vocal Perfor-JAZZZSTRUCTURED PEDAGOGY CONTINUED

habilitation, and is dedicated to bringing practical vocology

mance, a Bachelor's Degree in Psychology, and also completed tools to audiences and professional working singers across thea Certificate in Vocology through the University of Utah and

US. Liz has also newly founded a blog for her vocal practice as

the National Center for Voice and Speech. She has been a pro- a way to disseminate free voice information that integrates
fessor of Jazz Voice at Vanderbilt University, held voice fac-

psychology, vocal pedagogy, jazz and science.

ulty positions at both Trevecca Nazarene and Belmont Uni-

blog.loverevolutionvocalstudio.com

versities, and currently teaches at the Nashville Jazz Workshop and owns her own business. She primarily works in vocal

VOLUME 22, ISSUE 1

Page 5U N TA N G L I N G S K I L L AC Q U I S I T I O N
IN CLASSICAL SINGERS
MATTHEW HOCH, DMA

This is an exciting time for voice
pedagogy. The past 25 years haveseen an explosion in research andtechnology that has revolutionizedresearch in the singing voice. New
fact-based resources, both in bookand electronic formats, are at thefingertips of every singing teacher,and solid voice pedagogy curricula
exist at hundreds of institutions
across the United States and elsewhere. Perhaps most important,
there is more dialogue than everbetween singing teachers, speechlanguage pathologists, ENTs, surgeons, and voice scientists. Professional organizations like the VoiceFoundation have provided a great
service for voice pedagogy by fostering an environment for this kind ofinterdisciplinary dialogue.
In this era of objective measurement, it is helpful to reflect for a
moment on the history of voice pedagogy and what our discipline
looked like until several decadesago. Throughout the vast majorityof its history, voice pedagogy focused primarily on the vocal warmup and was geared toward essentially one purpose; it was designed forthe singer to acquire a very specific

set of skills necessary to needed tosing a specific genre of classical repertoire. An examination of the classic methods of Vaccai, Concone,
Panofka, and Marchesi—to list fourof the most popular and still-usedmethodologists—reveals that thesepedagogical staples are organizedalmost entirely by vocalises geared
toward various facets of skill acquisition. It is interesting to note thatconcepts such as breath management and resonance—quintessentially important to theclassical singer—are largely ignoredin these publications. While it is safe
to assume that these aspects of classical singing were highly valued andthus addressed by the singing teacher, there was not extensive discourse
about these topics in pedagogicalworks.
In 1967, two seminal voice pedagogy works were published in thesame year: William Vennard’s Singing: The Mechanism and the Technic
and D. Ralph Appelman’s The Science of Vocal Pedagogy: Theory andApplication. These books paved theway for a new era of voice pedagogy, one that revolutionized undergraduate and graduate curricula
throughout the United States. The
master-apprentice method of teaching, while still alive and well, wasnow blended with a newer ap-

MATTHEW HOCH, DMA
Associate Professor of Voice andCoordinator of the Voice Area
at Auburn University.

proach, one that was more scientificand fact-based in nature. Then, in
1986, Richard Miller published The
Structure of Singing. This book advocated for a systematic method fortraining singers, one that blended
goal-oriented vocalises with explanations that were firmly grounded
in practical voice science. Over thecourse of the following generation,
voice scientists such as Ingo Titze
and Johann Sundberg had considerable influence over pedagogical research. This influence is keenly felt
in modern voice pedagogy texts, themost famous of which is perhaps
Scott McCoy’s Your Voice: An Inside View (2004, rev. 2012). Singing(Continued on page 6)

T H EVO I C E

Page 6UNTANGLING SKILL ACQUISITION..,(Continued from page 5)teachers can no longer graduate
from DMA programs withoutsome knowledge of practical acoustics and the singer’s formant.

Hence, modern voice pedagogues
have a broader and more inclusive
view of what it means to be asinging teacher in the twenty-first
century. While this has certainly
been a positive development, thetraditional focus on skill acquisition has been somewhat ignored
in recent pedagogical research as
more and more singing teachers
have focused their efforts on various aspects of voice science andvocal health. But as the saying
goes, “one should not throw out
the baby with the bathwater”:
skill acquisition is still quintessentially important in the training of
singers. What, then, are the next
steps in the continued development of a skill acquisitionoriented voice pedagogy?
First, voice science research canand should extend beyond theacoustic and the medical, andexploring the function and behaviorof muscles can be a fruitful avenue.
Specific to skill acquisition, singing
teachers take a chapter from exercise scientists by incorporating thespecificity principle into their routine
technique regimens. The specificity
principle states that changes inmuscle function are very specific to
the type of exercise, even when thesame muscle groups are used. This isdue to the fact that specific muscle
groups are recruited for specifictasks. For example, if an athlete
wants to improve his leg presses, hemust practice leg presses. Practicing
squats will not help to improve his
leg presses; even though squats utilize the same muscles as leg presses,
what is important is that they are
not being used in the same way.
Hence the specificity principle.
Second, by extension of this principle, skill acquisition exercises must
be thoroughly grounded in the specific repertoire that the singer isbeing trained to perform. For example, classical Italian fioratura vocalises will do little to help train the
Broadway belter in her upper chest-

mix. Rather, these exercises will
only help the classical singer improve her flexibility in selected passages of Italian bel canto repertoire.
In order for the Broadway belter toimprove her upper chest-mix, shemust be assigned an exercise that
directly addresses the upper chestmix. This is, to an extent, common
sense. Our CCM colleagues have
known this for several decades, butclassically trained pedagogues, who
are often in teaching situations
where they encounter musical theatre students, have been a bit slower
to tether this concept into theirwarm-up routines.
Finally, armed with this increased
knowledge of exercise science principles and repertoire/performancegoals, modern voice pedagogues canbegin untangling different strandsof skill acquisition by applying thesame scrutiny to warm-up exercises
as repertoire selection. While teachers of singing routinely consider
singers’ skill levels when assigning
repertoire, systematic approaches to(Continued on page 7)

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T H EVO I C E

Page 7UNTANGLING SKILL ACQUISITION.., CONTINUED(Continued from page 6)

skill assessment have not beenreadily available. Rubrics may be
helpful in untangling various aspects of vocal technique to assess
the various skill levels of student
singers. Adaptations of rubrics
designed by Hopkin (2002) andArneson (2014) can be fruitfulwhen assessing skill acquisition insingers. These skill rubrics canthen be compared to literaturerubrics for optimal repertoire assignment. Rubrics, in their effort
to objectify and quantify, are inherently imperfect in that they
are in the end subjective and perception-based. Utilizing rubrics,
however, when assessing vocal
technique and assigning literature
can serve as a useful checklist thatcan standardize and demystify acomplex and routine process inthe voice studio. Musical theatre
and CCM pedagogues also should
consider dissecting and developing
skill-based rubrics within theirrepertoire, likewise constructing asystematic set of vocalises thatspeak directly to the skills theirperformers need to perform thesevery specific repertoires andstyles.

In conclusion, consideration of exercise science principles, particularlyin the area of muscle training andskill acquisition, can be an invaluable tool when assigning vocal warmups, and these vocalises should bethoroughly grounded in the specificrepertoire that the singer will perform. Integrating these principles
into one’s teaching routine encourages successful outcomes when honing specific aspects of singing technique. Untangling these various
aspects of vocal technique throughassessment rubrics can also prove to
be invaluable.
References
1Methods consulted included

Metoda pratico de canto (1832) byNicola Vaccai (1790–1848); 50
Lezioni, Op. 9 by Giuseppe Concone(1801–1861); 24 Vocalizzi, Op. 81,
and 24 Vocalizzi progressivi, Op. 85
by Heinrich Panofka (1807–1887),
and Method de chant théorique et pratique, Op. 31 (1886) by Mathilde
Marchesi (1821–1913).

acquisition tasks train the muscle
fibers to produce just the rightamount of tension required for thetask. The author is indebted toMary Sandage, PhD, CCC-SLP, for
her assistance in applying this topic
to voice pedagogy.
3 Digby G. Sale, “Neural Adaptation

to Resistance Training” Medicine
and Science in Sports and Exercise 20(1998), 135–45.
4 Matthew Hoch and Mary Sandage,“Applying Exercise Science Principles to Voice Pedgaogy: Skill Acquisition and Literature Selection” (Oral Presentation at the
Voice Foundation Symposium: May
31, 2015). The authors adapted rubrics first published by Christopher
Arneson in Literature for Teaching:
A Guide for Choosing Solo Vocal
Repertoire from a Developmental Perspective (Delaware, OH: Inside View
Press, 2014) and J. Arden Hopkin in
Songs for Young Singers: An Annotated List for Developing Voices(Lanham, MD: Scarecrow, 2002).

2During exercise, all of the motor

units within a given muscle are not
employed at the same time. Skill

Matthew Hoch is Associate Professor of Voice and Coordinator of Voice Studies at Auburn University. He has published articles in The Journal of Singing, The Opera Journal, The Chorister, and The Journal of the Association of
Anglican Musicians. His book, A Dictionary for the Mod-ern Singer, was published in 2014 by Rowman & Littlefield. Dr. Hoch holds the BM from Ithaca College, MMfrom the Hartt School, and DMA from the New EnglandConservatory. He actively performs opera, art song,chamber music, and in professional choral settings.

TH E

Page 8V O I C E

O N T H E F E T I S H I Z AT I O N O F T H E
CLASSICAL SINGER
BY BRIAN E. PETTY, MA, CCC-SLP

The early 20th-century Austrian satirist Karl Kraus once
wrote in Beim Worte genommen (1909) that “there is
no more unfortunate creature
under the sun than a fetishist
who yearns for a woman’s
shoe and has to settle for thewhole woman.”1 While
Kraus’ career depended in nosmall part upon a cult of personality, these pithy words
may have been more insightful than even he realized.
To fetishize something, onemust ascribe to it an irrational reverence or obsessive devotion.2 We humans have aparticular talent for this process, fetishizing such disparate things as ignorance,3 family farms,4 cell phones,5 andcultures.6 The unifying characteristic that ties all those

things together is the observer’s devotion to the idealized
concept rather than the often-dull reality.

Classical and/or operatic singers of the western tradition(hereafter referred to as“singers”) are among thosefor whom fetishization canserve as a double-edged
sword, at once creating a
sense of professionallyvaluable artistic mystery,and hindering the understanding of the singers’ reality among those whose expertise the singer needs. Like
many other professional voiceusers, the demands upon singers are specific to their work.
As Dr. Johan Sundberg summarized, singers (when they
are singing) clearly utilize awider range of their available
respiratory, phonatory, andresonant abilities than do non-singers.7 But can this not be
said of other professional
voice users? An auctioneer oran actor (especially Shakespearean or classical Greek

actors) may different but
have equally-daunting vocal
demands. However, when
they are not using their voicein their particular profession-

al application, wouldn’t
they have similar communicative needs? Why, then,do we health care providers
so often view the singer as avoice user requiring a quite
rarefied skill set, when even
they spend the majority of
their average Tuesday using
their voice in non-sung activities? Author and opera
lover Wayne Koestenbaum
posited that the attraction ofstar singers is an ability toraise the status of the abnormal to the supernormal,8 suggesting erroneously that thesinger and the non-singer
have no relevant commonality. When we accept thatsingers share many of thesame vocal concerns andgoals common among nonsingers, it changes the discussion about how the singer
should be treated, and bywhom.

There exists a spirited debate
among those who work withprofessional voice users as towhether a speech-language(Continued on page 9)

BRIAN E. PETTY,
MA, CCC-SLP

Emory Voice Center
Atlanta, GA

V O L U M E

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1Page 9Choose Voice Foundation as your Amazon Smile Charity
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ON THE FETISHIZATION... CONTINUED(Continued from page 8)

pathologist with training andexperience in voice disorders
should work with singers in arehabilitative context, or
whether these patients should
be seen by their singing
teacher or a “singing voice
specialist” instead. Asidefrom valid concerns regarding
regulatory issues, professional
liability, health information
security, and third-party reimbursement, the debate addresses an important scope ofpractice issue. The American
Speech-Language-Hearing
Association, the national professional organization for
American SLPs, has longadvocated collaboration withsinging teachers and voice
trainers while emphasizing
the network of laws governing delivery of service to patients with communicative
disorders (including voice
disorders).9 Therefore, assuming that the SLP is confident
in his or her skills, can they
see a singer for treatment?
In short, they can and theyshould. When providers encounter a singer whose career
we admire, the fetishization
effect can sometimes allow
consideration of only the patient’s professional (sung)activities. Thinking of thesinger as a “patient whosings” would acknowledge
the very specific demands
placed on their instrument
while still remembering that
there is an extra-laryngeal
individual who deserves thesame comprehensive consideration afforded to all other
patients. Adoption of thismindset also empowers thenon-singing provider who
may be tempted to refer immediately to a colleague witha singing background. Whilethe impulse to refer is a valuable one, we should not reflexively do so out of a dearthof confidence. It is the role ofthe speech-language
pathologist, with an understanding of the totality of the
instrument’s uses and theeffects of other systems anddisease processes on its functionality, to pinpoint the behaviors upon which the patient should focus their attention.
This approach often reveals
that the singer’s dysphonia
can be attributed to behaviors that happen outside theconcert hall or studio. Voicetherapy, therefore, addresses
the totality of the patient’s
vocal activities. If the patient’s vocal demands include

prolonged speaking (such asteaching, fundraising activities,
and lecturing), employing strategies such as resonant voice therapy would help to improve laryngeal efficiency and reduceoverall vocal load. Some patientsfind themselves helping with
their children’s soccer team, calling their dogs, or other tasks
that require vocal projection.
Establishing strategies forhealthy and efficient projection
with relaxed musculature andadequate respiratory support
will also help to reduce overall
vocal demand. Patients who
experience persistent vocal
changes after upper respiratory
infection or after tonsillectomy
can also benefit from a course ofvoice therapy to help reestablish stable and consistent
vocal technique. Even for professional voice users, the fundamental concepts of minimal effort at the laryngeal level and asense of anterior resonant focus
still hold. Focusing on these fundamentals can be very effective
in helping the patient manage
the totality of their communicative lives, rather than simply
focusing on their singing. Singing tasks may or may not beappropriate in the context of avoice therapy session, dependingon the patient’s individualV O L U M E

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ON THE FETISHIZATION... CONTINUED

needs. ASHA’s scope of practiceindicates that we work with voicein all of its functions. Referral toan SLP who is also a singer orsinging teacher may be appropriate at some point during the rehabilitative process, but only if thepatient’s therapeutic needs are
specific to that activity.

References:

fetishize our phones

from http://

Kraus Reader. Chicago:

thenextweb.com/

University of Chicago

insider/2016/03/12/obama

Press.

-on-fbi-apple-sxsw/#gref"fetish." MerriamWebster.com. 2016.

voice disorders use their voices in

http://www.merriam-a wide variety of ways. Singers arewebster.com (23 May

no exception. The reality of the2016).

Schroeder, J.E.
(2008),“Fetishization,” inInternational Encyclopedia of Communication,
vol.4,Wolfgang Donsbach

The fetishization of notinterviews, rehearsals, coachingknowing. (9 February

sessions, costuming appointments,2016). Retrieved fromand appearances at donor events,

http://

involves a high vocal demand thatwww.huffingtonpost.co

is independent from the sung ac-

m/daniel-kushner/the-tivities for which the singer has

fetishization-of-not-trained. It also involves vocal de-knowing-bernie-

mands that they share with thesanders_b_9195124.html

rest of the world, such as talking

Fetishizing family farms. (10on the phone, ordering coffee, andApril 2016). Retrieved

calling to their kids from one roomfrom https://of the house to another. The non-www.bostonglobe.com/

singing SLP with experience inideas/2016/04/09/

treating patients with voice disor-

fetishizing-family-farms/

ders, regardless of their etiology,

NJszo-

has much to offer this often-

KdCSQWaq2XBw7kvI

fetishized, “special-but-not-that-

L/story.html

special” population.

March 2016). Retrieved

Great Times: A Karl

Most patients who present withsinger’s life, with its early morning

above other values’. (11Zohn H, ed (1990). In These(ed.), Oxford:WileyBlackwell,1803-1808.
Sundberg, J. What’s so special about singers? J
Voice 1990;4(2): 107-119.
Koestenbaum, W. (1994). The
queen's throat: Opera, homosexuality, and the mystery of desire. New York:
Vintage Books.
American Speech-Language-

Obama on FBI v. Apple,
encryption: ‘We can’t

Hearing Association.
(2005). The role of the
speech-language
pathologist, the teacher ofsinging, and the speaking
voice trainer in voice habilitation [Technical Report]. Available fromwww.asha.org/policy

Brian E. Petty, M.A., CCC-SLP holds a Bachelor of Music

singing voice. He is a past coordinator for Special Interestin Voice Performance from Oklahoma State University, asGroup 3, Voice and Voice Disorders, for the American

well as dual Master of Arts degrees in vocal pedagogy and in Speech, Language, and Hearing Association, and is a frespeech and hearing science, both from The Ohio State Uni-

quent lecturer on the clinical management of voice and up-

versity. He is in clinical practice at the Emory Voice Center

per airway disorders.

in Atlanta, specializing in disorders of the professional andV O L U M E

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1Page 11

VOICE FOUNDATION NEWS4 6 TH A N N U A L S Y M P O S I U M :CARE OF THE PROFESSIONAL VOICECHAIRMAN, ROBERT T. SATALOFF

MAY 31—JUNE 4, 2017 PHILADELPHIA PENNSYLVANIA

Wednesday, May 31

Saturday, June 3

Basic Science Tutorials

Mixed Sessions

Accent Reduction Coaching

Panel: NIDCD Funding of Voice Research
G. Paul Moore Lecture - Sten Ternström, PhD

Thursday, June 1
Science Sessions
Quintana Awardee: Dimitar Deliyski, PhD
An Engineer in DysphonialandKeynote Speech: Robert Zatorre, PhD
PanelsPoster Session

Friday, June 2
Special Session:
Transgender Voice: Insights and Updates
Nancy P. Solomon, PhD
Lance Wahlert, PhD
Wylie Hembree, MD
Robert T. Satalofff, MD
Adrienne Hancock, PhD, CCC-SLP
Jenni Oates, PhD, M App Sc.

Mind the Gap
Special Session:
Training for the Professional Speaker
Aliaa Khidr, MD, PhD, CCC-SLP, Moderator
Professional Speakers Work Force
Eeva Sala, MD, (Finland)
Future Speech-Language Pathologists
Aliaa Khidr (USA)
School Teachers
Fabiana Zambon, SLP, MSc ( Brazil )Television Reporters
Vanessa Pedrosa, MSc ( Brazil)
Radio Reporters
Bernadette Timmermans (Belgium)
Fitness instructors
Anna Rumbach, PhD (Australia)
Teklemarketers
Ana Elisa Ferreira (Brazil) :Catholic Preachers
Kate Burke, MFA (USA)
Vocal Master Class

Georgia Dacakis, B App Sc (Sp Path), Grad
Dip Comm Dis., M. Ed

Sunday, June 4
Medical Session

Young Laryngologists Study Group
Vocal Workshops*Voices of Summer Gala*

Panel: What ENTs Need To Learn from Their
SLPs: Tough Love From Your Most Important
Voice Care Partner
Panel:
Voice Pedagogy Session

THE VOICE FOUNDATION BOARD OF DIRECTORSCHAIRMAN
DIRECTORS
Robert Thayer Sataloff, MD, Martina Arroyo
DMA, FACS
Harolyn Blackwell
Claudia Catania
Jennifer CreedPRESIDENT
Stuart Orsher, MD
Abdul-Latif Hamdan, MD
Walt Hunter
Gwen S. Korovin, MD
VICE-PRESIDENT
Michael S. Benninger, MD
Justice Sandra Newman
Renata ScottoMichael Sheehan
SECRETARY
Mary Hawkshaw
George Shirley
Caren J. Sokolow
Diana Soviero
TREASURER AND
GENERAL COUNSELBrian P. Flaherty, Esq.
ADVISORY BOARD CHAIRMAN
Michael M. Johns III, MD

THE VOICE FOUNDATIONTHE VOICE FOUNDATIONSTAFFEXECUTIVE DIRECTOR,
THE VOICE FOUNDATIONMaria Russo, MM
EXECUTIVE COORDINATORMANAGING EDITOR,
JOURNAL OF VOICE
Katie Erikson, MM

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