Knowledge, Experience, and Anxieties of Young Classical Singers in Training

Vocal Health Care amongst Hindustani Classical Singers- A Mixed Methods, Cross-Sectional Survey

OBJECTIVES

The objective of the present survey was to profile the knowledge, attitude, and practices towards vocal health care amongst Hindustani classical singers.

STUDY DESIGN

Mixed-methods, cross-sectional questionnaire-based study.

METHODS

A self-reported questionnaire was developed and used to gather data on the knowledge, attitude, and practices of Hindustani classical singers towards vocal health care. An online survey link was generated, and responses were collected from self-identified trained Hindustani classical singers. Descriptive statistics was carried out for the closed-ended questions and inductive approach was used to analyse the responses of open-ended questions.

RESULTS

Ninety-four self-identified trained Hindustani classical singers participated in the study. The responses indicate good knowledge towards vocal health measures and positive attitudes towards vocal health care. The open-ended responses were analysed using an inductive approach. Although, 70% were aware about role of a speech language pathologist, only 9.7% reported of consulting one in the event of voice problem. Further, 70% singers reported of following precautions to avoid voice problems while 85.1% considered voice rest as necessary before a performance. The singers reported of using home remedies, vocal and non-vocal measures as a part of vocal health measures.

CONCLUSIONS

The present study helps to profile the knowledge, attitude, and practices towards vocal health care amongst Hindustani classical singers. It also helps to provide a basis for further studies to establish an empirical basis for the reported practices towards vocal health care.

Associations of Postural Activities and Knowledge for Voice with Breathing Issues and Voice-Physical-Disorders Among Lyric Singers

OBJECTIVES/HYPOTHESIS

The purpose of this research was to study the associations of postural activities and knowledge of the voice of opera singers, recognized in the literature for the specificity of their posture. Additionally, the link between vocal pathologies and body pains on one hand, and posture control on the other hand was investigated.

METHODS

A questionnaire including 90 questions was distributed to singers in France and overseas during 6 months. Ninety-eight opera singers participated in the survey. Data were analyzed using Excel and Stata software.

RESULTS

The results showed that the singers who paid more attention to posture, postural work while singing, had knowledge of anatomy and postural role in singing voice, healthy lifestyle, and good body habits, had less vocal discomfort and pathologies, a better vocal preservation, and used more costo-abdominal breathing. On the other hand, knowledge of postural role and postural work was linked with pain and vocal fatigue. Furthermore, a preventive need was revealed concerning the providing of knowledge and skills to singers, but also to singing teachers, speech therapists, and stage workers.

CONCLUSION

Our study shows that benefits were found in the voice quality of opera singers with anatomical and postural knowledge and who work on posture as part of their vocal work compared to others. Postural work and knowledge increase attention to body pain and vocal fatigue. These results can inform health care providers, opera singers, and their teachers and performers of the benefits of posture on operatic voice quality. Accordingly, this study sparks new ideas for postural work and therapy in lyric voice.

Knowledge, Attitude and Practices Towards Vocal Health Care Amongst Indian Carnatic Singers

OBJECTIVE

The knowledge, attitudes and practices of Indian Carnatic singers is a dimension that yet to be explored in detail. The aim of the current study was to explore these knowledge, attitudes, and practices amongst Indian Carnatic singers towards vocal health care.

STUDY DESIGN

  Cross-sectional online questionnaire-based study.

METHOD

A cross-sectional online questionnaire-based study design was used to explore the knowledge, attitudes, and practices of Indian Carnatic singers towards vocal health care. The study was conducted in two phases, phase I involved questionnaire development and validation while phase II involved collection of data and further analysis.

RESULTS

One hundred trained self-identified Indian Carnatic singers participated in this study. These singers displayed good knowledge and positive attitudes towards vocal health care. A preference (73%) towards home remedies was noted as compared to seeking medical attention. The measures reported by the singers for maintaining good vocal health revealed use of several home remedies, vocal as well as non-vocal measures.

CONCLUSION

The findings of the present study reveal the knowledge and attitude of Indian Carnatic singers towards vocal health care as well as highlight several interesting practices.

Performers With History of Voice Injury: A Survey Study of Treatment Outcomes and Vocal Function

INTRODUCTION

Past studies show that performers are more susceptible to voice injury, have higher incidence of injury, and experience greater vocal impairment than non-performers. Despite literature demonstrating otherwise, there remains fear and stigma that voice injury is a career-ending circumstance. Much of this is due to a lack of information about post-treatment vocal function.

METHODS

An anonymous online survey was distributed via email, flyer, and social media to a target audience of performers with a history of voice injury. It inquired about occupation, vocal symptoms, professionals consulted, and treatment adherence. Outcome measures included ability to perform, resolution of symptoms, and attitudes about their voices after voice injury. Findings were analyzed descriptively with statistical analysis to determine factors that may be related to favorable outcomes.

RESULTS

The survey was completed by 151 performers representing a range of genres, including musical theatre, classical, and popular genres. The most reported vocal symptoms were decreased range, singing voice quality changes, increased singing effort, and vocal fatigue. Most initially sought care from an otolaryngologist, laryngologist, or voice teacher. Diagnoses and recommendations varied, but those who adhered to treatment were more likely to report resolution of voice symptoms (P = 0.025). Those with symptoms for 2-4 weeks reported greater vocal confidence than those with a longer symptom duration (P = 0.0251). Performers working with a voice teacher were more likely to find treatment helpful (P = 0.0174). Those with neurogenic voice conditions reported less vocal reliability than participants with other pathologies (P = 0.0155).

CONCLUSION

The majority of participants continued to perform, reported resolved or improved voice symptoms after treatment, and reported positive attitudes about their voices, regardless of their injury or current presence or absence of pathology on exam. Findings of this study highlight a need for continued outreach to voice teachers, education programs, and production teams about vocal function after voice injury.

LEVEL OF EVIDENCE: 4

Seeing Voices: A Dynamic, Interprofessional Approach to Teaching Performing Arts and Speech-Language Pathology Students About Vocal Anatomy and Physiology

OBJECTIVES

Seeing Voices was an interprofessional, technology-enabled, large-scale, teaching and learning event developed to address the need to improve voice students' knowledge of laryngeal anatomy and physiology toward understanding and maintaining vocal health. Seeing Voices trialed a novel interprofessional educational approach, collected both quantitative and qualitative data about student experiences of laryngostroboscopic examination, and built a databank of laryngeal recordings for future student learning.

METHODS

Seeing Voices involved two 3-hour seminars in a large, university lecture space, run by an interprofessional team (speech-language pathologists, vocal coach, Ear Nose and Throat consultant) with quality equipment projecting laryngeal images to large screens with expert commentary in real time. Participants were 18 students who volunteered for laryngeal examination (9 per seminar) and student attendees (n = 175) from performing arts courses (classical singing, contemporary, jazz, musical theater, acting) and a speech-language pathology course. A quantitative evaluation of knowledge gained was undertaken using a Qualtrics survey. Results from pre (n = 175; performing arts = 120; speech-language pathology (SLP) = 55) and postevent (n = 99; performing arts = 56; SLP = 43) questionnaires were received from the students who attended. Interviews were collected from 15 of the 18 student volunteers about their experiences of nasendoscopic evaluation and data were analyzed using qualitative description and qualitative content analysis.

RESULTS

Quantitative results demonstrated a strong trend toward increased knowledge following attendance at the event across year cohorts for both student groups. Qualitative interviews highlighted the value in seeing multiple examples of normal laryngeal functioning across different vocal techniques in real time. For those undertaking nasendoscopic examination, simultaneously seeing and feeling laryngeal maneuvers used in training appeared to promote understanding of their own vocal mechanism and the purpose of different vocal techniques.

CONCLUSIONS

Seeing Voices offers a novel way to improve interprofessional collaboration, and engagement with, and understanding of, laryngeal anatomy and vocal health by students in performing arts and speech-language pathology courses.

Carnatic Classical Singers' Interest and Knowledge Levels of Vocal Function and Dysfunction: A Cross-sectional Survey

OBJECTIVE

The present study aimed to determine the interest and knowledge levels of Indian Carnatic classical singers concerning the vocal function and dysfunction.

STUDY DESIGN

Cross-sectional survey.

METHODS

Self-reporting vocal awareness questionnaire for singers comprising 61 items under nine sections developed by Braum-Janzen and Zeine was adopted and validated to the Carnatic music context. The data was gathered using the snowball sampling method. Each participant spent 10-15 minutes to fill the questionnaire. The 100 participants were divided into two groups based on years of individual singing experience, group 1: Singers with less than 10 years, group 2: Singers with greater than 10 years of individual singing experience.

RESULTS

Few singers reported a thorough understanding in all areas except anatomy and physiology of voice production. As indicated by most of the singers, they were very much interested in expanding their knowledge in (1) the anatomy and physiology of the voice, (2) the role of the speech-language pathologist (SLP) and the voice, (3) the care of the voice, (4) optimal use of the speaking voice, and (5) functional vocal disorders. Further, in both the groups, there was a high number of incorrect and don't know responses. Differences in knowledge levels and interest levels between the two groups were non-significant in all areas (P > 0.05).

CONCLUSION

Overall, the high number of incorrect and don't know responses suggest that many Carnatic singers do not have even basic knowledge of vocal function and dysfunction, and could benefit from education in these areas. Hence, SLPs need to develop education programs for Carnatic singers towards vocal function and dysfunction so that the development of voice problems in Carnatic singers can be prevented.

Students' Experience with Vocal Injury in Undergraduate Performing Arts Training Programs

PURPOSE

Voice injuries are well-documented in the literature and can be found in any person regardless of their profession. However, performing artists need a healthy voice in order to do their job properly. In educational environments, students with injuries are presented with the unique challenge of recovery in addition to a heavy course load. This study seeks to understand and question the experience of the undergraduate vocally injured performing arts student.

METHOD

An IRB approved, online survey was created to assess vocally injured undergraduate students' experiences and was shared via social media and email outreach.

RESULTS

The results of this study show clear ways that undergraduate faculty can support their injured students while they are in training. Additional findings include the importance of the voice teacher/student relationship, timing of diagnoses, and the overall faculty dynamic. Future research may benefit from investigating the voice teacher/student relationship and the mental health repercussions of vocally injured performing arts students.

CONCLUSIONS

In conclusion, this study found that vocally injured students have diverse experiences while in undergraduate training programs.

Listening to Video Game Voices: A Call for Action for Research into the Vocal Health of Video Game Voice Actors

Video game voice actors (VGVAs) are a professional voice user (PVU) population whose occupation relies on their ability to reliably deliver extremes in vocal performance. In their work VGVAs are required to perform solo for extended durations, producing highly complex character performances that not only include extremes of vocal parameters and qualities but also highly demanding vocal acts (ie, screaming, singing) within those voice archetypes. Based on the vocal demands of their work and current understandings of occupational voice disorder, it is reasonable to consider that VGVAs may be at increased risk of vocal fatigue, injury, and disorder, as manifestations of occupational disease. This risk is of primary concern to VGVAs who recently organized industrial action to highlight their concerns regarding vocal health within their industry. As a group that is not well represented within voice research, there is little literature currently available to inform clinical support of the population. Due to the unique nature of VGVA work and the highly specific nature of occupational voice use among PVUs, we cannot necessarily generalize research from other populations to VGVAs. As such, research utilising frameworks designed to capture the complexity of voice use, demands on the voice, and experiences of its use are required to support the concerns of the population. This paper introduces VGVAs as an emerging PVU population, describes the concerns of this population within the context of current understandings of vocal fatigue, occupational voice problems and PVU populations, and details the approaches required in the development of research into the population.

Voice and Lifestyle Behaviors of Student Singers: Impact of History Gathering Method on Self-Reported Data

OBJECTIVES

This study described voice use and lifestyle information about student singers with a focus on describing differences in self-reported information at study intake compared to data from 21 consecutive days of a voice Log.

METHODS

Twenty-seven student singers estimated voice and lifestyle behaviors at study initiation including daily speaking time, singing/performance time, vocal warm-up, and cool-down minutes; fluid intake; perceived effort when talking, and when singing, among other items. These same parameters were tracked for 21 consecutive days in a voice log kept by the singer at home. Study intake data was compared to the median estimates from the 21-day voice log on each variable using nonparametric statistics.

RESULTS

Student singers reported warming up the voice regularly at study intake (100%), but several logged ≥ 7 days out of 21 without warming up even though all days had singing minutes. Less than half reported voice cool downs at intake, and even fewer logged minutes of cool down in the daily tracking. High occupational voice demands not involving singing were reported by 37%. Large percentages of students reported frustration (63%), worry/anxiety (41%), and depression (26%) regarding their voice in the prior 2 weeks. Estimates at study intake statistically overestimated daily speaking minutes, effort during singing and number of nights eating within 2 hours of sleep compared to the 3-week log.

CONCLUSION

Student singers reported several voice use and behavior items that could impact vocal health. Additionally, how the information was obtained (intake estimate vs. daily log) did alter what was reported for some parameters.

Clinical characteristics of singers attending a phoniatric outpatient clinic

Purpose: Studies suggest that singers are over-represented in voice clinics and present a high risk of developing voice disorders. This retrospective study aims to describe the characteristics of 78 singers consulting a phoniatrician.Methods: In their medical files, data related to age, gender, occupational status, singing training, musical style, voice complaint, diagnosis, voice-quality grading (GRBAS) and treatment were gathered.Results: The patients were mostly female singers (87%). Non-professional singers (semi-professional included) represented 64%, professional singers 25% and students of singing 11%. The majority of singers were choristers (27%) and 22% were classical-style/oratorio-style singers. Two-thirds of the population had intensive vocal activity in speech or singing. Vocal endurance, somatosensory signs and difficulties with high pitches were the most frequent symptoms. Among the patients, 79% presented with singing-voice disorders with 85% of these having vocal fold lesions. Generally, their speaking voices were preserved. Vocal-folds nodules were the most prevalent pathology (37%) followed by sulcus (26%) and voice therapy was the main treatment.Conclusions: This study emphasizes the fact that singers have specific voice complaints related to their voice usage. The high occurrence of sulcus and other congenital-lesion suspicions, unusual in the general population consulting an ENT phoniatrician, seems to be rather specific for singers in agreement with the literature.

Comparison of Reported Vocal Habits of First-Year Undergraduate and Graduate Vocal Performance Majors

OBJECTIVE

Vocal performance students at the collegiate level are faced with rigorous training protocols for which they are required to maintain optimal vocal quality and function. The purpose of this study was to compare the vocal habits and hygiene practices of incoming undergraduate Bachelor of Music (BM), Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD) vocal performance students at a tier I music conservatory. To date, no study has compared the reported vocal habits of undergraduate and graduate vocal performance students within the same music conservatory.

METHODS

Two-hundred and eighty six incoming vocal performance majors including undergraduate (n = 79), graduate master's candidates (n = 171), and graduate doctoral/AD candidates (n = 36) at the University of Cincinnati College-Conservatory of Music over a period of 9 years (2008-2017) completed a questionnaire designed to gain information about their baseline vocal patterns and hygiene practices. The intake form included questions about daily liquid intake, past voice treatment, current adverse voice symptoms, warm-up and cool-down use, average time spent singing daily, and any harmful voice hygiene practices such as phonotraumatic behaviors (ie, yelling, frequent throat clearing). This data was retrospectively analyzed for significant findings within groups and between groups.

RESULTS/CONCLUSIONS

Results from the questionnaires detailing the undergraduate voice performance participants' self-reported current and past vocal symptoms, current vocal health and hygiene practices, reported voice training habits, and other pertinent factors that may lead to potential voice problems in comparison to those same factors presented in the graduate master's and doctoral/artist diploma voice performance participants' questionnaires are provided. Data gained from the voice performance participants revealed that the potential for voice-related problems exists within all groups, as 45.5% of undergraduate students, 38.6% of graduate master's students, and 44.4% of graduate doctoral/artist diploma students stated at least one current voice issue or adverse symptom. The findings indicate that there is no significant difference regarding level of education in relation to percentage of subjects that reported at least one current adverse vocal symptom, current voice problem, and/or reported negative hygiene practice. The information provided in this study may be beneficial for those who are vocal performers as well as those involved in the training of collegiate-level vocal performance students.

Assessment of Tongue Position and Laryngeal Height in Two Professional Voice Populations

Purpose To advance our current knowledge of singer physiology by using ultrasonography in combination with acoustic measures to compare physiological differences between musical theater (MT) and opera (OP) singers under controlled phonation conditions. Primary objectives addressed in this study were (a) to determine if differences in hyolaryngeal and vocal fold contact dynamics occur between two professional voice populations (MT and OP) during singing tasks and (b) to determine if differences occur between MT and OP singers in oral configuration and associated acoustic resonance during singing tasks. Method Twenty-one singers (10 MT and 11 OP) were included. All participants were currently enrolled in a music program. Experimental procedures consisted of sustained phonation on the vowels /i/ and /ɑ/ during both a low-pitch task and a high-pitch task. Measures of hyolaryngeal elevation, tongue height, and tongue advancement were assessed using ultrasonography. Vocal fold contact dynamics were measured using electroglottography. Simultaneous acoustic recordings were obtained during all ultrasonography procedures for analysis of the first two formant frequencies. Results Significant oral configuration differences, reflected by measures of tongue height and tongue advancement, were seen between groups. Measures of acoustic resonance also showed significant differences between groups during specific tasks. Both singer groups significantly raised their hyoid position when singing high-pitched vowels, but hyoid elevation was not statistically different between groups. Likewise, vocal fold contact dynamics did not significantly differentiate the two singer groups. Conclusions These findings suggest that, under controlled phonation conditions, MT singers alter their oral configuration and achieve differing resultant formants as compared with OP singers. Because singers are at a high risk of developing a voice disorder, understanding how these two groups of singers adjust their vocal tract configuration during their specific singing genre may help to identify risky vocal behavior and provide a basis for prevention of voice disorders.

Amateur Music Theatre Singers' Perceptions of their Current Singing Voice Function

PURPOSE

The primary aim of this study was to investigate amateur music theatre singers (MTS)' perceptions of their current singing voice function according to evaluation of ability to sing easily (EASE) scores while involved in a musical theatre production, to determine if scores were influenced by demographic or voice-related factors and to compare EASE scores of amateur MTS and previously published professional MTS.

METHOD

Amateur singers were recruited through the Townsville Choral Society during the preproduction of Les Misérables. A total of 51 amateur MTS completed an online questionnaire including the EASE scale and a supplementary demographic questionnaire. Nonparametric statistical analyses were conducted.

RESULTS

Three singers reported they had a voice problem at the time they completed the questionnaire. The EASE did not detect significant differences in perceived vocal function among the singers according to demographic (age and gender) and voice-related characteristics. The amateur cohort reported lower current voice-use demands, such as current vocal load and number of shows over past week, than the previously described professional MTS and no significant differences were found between the two cohorts in the median EASE scores.

CONCLUSIONS

The results of this study supported both the overall validity of the EASE scale and its use with amateur MTS. In addition, the findings suggest the value of future research investigating the potential use of the EASE for broader clinical application with other population groups.

Level of physiological, anatomical and pathological knowledge of the singing voice on the part of professional and amateur singers

ABSTRACT Purpose: the knowledge concerning care of the voice on the part of professional and amateur singers in Chile is relevant for voice professionals and also for speech pathologists who work in disorder prevention and voice care. It is important to know if there are differences between both groups regarding the knowledge of voice care. Methods: the "Vocal Awareness Questionnaire for Singers'' was applied to a sample of 66 singers: 33 professional and 33 amateur singers. Three areas of knowledge were evaluated: anatomy and physiology of the larynx, vocal hygiene and voice pathologies. Results: there were no significant differences in the knowledge of voice care between professional and amateur singers both at a general level and in specific areas of knowledge. The topic of vocal hygiene obtained the highest percentage of correct answers in both groups, while the lowest percentage was in the area of voice pathologies. Conclusions: there were no differences in the level of knowledge on voice care between the professional and amateur singers included in this study. In both groups, the level of knowledge was from low to moderate. This could increase the incidence of vocal pathologies in both groups.

Clinical Practice Guideline: Hoarseness (Dysphonia) (Update)

Objective

This guideline provides evidence-based recommendations on treating patients who present with dysphonia, which is characterized by altered vocal quality, pitch, loudness, or vocal effort that impairs communication and/or quality of life. Dysphonia affects nearly one-third of the population at some point in its life. This guideline applies to all age groups evaluated in a setting where dysphonia would be identified or managed. It is intended for all clinicians who are likely to diagnose and treat patients with dysphonia.

Purpose

The primary purpose of this guideline is to improve the quality of care for patients with dysphonia, based on current best evidence. Expert consensus to fill evidence gaps, when used, is explicitly stated and supported with a detailed evidence profile for transparency. Specific objectives of the guideline are to reduce inappropriate variations in care, produce optimal health outcomes, and minimize harm. For this guideline update, the American Academy of Otolaryngology—Head and Neck Surgery Foundation selected a panel representing the fields of advanced practice nursing, bronchoesophagology, consumer advocacy, family medicine, geriatric medicine, internal medicine, laryngology, neurology, otolaryngology–head and neck surgery, pediatrics, professional voice, pulmonology, and speech-language pathology.

Action Statements

The guideline update group made strong recommendations for the following key action statements (KASs): (1) Clinicians should assess the patient with dysphonia by history and physical examination to identify factors where expedited laryngeal evaluation is indicated. These include, but are not limited to, recent surgical procedures involving the head, neck, or chest; recent endotracheal intubation; presence of concomitant neck mass; respiratory distress or stridor; history of tobacco abuse; and whether the patient is a professional voice user. (2) Clinicians should advocate voice therapy for patients with dysphonia from a cause amenable to voice therapy. The guideline update group made recommendations for the following KASs: (1) Clinicians should identify dysphonia in a patient with altered voice quality, pitch, loudness, or vocal effort that impairs communication or reduces quality of life (QOL). (2) Clinicians should assess the patient with dysphonia by history and physical examination for underlying causes of dysphonia and factors that modify management. (3) Clinicians should perform laryngoscopy, or refer to a clinician who can perform laryngoscopy, when dysphonia fails to resolve or improve within 4 weeks or irrespective of duration if a serious underlying cause is suspected. (4) Clinicians should perform diagnostic laryngoscopy, or refer to a clinician who can perform diagnostic laryngoscopy, before prescribing voice therapy and document/communicate the results to the speech-language pathologist (SLP). (5) Clinicians should advocate for surgery as a therapeutic option for patients with dysphonia with conditions amenable to surgical intervention, such as suspected malignancy, symptomatic benign vocal fold lesions that do not respond to conservative management, or glottic insufficiency. (6) Clinicians should offer, or refer to a clinician who can offer, botulinum toxin injections for the treatment of dysphonia caused by spasmodic dysphonia and other types of laryngeal dystonia. (7) Clinicians should inform patients with dysphonia about control/preventive measures. (8) Clinicians should document resolution, improvement or worsened symptoms of dysphonia, or change in QOL of patients with dysphonia after treatment or observation. The guideline update group made a strong recommendation against 1 action: (1) Clinicians should not routinely prescribe antibiotics to treat dysphonia. The guideline update group made recommendations against other actions: (1) Clinicians should not obtain computed tomography (CT) or magnetic resonance imaging (MRI) for patients with a primary voice complaint prior to visualization of the larynx. (2) Clinicians should not prescribe antireflux medications to treat isolated dysphonia, based on symptoms alone attributed to suspected gastroesophageal reflux disease (GERD) or laryngopharyngeal reflux (LPR), without visualization of the larynx. (3) Clinicians should not routinely prescribe corticosteroids for patients with dysphonia prior to visualization of the larynx. The policy level for the following recommendation about laryngoscopy at any time was an option: (1) Clinicians may perform diagnostic laryngoscopy at any time in a patient with dysphonia.

Disclaimer

This clinical practice guideline is not intended as an exhaustive source of guidance for managing dysphonia (hoarseness). Rather, it is designed to assist clinicians by providing an evidence-based framework for decision-making strategies. The guideline is not intended to replace clinical judgment or establish a protocol for all individuals with this condition, and it may not provide the only appropriate approach to diagnosing and managing this problem. Differences from Prior Guideline (1) Incorporation of new evidence profiles to include the role of patient preferences, confidence in the evidence, differences of opinion, quality improvement opportunities, and any exclusion to which the action statement does not apply (2) Inclusion of 3 new guidelines, 16 new systematic reviews, and 4 new randomized controlled trials (3) Inclusion of a consumer advocate on the guideline update group (4) Changes to 9 KASs from the original guideline (5) New KAS 3 (escalation of care) and KAS 13 (outcomes) (6) Addition of an algorithm outlining KASs for patients with dysphonia

Quantifying Laryngopharyngeal Reflux in Singers: Perceptual and Objective Findings

This study examines the relationship between laryngopharyngeal reflux (LPR) symptoms and oropharyngeal pH levels in singers. We hypothesized that reported symptoms would correlate with objective measures of pH levels from the oropharynx, including the number and total duration of reflux episodes. Twenty professional/semiprofessional singers completed the Reflux Symptom Index (RSI) and underwent oropharyngeal pH monitoring. Mild, moderate, or severe pH exposure was recorded during oropharyngeal pH monitoring. Correlations were performed to examine potential relationships between reflux symptoms and duration of LPR episodes. Symptom severity did not correlate with pH levels; however, we found a number of covariances of interest. Large sample sizes are necessary to determine if true correlations exist. Our results suggest that singers may exhibit enhanced sensitivity to LPR and may therefore manifest symptoms, even in response to subtle changes in pH. This study emphasizes the importance of sensitive and objective measures of reflux severity as well as consideration of the cumulative time of reflux exposure in addition to the number of reflux episodes.

Physiologic and Acoustic Effects of Opera Performance

INTRODUCTION/HYPOTHESIS

Opera performance is physiological and emotional, and singing performers utilize their larynges in often strenuous ways. Historically, the training of a classical voice has been considered the paragon of healthy singing. However, the natural history of a performing larynx has not been studied systematically. There is paucity of scientific studies to guide practice patterns, particularly with regard to the course and extent of post-performance physiologic and acoustic changes.

STUDY DESIGN

A prospective case series was carried out.

METHODS

Principal singers in the Houston Grand Opera's 2012-2013 repertory were enlisted, for a total of seven singers. Stroboscopy was performed prior to the start of rehearsals, and at the completion of the opera's run. Data points included erythema, edema, masses or lesions, mucosal waveform, supraglottic posture; acoustic measurements were also performed.

RESULTS

There were statistically significant differences (P < 0.05) in the mucosal wave on pre- and postperformance stroboscopic examinations. Acoustical measures did not achieve statistical significance, but there was a trend toward increased harmonic-to-noise ratio in postperformance measures, as well as decreased frequency range and reading F₀. Measures of intra- and inter-rater reliability indicated varying levels of intra-rater reliability, and generally poor inter-rater reliability.

CONCLUSIONS

This pilot study describes physiologic and acoustic changes that may occur over the course of a series of rehearsals and performances in the operatic larynx. In so doing, it highlights a need for larger studies with increased frequency of serial examinations to study in a systematized way what may be natural reactive changes that occur during performance.