‘support’ - jenevora williams€¦ · electromyogram during velopharyngeal closure for...

‘Support’• Support is generally recognised as important in singing. • Teachers teach it. • Singers feel it. • Listeners think they can identify it. • And scientists are trying to determine what it is.

Thomas J Hixon

NB• Singers will be adamant that they know what they are doing• Singers do not do what they say they do• Singers are not always aware of what they are doing

Royal Academy of Music 24.02.2020

The respiratory system:

some numbers

• Tidal volume = 1/2 litre

• Residual volume = 1.5 litres (remains in lungs at all times)

• Vital capacity = total amount of available air

• Vital capacity in healthy adults ranges from 3.5 to 7 litres (depending on height and build)

• Lung capacity decreases with age 1% per year

• At extremes the passive forces → Ps = ±40 cmH2O

The respiratory system: some numbers

• Ps = subglottic pressure, measured in cm H2O

• conversational speech = 5-15 cm H2O

• singing = 15-30 cm H2O

• Flute = 30 cm H2O

• Oboe = 60 cm H2O

• Trumpet = 100 cm H2O


The respiratory system: what does the larynx want from this?

• At extremes the passive forces → Ps = ±40 cmH2O• conversational speech = 5-15 cm H2O• singing = 15-30 cm H2O• for extremes (eg. very loud, belting) may be 50 cm H2O• The vocal folds need a subtle variation of Ps throughout a phrase

• As long as this is totally flexible and variable, do they care how this is managed?


More on Breathing Efficiency, Effectiveness and Economy

• Most people get reward from working hard• When they grasp an idea, it is then enthusiastically employed until it doesn’t feel so unusual

• Then it’s done a bit more, and a bit more…• Efficiency is about reducing effort levels to the most economic

• The most economic will actually ‘feel’ like less, as it is using existing systems and patterns effectively


Inflammation of the vocal folds: how to achieve an instant reduction• Inflammatory markers reduce with stretch and massage

• SOVT slides though range

• Begin small range around speaking pitch

• Gradually extend from here

• Gentle, quiet, slow - even and clear both up and down

• Use M1 and M2 in all singers

Verdolini, K., Li, N. Y. K., Branski, R. C., Rosen, C. A., Grillo, E. G., Steinhauer, K. & Hebda, P. A. (2012). Vocal exercise may attenuate acute vocal fold inflammation. Journal of Voice, 26(6), 814


•Open lips:

•Air pressure in mouth (also above larynx – supraglottic) = atmospheric air pressure

•Nature of vocal fold collision is dependant on the difference between Ps and Po

•Semi-occluded vocal tract:

•Supraglottic air pressure = increased

• Less difference between Ps and Po

Air pressure


Effects – The science• Overall air flow is reduced to the most efficient

• Reduces lateral pressure of vocal folds (de-constricts)

• Enables a thinner colliding mass (reduced adductory force)

• Allows subglottic pressure to increase without overadduction (pressing)

• Reduces Phonation Threshold Pressure


Semi Occluded Vocal Tract

★ Range from high resistance to low★ Puffy cheeks★ Straw phonation (depending on diameter of straw)★ Voiced fricatives★ Lip or tongue trills★ Humming★ /i/ or /u/ vowels


benefits particular to puffy cheeks

rather than any other SOVT

•Raised soft palate

•Loose jaw

•Loose facial muscles

•…add in pigeon for total functional release


SOVT - what’s the obvious flaw?

• If a change is purely mechanical, if you remove the external influence, the behaviour will revert to the original state (accounting for inertence)

• Hold your thumb tightly in your other fist - you can’t pull your thumb out

• Get someone to wrap their hand around your fist and squeeze hard

• Despite the added squeeze, you can now pull your thumb out.


SOVT - mechanical or neurological?

• Your own hand responds to the squeeze and your brain releases the effort

• Not at a conscious level.

• Minor neurological adjustments are made as an automatic response to reduction in necessary effort


SOVT - mechanical or neurological?

• The same happens in the larynx when an external force reduces the perceived effort needed.

• The neurological response is to lay off a bit

• This happens with SOVT

• with acoustic impedence

• and when the extrinsic musculature eases off due to more efficient head/neck balance.


Nohara, K., Kotani, Y., Ojima, M., Sasao, Y., Tachimura, T., & Sakai, T. (2007). Power Spectra Analysis of Levator Veli Palatini Muscle Electromyogram During Velopharyngeal Closure for Swallowing, Speech, and Blowing. Dysphagia, 22(2), 135-139.

Shprintzen, R. J., Lencione, R. M., McCall, G. N., & Skolnick, M. L. (1973). A three dimensional cinefluoroscopic analysis of velopharyngeal closure during speech and nonspeech activities in normals. Cleft Palate Journal, 11, 412-428.

★It raises in order to separate the oral space from the nasal space

★We automatically do this when we swallow, when we blow and when we speak/sing

★Soft palate function in blowing and voicing is different than function in swallowing (more slow-twitch muscle units)

What do we know about the soft palate?


★Online discussions concerning this can stimulate some lengthy conversations:

★ Voice Geek JW 13.10.18 - 211 comments

★ New Forum for Professional Voice Teachers Ian Howell 21.2.19 - 304 comments

What else do we know about the soft palate?


Top = Oral airflow, Bottom = Nasal airflow

★ Ian Howell (New England Conservatory)Single tenor singing B3 to B4 ascending and descending

★ His stated aim and sensation was that he consciously raised his soft palate in order to overcome any instability at the passaggio point at F4


Inaccurate body-mapping

When we think we are doing one thing and we are in fact doing another

Nasalance or nasality?★Nasalance = percentage of air entering the nose, controlled by the opening and closing of the velopharyngeal port

★Nasality = perceptual, it’s a whole package of resonances


Nasalance or nasality?★Can we tell the difference?

★Singers were assessed by an expert panel with respect to nasal quality of the vowel timbre

★No correlation was found between rated nasal quality and the presence of a velopharyngeal opening

Birch, P., Gümoes, B., Stavad, H., Prytz, S., Björkner, E., & Sundberg, J. (2002). Velum Behavior in Professional Classic Operatic Singing. Journal of Voice, 16(1), 61-71.


The Posterior Pharyngeal Ridge (Passavant’s Wall) in Various Singing StylesA Pilot Case Study by Lieve Jansen, Sarah Algoet, Henk Smits, Maité Helsen, Christina van den Hove & Felix de Jong

Issue: A lot of anatomic & kinesthetic instructions are being used in voice teaching “Do this” & ”Feel that”

Question: Do anatomic intent & kinesthetic sensations correspond to what we see in MRI images?

Method: 5 professional singers / teachers (m & f) in various singing styles, trained in 1 or more of these: Classical singing technique, mainly auditive training Classical singing technique, mainly anatomic & kinesthetic training Complete Vocal Technique, a.o. anatomic & kinesthetic training Estill Voice Training, a.o. anatomic & kinesthetic training Subjects received specific & anatomic instructions & described their kinesthetic sensations Focus on Passavant’s wall (naso-pharyngeal closure mechanism) & tongueFindings: Anatomic intent & kinesthetic sensations do NOT always correspond to what we see on MRI images Interesting quote of subject: “I know in theory that my tongue must be high... But it feels low!” Remarks: Case study => No generalisations, no conclusions, no answers, only more questions…

Are anatomic & kinesthetic instructions advisable during teaching?Is it possible to train singers to connect their kinesthetic sensation to what actually is happening?

*insert your own questions here*

★The soft palate may or may not be raised when we sing

★It may be raised in different configurations

★We may not be able to feel the difference ourselves

★We may not be able to hear the difference in others

★Why do we instruct singers to raise their soft palate?

What do we now know about the soft palate?


★So - would it not be more useful to aim for an acoustic outcome rather than an internal sensation?

A brief look at Motor Learning Theory…


Intrinsic or Extrinsic learning

★ Intrinsic = habits (walking, speaking) 90% of our actions

★ Memory without conscious awareness

★ Conscious awareness can inhibit performance

Winter, S., MacPherson, A., & Collins, D. (2013). “To Think, or Not to Think, That Is the Question”. Sport, Exercise, and Performance Psychology. doi: 10.1037/spy0000007


Intrinsic or Extrinsic learning★ Ideal conditions for learning a skill:

★ focus on outcomes or intention, not action

★ eg accurately hitting the bull’s eye

★ mental imagery training in archerySa'ari, M. R., & Isa, K. A. (2018). Effect of visuo-motor behavior rehearsal training (VMBR)

approach in enhancing novice archer shooting accuracy performance.

Koehn, S., Morris, T., & A.P., W. (2012). Imagery intervention to increase flow state and performance in competition. The Sport Psychologist, 28(1), 48-59. doi:10.1123/tsp.2012-0106


What about the detail?

★ Elite athletes move between states of conscious awareness of body movements and automated modes of execution

★ Re-learning skills may take careful breaking down of movements and then re-assembling them into the whole

★ Performers may be ‘in the zone’ but have to respond to unexpected situations


Singing in the Brain★ Two available pathways:★ Cognitive (via prefrontal cortex)★ Emotional (via amygdala and periaqueductal grey)

★ Emotional is quicker and employs a well-rehearsed set of pathways from intent to voice

★ The closer we can get to our emotional voice, the more effective our combined neuromuscular function becomes

★ Responses for emotive vocalisations are learned into our brains from a young age. This is essential for our survival.

LeDoux, J. (1998). The Emotional Brain. London, Weidenfeld and Nicolson.


So - how should we teach the most efficient way to sing?

★ Absolute first call is emotional intention

★ that may be enough - and you’re there in one easy move!

★ if necessary, tweak the detail in the knowledge that our perceptions and explanations may be incorrect


Function or Fancy?★ If we base our teaching on function, we may actually be

wrong (aryepiglottic narrowing)

★ If we base it on outcome (ringing/twangy sound) we are less likely to be wrong

★ We may need to fix some extra actions that come in to ‘help’ like constriction or nasality, but that can also be done with imagery and sound models.

★ Always embed this in an emotionally motivated performance


‘Education is what survives when what has been learnt

has been forgotten’ B.F. Skinner

“For last year’s words belong to last year’s languageAnd next year’s words await another voice”

T.S.Eliot, Four Quartets


‘support’ - jenevora williams€¦ · electromyogram during velopharyngeal closure for...

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