Semioccluded Vocal Tract Exercises Improve Self-Perceived Voice Quality in Healthy Actors.

PURPOSE: Semi-occluded vocal tract exercises (SOVTE) have shown to lead to more effective and efficient vocal production for individuals with voice disorders and for singers. The aim of the present study is to investigate the effects of a 10-minute SOVTE warm-up protocol on the actors' voice. METHODS: Twenty-seven professional theater actors (16 females) without voice complaints were audio-recorded while reading aloud, with their acting voice, a short dramatic passage at four time points. Recordings were made: the day before the show, just before and soon after the warm-up protocol which was performed prior to the show and soon after the show. The voice quality was acoustically and auditory-perceptually evaluated and quantified at each time point by blinded raters. Self-assessment parameters anonymously collected pre and post exercising were also analyzed. RESULTS: No statistically significant differences on perceptual ratings and acoustic parameters were found between pre/post exercise sessions and males/females. A statistically significant improvement was detected in the self-assessment parameters concerning comfort of production, sonorousness, vocal clarity and power. CONCLUSIONS: Vocal warm-up with the described SOVTE protocol was effective in determining a self-perceived improvement in comfort of production, voice quality and power, although objective evidence was missing. This straightforward protocol could thus be beneficial if routinely utilized by professional actors to facilitate the voice performance.

Vocal Characteristics and Laryngoscopic Findings in Future Musical Theater Performers.

OBJECTIVE: Musical theater performers are a special group of elite vocal performers with a high vocal load as they combine singing, acting, and physical performance. As they are absolutely depending on their voice quality and vocal capacities for their studies and their future profession, an optimal voice production is very important. The purpose of this study was to determine the voice quality of musical theater students. The voice quality of seven students was then reevaluated 1 year after the first assessment. STUDY DESIGN: Observational study. METHODS: Thirty-one musical students (7 men and 24 women) with a mean age of 20 years participated in the study. To determine the voice quality, objective (aerodynamic measurements, voice range profile, acoustic analysis, and Dysphonia Severity Index) and subjective (videolaryngostroboscopy, Voice Handicap Indexes, and questionnaires regarding voice symptoms and risk factors) voice measurements were performed. RESULTS: The median Dysphonia Severity Index in male and female musical students was respectively 5.3 and 5.7, both corresponding with an overall good voice quality. The questionnaires revealed the presence of vocal fatigue, dryness of the throat, vocal tract discomfort, and harmful vocal habits in the majority of students. In 45% of the subjects, videolaryngostroboscopic evaluation of the vocal folds showed an organic lesion. The majority of these lesions are inflammatory lesions (26%). In 68% of the subjects, a certain degree of supraglottic constriction was observed. CONCLUSION: Despite the overall good voice quality, videolaryngostroboscopy showed a high presence of vocal fold lesions and supraglottic constriction during phonation.

Vocal Quality in Theater Actors.

OBJECTIVES: The purpose of this study was to investigate vocal quality, vocal complaints, and risk factors for developing voice disorders in theater actors. Secondly, the impact of one vocal performance on the voice was investigated by comparing objective and subjective vocal quality before and after a theater performance. STUDY DESIGN: Prospective study of the actors' voice prior to and after a performance METHODS: Speech samples of 26 theater actors (15 men, 11 women, mean age 41.9 years) were recorded before and after a theater performance of one and a half hour and analyzed using the software program Praat. Speech samples consisted of the combination of sustained phonation and continuous speech. For each speech sample, the Acoustic Voice Quality Index was calculated. Auditory perceptual evaluations were performed using the GRBASI scale. Questionnaires were used to inventory vocal symptoms and influencing factors. RESULTS: Acoustic analysis showed a mean Acoustic Voice Quality Index (AVQI) of 3.48 corresponding with a mild dysphonia. Fifty percent of the theater actors reported having (sometimes or regularly) vocal complaints after a performance. The questionnaire revealed a high presence of vocally violent behavior and poor vocal hygiene habits. Objective vocal quality, measured by the AVQI, did not change after a theater performance. The auditory perceptual evaluation of the overall grade of dysphonia showed a subtle amelioration of the vocal quality. CONCLUSIONS: The results of this study showed the presence of mild dysphonia, regular vocal complaints, and poor vocal hygiene habits in theater actors. A theater performance did not have an impact on the objective vocal quality.