VOLUME 21, ISSUE 1

The Voice

VOICE OF THE

The Voice

EDITOR

Kim Steinhauer, PhD

Voice Science: What Is It Good For?

IN THIS ISSUE:
THE VOICE OF
THE EDITOR

1BY EDITORKIM
STEINHAUER,
PHD
VOCAL
LEARNINGPERSONALITIES:DUALITY INVOICEEDUCATION

2, 3, 4BY ROCKFORDSANSOM, MFA,PHD
PINK MIST AND
THUMBELINA
VOICE TRAINING:

5, 6

BY KIM STEINHAUER, PHD

Anatomy. Physiology.

the practice. In class lectures,

Acoustics. Psychoacoustics!

they track formant frequen-

Past transcripts of the Voicecies, identify the intrinsic

Foundation Symposia andmuscles of the larynx, andarticles in the Journal of

discuss the Fletcher-Munson

Voice overflow with exem-

curve; yet, in the studio (andplary presentations and stud-sometimes the clinic) theseies on each of these topics.

premises are set aside in favor

VOICE OF THE EDITOR

Every year many scientists,

of vocal artistry in speech

KIM STEINHAUER, PHD

therapists, and artists collab-

and song. Our three contribu-

THE ROLE OF
VOICE SCIENCE
IN THE STUDIO
IN THE TWENTYFIRST CENTURY

orate in theoretical and clini-

tors for this newsletter offer

cal research and provide

their opinions on merging thestimulating and detailed da-voice sciences with the vocal

BY MARCIEROSENBERG,
MS, BM, CCC

ta connecting the dots be-

arts. From formant tuning totween the sub-topics of voice

optimizing vocal instruction

science. Although our practi-

for “nerds and hippies,” ourtioners view this work as

experts share practical strate-important, many of our voicegies to reach all voices in thisteachers and trainers still

issue entitled, “Voice Science:

separate the research from

What’s it good for?”2016
SYMPOSIUM
INFORMATION

7, 8

ACOUSTICPEDAGOGY9, 10

BY KENBOSEMAN, MM
WORLD VOICEDAY

11

MORE 45TH
ANNUALSYMPOSIUM
INFO

12CONTACT

13

Head of Voice
Point Park University
Conservatory of Performing Arts
President, Estill Voice International

Voiceof the Editor

V OLU ME

21,

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Page 2

VOCAL LEARNING PERSONALITIES:DUALIT Y IN VOICE EDU CATIONBY ROCKFORD SANSOM,

struct their own un-

PHD, MFA

derstanding for concepts with hands-on

On the first day of myactivities.

voice classes, I always
quote from the Harry Pot-

Vocal Learningter series. “Like potions

Personalities

class at Hogwarts,” I explain, “understanding theAnecdotally, I

voice is a subtle science andfind that most voice

an exact art.” The Millenni-

students and mostals love that.

voice teachers fall

The quote highlights"This dichotomy mirrors a
multigenerational debate
in educational philosophy:
direct instruction verses
constructivism. ”

into one of two categories

losophy offers a unique way

the polarity inherent inaligning with the two educa-

to evaluate ourselves asmuch vocal training, a dis-tional theories. I playfully

teachers, trainers, coaches,

cipline that encompasses

call the categories the nerds

and clinicians, and the spec-

both the technical elements

and the hippies. Nerds favor

trum offers a way to viewof voice science and the

direct instruction and want

our personality as it relates

practical, often artful, ap-

absolutes and facts. Theyof our clients and students.

plication of those princi-

need specific learning goals

On the imaginary spectrum,

ples. This dichotomy mir-with tangible concepts anda number one (1) is a fullrors a multigenerational

language, and they cherish

nerd, and a number ten (10)debate in educational phi-the exactitude of science.

is a full hippie. I would wa-

losophy: direct instruction

Hippies favor constructivism

ger that most clinicians andverses constructivism. Withand love exploration. They

scientists would skew toward

fairly self-evident names,

find specific end goals stress-

lower numbers, and mostdirect instruction advocates

ful and value the freedom ofactors and singers would

explicit pedagogy withvocal metaphoric language

skew toward the higher num-plain language and tradi-and play.

bers. While I teach actors

tional delivery like lecturesand singers, I give myself aand demonstrations, andThis lighthearted spec-

constructivism (an umbrel-trum based in education phi-four (4) since I have a clear(Continued on page 3)

la term for many theories)
encourages learners to con-

The Voice of the Actor / Educator

VOLUME 21, ISSUE 1

Page 3

VOCAL LEARNING PERSONALITIES, CONTINUED

feel a change.” The client may also(Continued from page 2)

gorespond to movement like dance or
yoga as means to prompt vocal

nerd tendency despite my artisticchange. Hippies usually do not enjoyoccupation.

using anatomical terms, finding themoverwhelming and superfluous.

Language and Styles
within the Personalities

Reaching the Other End of theSpectrum

Knowing my Vocal Learning
Personality gives me a way to begin
working with classes and privateclients. Where do I fall on the spectrum, and where does my client

Most educators instinctively
teach to their own learning style—a

ROCKFORD SANSOM,
PH.D., M.F.A.

fact true of all kinds of learning. Similarly, voice educators too often teachfall?

Vocal Coach & Accent/Text
Director
New York, NY

to their own Voice Learning Person-

Nerds: Nerd language involves
seeing and hearing in order to process. When a client has accomplished a vocal target, the client
may say, “I hear achange,” or they may
hear the teacher andrecreate the sound.

ality. I’m a nerd. Even though I am asinger and actor, I did not care forhippie styles of voice training in theback and forth between the person-

conservatory. I hated dancing vowel

ality styles. In one-on-one settings,

sounds; I wanted the formants ex-

the client and teacher personalities
may differ, which will

"Meeting someone’s need pedagogicallyNerds also enjoy using
anatomy charts andis just as important as the knowledge

videos or watching
their voice on a spectrogram. This groupprefers to use a high number of anatomical concepts and words anddetests ambiguous, imagistic language. Nerds want clear objectives
and assessment techniques.

Hippies: Hippie language involves feeling and whole-bodymovement in order to process.
When a client has accomplished a
vocal target, the client may say, “Ibehind the pedagogy. ”

require tactics outside ofa teacher’s preference.
Tips for Nerds: Only givethe least amount of terminology needed at any
moment. Leonardo daplained, which frustrated my more

Vinci advises that “Simplicity is thehippie instructors. Now as a teacher,ultimate sophistication.” For begin-

I know that I can sometimes frus-ning clients, nerds may need totrate my hippie clients and students

streamline core concept to sixty

with a barrage of Latin names andseconds or less. Hippies may need tolaryngoscopy videos. I cannot only

move more, play more, and do lessteach to my Vocal Learning Personal-

repetitive drills than the nerds.

ity style.
Ultimately, as teachers, coaches,

Tips for Hippies: Go beyond

and clinicians, we want to reach all

metaphor. Imagery like “feel thekinds of learners. Our curricula must

breath wash over you” or “be on(Continued on page 4)

T H EVOI CE

Page 4

VOCAL LEARNING POSSIBILITIES, CONTINUED(Continued from page 3)

your voice” deeply exasperates

tives clearly stated at all times andhave clients that need to dance vow-assessment tools.

els, and theatre teachers may have

Obviously, all learners enjoy

actors who need to look at laryngos-

nerds. Give anatomical concepts, orboth nerd and hippie traits andcopy videos. Meeting someone’s need

if those are not available, then offer

styles, and certainly no person is ex-

pedagogically is just as important asrecorded examples of the desired

clusively either of these stereotyped

the knowledge behind the pedagogy.

vocal goal. Nerds need the objec-

personalities. But clinicians may

World Voice Day
TVF Houston Chapter
In order to celebrate our upcoming World Voice Day, Treasurer Jack Beetle and TUTS have graciously offered to host your attendance (and a guest) at an
Invited dress rehearsal for TUTS’ Underground Production of “Heathers: The Musical”, Tentative Rating: R
Wednesday, April 27, 2016 at 7:30pm, Zilkha Hall atthe Hobby Center for the Performing Arts
There will be no cost to attend, however it is a dress
rehearsal and there may be some stopping and starting to manage technical difficulties. Also, our seats
will be limited to about 25, so please RSVP early.
Invited dress is just like a performance: park in the
Hobby Center Parking in back and then go to Zilkha
Hall. There will be someone with a list in the lobby
checking names.
Please RSVP by April 18 to Jack directly at jackbeetlestudio@gmail.com and he’ll put a list together
and give it to the folks at TUTS. Remind them thatthe show is Rated R/NC-17. Jack will be in the pit
conducting and playing keyboards, and I’ll unfortunately be on my way to a meeting in Chicago thatnight. Please seek out and engage with other members while there and take a picture of the group so I
can post it on our next minutes.

VOLUME 21, ISSUE 1

Page 5PIN
MP I S T A
B KL
M NSD T H U M B E L I N A V O I C E T R A I N I N G :YAURALEXICO AND

ARY ANDAGE

The Role of Voice Science in the Studio in the Twenty-First Century
BY MARCI ROSENBERG, MS, BM, CCC

apy technique, which has not served
her well. In a clinical setting, by

Just last week I had a female

today’s standards that would bepatient in her 40’s in my voice clin-

considered unethical. Voice science

ic. She is an active performer ofhas evolved significantly over the

Christian pop music in her church

past 50 years and technical advanc-and community and has sung pro-es have allowed voice scientists tofessionally for many years. Her

look closely at the biomechanics of

speaking voice was soft-edge andvoice production in numerous

somewhat high-pitched, and herways. In a clinical world where

singing voice was unengaged anddemonstrating efficacy is of para-

weak sounding. During our firstmount importance, management

MARCI ROSENBERG,

session, we explored her vocal capa-

strategies of the voice have evolved

BM, MS, CCC

bilities. She was astounded that I

over the years out of necessity to

was asking her to sing in her chest

ensure that our clinical practice isregister at a good moderate volume.

consistent with current research and

She cautiously followed my direc-

not with a Hans Christian Andersen

tions and she could not believe thatfairy tale character.

Voice & Singing Specialist
Vocal Health Center
Departments of Speech Language
Pathology & Otolaryngology -after such a short time it felt so easyand sounded so good to her ear.

How have vocal pedagogy andWhen I asked why she was so sur-

vocal pedagogy training programs

very early exercise physiology prin-prised by her vocal response, shealso evolved to better align them-

cipals in his recommendations on

told me that she underwent voice

selves with current knowledge of

how long to practice to build vocal

therapy in her 20’s and was told atvoice science? What is the role ofstamina. Since the time of Garcia

the time by the speech pathologist

voice science in the voice studioII, not only have we made signifi-that she needed to both sing andwhere artistry and craft are so vital

cant technical advances which havespeak like Thumbelina. He told herto the process of training to be aallowed us to better study the bio-to go home and watch the movie

vocal performer? Does emphasis on

mechanics of voice science in a moreand emulate that vocal quality; andmuscles and biomechanics stifle ar-objective manner, but the industry

according to her, this was the pri-tistic growth? Garcia II wrote about

demands of the vocal athlete havemary focus of her treatment plan.

vocal health and hygiene parame-

significantly changed and the vocal

She diligently worked toward thisters that are not so far off fromstakes are much higher (as are thegoal, and has carried with her 20+

what we would discuss today. In

notes written in many contempo-

years of this Thumbelina voice ther-fact, Garcia II even employed somerary songs). For these reasons, theThe Voice of the Therapist

role of voice science is just as im(Continued on page 6)

T H EVOI CE

Page 6EXCESSIVE TONGUE TENSION, CONTINUED(Continued from page 5)ly switched her previous reference ofexcessive caution and vocal guard-

portant in the voice studio as it is in

ing to an athletic training mind-set.

a clinical setting. In my own voice

This switch allowed her to experi-

studies over the past 30 years, I

ence voice production from a differ-

have been told to imagine every

ent, more functionally-based per-possible thing from pear shaped

spective. There are numerous ways

tones floating out of my head, toto address various vocal issues. In

inhaling a rose, to visualizing pinkthis particular case, I simply had

mist. Every once in a while I made aher vocalize beginning around A3 in

nice sound but I doubt it was

slow third glides at a good moderatebecause I was imagining pink

volume on an /a/ moving then to

mist floating out of the backof my throat. Not that there isbrighter vowels for several minutes
then switching to her head register
where I had her vocalize on /i/ and /never a role for certain types of vis-u/ in a simple 5-note pattern before

ual imagery for some learners, but

switching back down into her chestin the twenty-first century there isregister again. I asked her to stop

no reason why functionally-based

and noticed what she was both feel-

voice training rooted in voice sci-

ing and hearing throughout the pro-ence shouldn’t be foundational tocess. There is no particular magic in

one’s teaching regardless of vocal

these simple exercises, however, thestyle. I have found that singers ofintention behind why I chose them

all styles, levels and ages can easily

was not a random choice, rather it

relate to something that is tangible

was based on how I wanted herto them. Since so much of voice pro-muscles to respond in different parts

duction is not seen by the eye, andof her range. From this point she

often not kinesthetically obvious, anwill build stronger, kinesthetic refer-athletic analogy used to convey

ences for various kinds of vocal pro-voice science principals is often very

ductions and have tools and exercis-

useful to provide context allowing

el and continuing education oppor-

es designed to elicit specific vocal

the learner to understand that voice

tunities to expand their knowledge

behaviors. She now has a muchproduction is a biomechanical pro-base. To that end, hopefully

more concrete frame of reference

cess. When I explained to myThumbelina vocal references are awhen managing her own voice after

Thumbelina patient that we were

thing of the very distant past as wecompleting her short course of voice

strengthening and coordinating

continue to move forward with sci-therapy. Voice science has evolved

muscles when working in her chest

entific and functionally based voice

significantly over the past 50 years

voice and strengthening and coordi-

training.

and voice clinicians and pedagogues

nating in other ways when working

now have access to many wonderfulin her head register, she immediate-resources, both at the collegiate lev-.“

T H EVOI CE

Page 72016 SYMPOSIUM INFORMATIONFRIDAY MORNING SPECIAL SESSION
When Exceptional Speaking Skills are Required
Introduction by Nancy Pearl Solomon, PhD
The Importance of Voice for Public
Speaking
Mara Behlau, PhD was born in São Paulo, Brazil.
She is speech-language-pathologist, voice specialist, executive coach and also consultant on communication. ). She is an ASHA FELLOW and also received the Certificate of Recognition for Outstanding Contributions in International Achievements. She is an affiliate professor at INSPER university,
São Paulo, where she teaches communication for business - interpersonal relationships. She has been involved at The Voice Foundation
for more than 30 years and is author of many textbooks in the areaof voice.

Political Speechmaking: How the Text
and the Voice Complement vs. Collide
For 25 years, Michael Sheehan, MFA has used his
voice and communication skills to enhance vocal communication for political leaders, corporate executives
and other speakers throughout the world. He hascoached more presidents, vice presidents, first ladies, cabinet secretaries, governors, mayors and members of congress than anyone in
the United States; and he has been involved as a voice coach in every
presidential and vice presidential debate since 1988. His training andadvancement of the confidence and credibility of politicians, journalists, Hollywood stars, professional athletes and others has had profound influence on public opinion, and in world leadership

Walking the Actor's Tightrope between Vocal Survival and Extreme
Vocal Demands
Bonnie Raphael, PhD was a professor in the Department of Dramatic Art at the University ofNorth Carolina at Chapel Hill. Before coming toChapel Hill, Dr. Raphael coached productions for the American Repertory Theatre and taught at its Institute for Advanced Theatre
Training at Harvard University for eleven years. She taught for
more than 45 years at educational institutions including Northwestern University, the University of Virginia, the National Theatre
Institute in Denver and elsewhere, and she has coached more than
250 productions - and so much more.

FRIDAY MORNING SPECIAL SESSION PANEL GUESTSJohnny Heller
was born in Chicago to a lovely family that while happy to have him
were nonetheless upset - having
hoped for a Portugese Water
Dog. Johnny graduated with honors from Loyola University of Chicago and let his prestigious
education go to waste while pursuing a career in acting. Hisquest took him from Chicago to New York to Los Angeles
and back to New York where he currently resides with his
sweetie and his dogs. He has won audio awards galore! http://johnnyheller.com/about/
Walt Huntera Philadelphia native and an investigative reporter with KYW-TV. He
joined the station in 1980 as a crime
reporter and was named best television reporter by Philadelphia Magazine in 2004. He has received eight Philadelphia Emmy
Awards. The Broadcast Pioneers of Philadelphia inducted
Hunter into their Hall of Fame in 2007.
Elaine Pasqua, CSP
Since 1997 Elaine Pasqua has combined her life experience, passion,and enthusiasm to transform thelives of half a million college students
nationwide. Speaking at more than
60 campuses annually, her entertaining and uniquely interactive programs motivate students to assess the life-altering consequences of high-risk drinking, sexual assault, and unprotected sex. Elaine's expertise has given her the opportunity toprovide player development training yearly for numerous
NFL teams, the NFL, the NBA, and the Philadelphia Phillies. As a member of National Speakers Association, Elaine
recently obtained her Certified Speaking Professional designation which is held by only 12% of the 5,000 speakers belonging to the Global Speaking Federation.

T H EVOI CE

Page 82016 SYMPOSIUM INFORMATIONE A R L Y B I R D R E G I S T R A T I O N E N D S A P R I L 2 6 TH

REGISTER HERE!

SUBMIT YOUR STROBE VIDEOFOR THE "STROBOSCOPY OSCARS" MEDICAL PANEL

taking place on Sunday, June 5, 2015 at
The Voice Foundation's 45th Annual Symposium: Care of the Professional Voice.
This will be a collection of cases (5 minute presentation) structured as follows:
1. BRIEF clinical history
2. Presentation of selected amazing laryngeal stroboscopies
3. One specific learning point from the case.
If your video is chosen it will win you a place on the panel.
Send your video to Michael M. Johns at johnsmd@me.com

Symposium Master Class - Dolora Zajick Returns!
We are thrilled to announce that Dolora Zajick will return in 2016 to lead the Master Class.
Anyone who was there in 2015 will tell you how fascinating the Master Class was and we are excited to havethis master teacher with us again. The class will takeplace on Saturday, June 4th at 7:35PM with a Reception Following. The singers will be accompanied by
Richard Raub.

CME and CEU Credits
This course is offered for up to 23.25 CME Credits
and 3.80 ASHA CEUs (Various levels, Professional Area)

THE

Page 9VO IC EBY KEN BOZEMAN, MM

Nine years ago in an article
for the Journal of Singing
entitled “A Case for Voice
Science in the Voice Studio,”
I wrote the following about
current pedagogy:“Though few would claim tobase their teaching exclusively on voice science, many
now seek to compare historic
pedagogy, or at least theirown personal pedagogic his-

tories, with information

Nonetheless, with sufficientknowledge and a trained ear,acoustic pedagogy is an areaof remarkable practicality
and efficacy that continues totransform my own pedagogy,
significantly improving studio efficiency. This present
brief article highlights a few
examples of its application.
Here are several observations:emerging from the investigations of voice science in order to confirm or adjust
their approach, for new input, and for help in articulating more accurately vocal
function and strategy for
their students.”
I followed with examples
about achieving a noiselessinhalation and about the
acoustics of male passaggio.
Since that time I have written additional articles andthe book, Practical Vocal
Acoustics: Pedagogic Applications for Teachers andSingers (Pendragon Press,2013). In these writings I
acknowledge that acoustic
pedagogy is but one facet ofa curriculum concerned withthe physiology of singing,and must be complemented
by instruction on breathing
and laryngeal registration.



There are acoustic registers that are somewhat
independent of laryngeal
registers. These registers—segments of range
demarcated by audible
transitions—are primarily the result of source
harmonics passing
through the first formant(F1).
If the vocal tract shape iskept constant during
pitch ascent, the timbreof the vowel and tone
will become increasingly
close as source harmonics
rise through the first formant. I have labeled thisphenomenon passive
vowel modification, in
contrast to the active
vowel modification accomplished by reshaping
and retuning the first
two formants.
The first formant instinctively locks on and tracks
lower harmonics that risethrough it. Tracking thesecond harmonic (2fo)with the first formant(F1) is yelling. Doing it
skillfully belongs tostyles of singing related
to belting. It is avoided
in Western classical singing. Tracking the firstharmonic (the sungpitch, 1fo) is whooping,and is characteristic of
human celebration, of
treble voices in Western
KEN BOZEMAN,MM
classical singing, and insome popular genres.
There are only two ways
Professor of Musicto raise the first formant
Lawrence University
in order to track a harmonic: vowel opening (agood choice where appropriate), and tube shortening/larynx raising (apoor choice in classicaltechnique except for extreme range: B5 andabove)In Western classical singing, all harmonics otherthan the first should beallowed to pass throughthe first formant without
tracking. In other words,
the first formant of avowel (and the vocal
tract shape and length)
should be maintained atleast until the second
harmonic has risen above
F1. This will result in
predictable passive vowel
migrations at acoustic
registration transition
points.
Knowing first formant
locations and the passive
vowel migrations andsensations associated

The
Voice
of
the
Scientist(Continued on page 10)

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ACOUSTIC PEDAGOGY, CONTINUED(Continued from page 9)

with these acoustic registration events constitutes a reliable basis forproblem solving in thestudio.

Resources that identify average formant locations by
voice can be found at:www.kenbozeman.com/
I close with one example ofapplication for treble voices.
Treble voices will experiencea maximum vowel migration as their sung pitch approaches the first formant
from below. For example,
the first formant of a close /o/ is in the vicinity of C5.

Starting at about the A4 below that, the vowel will seemto the singer to migrate increasingly toward an /u/ if an
open-throated, convergent
vocal tract shape is successfully maintained, thoughexternal listeners will continue to perceive this as a resonant, though closer /o/.
Above about D5 the singer
can begin to open the /o/vowel more to maintain andtrack whoop timbre into theupper voice.
This phenomenon is often
best explored initially in a
genuinely motivated inflective speech loop, such as in
the epiphany, “Oh, I see!”with an up and down pitch
excursion on the “Oh.” Suc-

cessfully coaching the vowel
articulation and laryngeal depth(i.e., the vocal tract shape) toremain the same while theacoustic sensation changes
should result in the above described vowel migration. Once
that migratory path is experienced, any vocalise that ascends
and descends through C5 on /o/can be modeled after that migration. A simple example mightbe: starting on Ab4, sing Ab Bb
C Bb Ab (do re mi re do). Transpose this up and back down a
few pitches. Upward steps inthis pattern should seem closer
and deeper in vowel and timbre,
while downward steps will gradually open.

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Help us to celebrate WORLD VOICE DAY with a short pause in your evening for ourconcert and reception sponsored by Moore Brothers Wine Company.

Transition from your work day with song and a toast to Voice:Tell Your Truth, Find Your Voice, Sing Your Song.
Free & Open to the Public. SEATING IS LIMITED so RSVP!
The concert will be hosted by AVA's Danny Pantano. It features an introduction by Chairman,
Robert T. Sataloff and the voices of members of The Voice Foundation and Philadelphia Ear, Noseand Throat Associates: Christina Chenes, Katie Erikson, Michelle Eugene, Maria Russo and special
guests Maria Jabbour, Lisa Willson and Grant Uhle. Richard Raub will accompany the singers. The
reception, sponsored by Moore Brothers Wine Company, follows.

World Voice Day
LOOK UPat the Philly PECO Building crown lights April 11—13" 4 / 1 6 C E L E B R AT E W O R L D V O I C E DAY:E V E N T S AT V O I C E F O U N DAT I O N . O R G "PECO Building, 2301 Market Street, Philadelphia, PA 19103

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VOICE FOUNDATION NEWS45TH ANNUAL SYMPOSIU M, CHAIRMAN, ROBERT T. SATALOFF
JUNE 1—JUNE 5, 2016 PHILADELPHIA PENNSYLVANIA

Wednesday, June 1

Friday, June 3

Basic Science Tutorials

Voices of Summer Gala

Accent Reduction Coaching
Saturday, June 4
Thursday, June 2
Science Sessions
Quintana Awardee: RJ Baken PhD
Keynote Speech: Joseph Zabner, MD
PanelsMedical Sessions
Speech-Language Sessions
Interdisciplinary Panels
G. Paul Moore Lecture - Mara Behlau, PhD, CCC-SLP
Vocal Master Class—Dolora Zajick

Poster Session

Friday, June 3

Sunday, June 5

Special Session:

Medical Sessions

When Exceptional Speaking Skills are Required

Interdisciplinary Panels

Featured—Solomon, Behlau, Sheehan, Raphael

Voice Pedagogy Sessions

Panel—Heller, Pasqua, Hunter
Young Laryngologists Study Group
Vocal Workshops

THE VOICE FOUNDATION BOARD OF DIRECTORSTHE VOICE FOUNDATIONCHAIRMAN
Robert Thayer Sataloff, MD,
DMA, FACS

THE VOICE FOUNDATION
STAFF

219 N. Broad St. 10FLEXECUTIVE DIRECTOR,
THE VOICE FOUNDATIONMaria Russo, MM(215) 735-7999

EXECUTIVE ASSISTANTMANAGING EDITOR,
JOURNAL OF VOICE
Katie Erikson, MM

voicefoundation.org

PRESIDENT
Stuart Orsher, MD
VICE-PRESIDENT
Michael S. Benninger, MD
SECRETARY
Mary Hawkshaw
TREASURER AND
GENERAL COUNSELBrian P. Flaherty, Esq.
ADVISORY BOARD CHAIRMAN
Michael M. Johns III, MD

DIRECTORS
Martina Arroyo
Harolyn Blackwell
Claudia Catania
Jennifer Creed
Abdul-Latif Hamdan, MD
Gwen S. Korovin, MD
Justice Sandra Newman
Renata ScottoMichael Sheehan
George Shirley
Caren J. Sokolow
Diana Soviero

Philadelphia, PA 19107(215) 762-5572

office@voicefoundation.org
journal@voicefoundation.org
abstracts@voicefoundation.org
symposium@voicefoundation.org