What would you consider to be the main focus of your career, or your “specialty”?

I am a Speech-Language Pathologist specializing in voice and upper airway disorders (often referred to as a "voice therapist") and a Clinical Singing Voice Specialist. While I have taught voice and occasionally give voice lessons, my primary focus is on vocal rehabilitation. I have a strong interest in occupational voice issues, particularly in preventing and rehabilitating them, with a special focus on performers. Much of my career was spent at Weill Cornell Medical College in New York City, where I was a founding member of the Sean Parker Institute for the Voice. I now work at Westchester Medical Center, about 40 minutes north of NYC, where I am helping to develop and grow a voice and swallow program aimed at offering the same high-quality care and resources to the local community that patients receive in NYC. I am passionate about clinical research, with a particular focus on advocating for preventive and supportive measures for occupational voice users, and I am working to educate and mentor the next generation of speech-language pathologists.

How did you discover your calling for your speciality? How did it start?

My path to this career is truly a “long and winding road.” I started as a classical singer, earning a Bachelor’s Degree in Vocal Performance and a Master’s Degree in Opera Performance, and I first learned about speech-language pathology during a summer break from graduate school when I took a temporary position in a hospital’s Communication Disorders Department. Before then, I had never heard of Speech-Language Pathology, let alone voice therapy! At the beginning of the summer, I would spend my lunch breaks studying the score for Le Nozze di Figaro, as I was preparing the role of Susanna for Opera McGill’s production that fall, but as the summer went on, I found myself asking if I could observe some therapy sessions to learn more about the field. While I didn’t immediately shift my focus after that summer, that was when the proverbial seed was planted. After that time, Speech-Language Pathology seemed to keep appearing in my life in different ways. I’m not one to put much stock in signs, but after a while, it felt like I was meant to explore the field further. I met with some professors at a local college, enrolled in the prerequisite courses I would need to apply for a second Master’s degree, and immediately knew that this was the path I was supposed to follow. It just felt right. I’ve never second-guessed that decision, and I’m incredibly grateful for that summer of temp work!

What do you love the most about your work?

As an SLP Voice and Upper Airway Specialist, my focus is on helping individuals restore an important part of who they are. I sometimes jokingly say I “fix broken voices” to people who first ask about my work, but that oversimplifies the depth and range of what we do. Whether it’s helping someone regain their ability to communicate, socialize, perform at their best, meet the demands of their job, get through the day without discomfort or coughing, or find a voice that reflects their sense of self - these are the deeply rewarding aspects of my career that make me proud every day. I have always been a “helper” and in this work, I get to help people feel a sense of agency over something that was lost or, in some cases, has never been found before. And if I am being specific about my very favorite part of voice therapy, it’s both my favorite and least favorite part – when it’s time to end voice therapy. I’m thrilled when someone feels they have met their goals for recovery, but also, it can be a bit sad to say goodbye because I get to meet wonderful humans and get a chance to know them during the therapy process. For many, I get to move on from being their voice therapist to their fan and I can enjoy them onstage instead!

In your opinion, what qualities do you feel make an "excellent" Vocal Pedagogue?

I think there are ways to answer this question that are obvious and ways to answer that are perhaps less obvious. Of course, a deep understanding of vocal anatomy, physiology, and mechanics, as well as the nuances of different vocal techniques and stylistic considerations, is essential, especially for those who work with singers of varying genres. However, an outstanding pedagogue goes beyond technical expertise. The ability to be flexible and adaptable to a wide range of learning styles, levels, and individual needs is equally important. What good is an expert understanding of the voice if the pedagogue cannot meet students where they are in their journey? Too often, voice teachers and SLP voice specialists are seen as the ultimate authority, leaving students with little understanding of how to take ownership of their vocal development (or rehabilitation). It’s incredibly refreshing to see vocal pedagogy evolving to embrace a more collaborative and student-centered model. In my own work, I’ve been fortunate to collaborate with voice teachers who don’t just dictate technique but involve students as active participants in the learning process. This approach is not just empowering, but it also encourages long-term independence in their vocal development. Additionally, I believe that an excellent vocal pedagogue must be able to work as part of a larger team. In my work, I’m fortunate to collaborate with several specialists, including laryngologists, voice teachers, physical therapists, massage therapists, and even psychological counselors. An outstanding pedagogue must adapt their role to fit the needs and growth of the student. And lastly, an excellent pedagogue is a lifelong student, themselves. For a long time, the balance between the art and science of voice leaned heavily toward the "art" side without much attention to the “science” side, which led to a lot of misinformation, confusion, and mystery about the voice. However, as our understanding of the science behind the voice has advanced and continues to evolve, it complements the art, guiding how we approach vocal training and rehabilitation, and enabling performers to become even greater artists.

Can you speak to the importance of having mentors?

Mentorship is incredibly valuable for both professional and personal growth. Mentors offer guidance, wisdom, support, and perspective based on their experiences and their own professional and personal journeys. Just as an excellent vocal pedagogue focuses on their students’ personal goals, learning styles, and needs, a good mentor helps their mentees reflect on strengths and areas for growth. A good mentor creates an environment that encourages learning and experimentation, which often includes feeling safe enough to take risks or even make mistakes! They help navigate challenges by sharing their experiences, which can help their mentee avoid common pitfalls and frustrations. On a practical level, mentorship can help connect mentees with other professionals, expanding their network, and opening doors to career opportunities.

How have mentors influenced your life/career?

It’s funny... for a long time, I believed I didn’t have a mentor. In some ways, I suppose that’s true, at least in the traditional sense. When I graduated with my Master’s Degree in Speech-Language Pathology, my personal circumstances combined with limited opportunities meant I couldn’t pursue a Clinical Fellowship (CF) in the voice specialty, which is where most SLP Voice and Upper Airway Specialists connect with a mentor. Instead, I completed my CF in skilled nursing facilities, working with subacute patients and long-term residents, with a focus on swallowing disorders, post-brain injury language and cognition, and a small amount of voice treatment. It was a rewarding experience that gave me a deep appreciation for the incredible work nurses do, and it was meaningful to help older individuals regain a sense of dignity. It also helped me understand the larynx better, given that much of the focus was on disorders of swallowing. However, it wasn’t a traditional path toward a voice specialty. Since I did not complete a CF in voice, I mistakenly thought I lacked mentorship, but with a bit more perspective and maturity, I now see things differently and realize that mentorship can appear in many forms.

Can you tell us about some of your mentors?

Instead of having just one or two influential mentors, I’ve been fortunate to have several who offer support in different ways, and who have come in and out of my life over time. My undergraduate voice teacher from the Crane School of Music, Dr. Robert Loewen, currently with the Royal Conservatory in Toronto, stands out as one of the most consistent and meaningful mentors and friends I’ve had. From him, I learned a great deal about vocal technique, and I continue to learn from him today. Although we’re far apart, we remain in contact, and I know I can always reach out to him for advice if I’m facing challenges with a patient or just want to nerd out about voice-related topics. Dr. Lucian Sulica, who I worked with at the Parker Institute for the Voice at Weill Cornell Medical College, was an instrumental mentor in research, writing, and presenting. He recognized my curiosity and my desire to contribute to the advancement of our field, and encouraged me to dive into clinical research, which initially felt intimidating. Working alongside him gave me the confidence to ask questions, challenge the status quo, become a stronger writer and presenter, and elevate my career. I’ve also turned to Dr. Jackie Gartner-Schmidt and Dr. Edie Hapner many times for guidance in my career. They’ve provided valuable perspectives, particularly during times when I had to make larger scale career decisions. Michelle DiMattia, who was my supervisor during my first year at Westchester Medical Center, helped me broaden my understanding of hospital administration and has been instrumental in shaping me (and sometimes gently nudging me) to grow as an educator, supervisor, and mentor, myself. It is my goal to help mentor young SLPs in their clinical and professional growth, which is why I am starting to take student externs and do more teaching. Someone more recently who has become a mentor in my life is Dr. Vikas Grover at New York Medical College, where I returned to teaching this past summer. Dr. Grover has not only been a support, but has helped and is helping me grow as an educator and I'm experiencing his influence in so many domains of my life, well beyond teaching.

Building Blocks - Questions About Nine Key Areas of Voice

The below topics cover nine key areas of voice. In regard to each topic, what are the most influential tips, insights, or research findings that you would like to share with our audience?

Breathing

This is a broad statement that some may disagree with, but overall, I feel there’s often too much emphasis on “deep” breathing (whether we use the terms “diaphragmatic breathing,” “abdominal breathing,” “breath support”, or other terms). I find that some singers misunderstand this and end up “overbreathing.” “Overbreathing” can be extremely problematic, leading to a range of issues like pressured singing, muscle tension, discomfort, and even phonotraumatic injury. I speak from the perspective of both an SLP voice specialist and as someone who used to be a habitual overbreather in my own performing career! It wasn’t until I transitioned out of performing and started working with other performers that I recognized my own tendency to overbreathe – hold the breath – and push to sing. I got away with it for a long time because my voice quality was still good, but it was not a sustainable way to sing, and it frequently caused problems with accessing my high range and it caused me a great deal of vocal fatigue. Every week, at least one or two new patients come to me saying something like, “I don’t know how to breathe properly” or “I need to learn to sing/speak from the diaphragm.” I focus on educating my patients about the mechanics of breathing in an understandable way and, when relevant, guide them more toward feeling a sense of buoyancy and airflow while speaking or singing. That’s not to say I never address inhalation, but more often than not, when working on breathing goals, I’m focusing more on how we use the breath we take rather than how we take it. If I want to help a patient experience a more expansive and buoyant breath (which are terms I prefer), I often focus on helping them feel a release in their low back. Exercises like physical roll downs, wall squats, or even the image of getting ready to sit in a chair behind you can help them feel that release. From there, we work on accessing that feeling directly, without relying on intermediate steps to get there.

The Larynx

I’m deeply interested in the connection between the larynx and emotion, particularly how the larynx reacts to fear, anxiety, stress, and similar emotions. Some of my colleagues, such as Dr. Leah Helou, Dr. Jackie Gartner-Schmidt, Diana Rose Becker, and others, have done some exceptional research in this area. I've had the privilege of collaborating with a wonderful counselor and coach, Ingela Onstad (www.courageousartistry.com), to better understand how the nervous system responds to different stimuli, which can sometimes affect the vocal mechanism. Ingela is also a highly trained singer (and a former classmate from the opera program at McGill University!), with expertise in performance anxiety, and we have presented together and worked with some shared clients. I believe it's essential for SLPs and voice teachers to help our patients and students understand that the laryngeal response to anxiety is a normal reaction that may sometimes feel out of control, and that there are strategies to help manage it. For some, having a set of techniques, such as manual therapy, breathing exercises, or other personalized strategies, can make a big difference. For others, psychotherapy may be needed to address underlying triggers. A combination of both approaches can be beneficial for some individuals. Educating our singers on what they can do to manage these responses can help take away some of the fear that comes with them. My colleagues Erin Schmura and Dr. Leah Helou created an excellent poster on The Voice and Trauma (https://www.voiceandtrauma.com/schmura-helou - donation suggested). Having this or other resources like it displayed for patients and students can give them a sense of “permission” to explore the topic while acknowledging that, as SLPs and voice teachers, we are not psychotherapists and must be mindful of staying within the boundaries of our expertise.

References: Becker DR, Welch B, Monti E, Sullivan H, Helou LB. Investigating Past Trauma in Laryngoresponders Versus Non-Laryngoresponders: Piloting New Methods in an Exploratory Study. J Voice. 2024 Nov;38(6):1334-1343. doi: 10.1016/j.jvoice.2022.05.011. Epub 2022 Jun 11. PMID: 35701254.

Helou, L.B., Welch, B., Hoch, S. and Gartner-Schmidt, J., 2023. Self-reported stress, trauma, and prevalence of laryngoresponders in the general population. Journal of Speech, Language, and Hearing Research, 66(7), pp.2230-2245.

The Vocal Folds

The most common vocal fold injury I’ve encountered in my career is a phonotraumatic lesion some call a vocal fold pseudocyst. Now, the term is debated among professionals, and we may never fully agree on the best “name” for this lesion. I often explain to my patients, “Most laryngologists are consistent in what they recommend doing about these lesions, but not necessarily in what they call them. This can make things confusing when you search online or if you see multiple doctors. So, rather than focusing on the name, let’s shift our attention to how it behaves and what we can do about it.” This type of counseling helps patients stay focused on practical solutions rather than getting stuck on terminology, and it can clear up confusion. It’s confusion and lack of information that fuels the fears and stigmas about voice injury that persist in the performing arts world.

The conversation around vocal fold pseudocysts goes beyond just nomenclature. Dr. Sulica and I studied these lesions during my tenure at the Parker Institute for the Voice, and the team recently published an updated study on the topic. We most commonly see pseudocysts in cisgender female vocalists, which we believe is partly due to the physiology of the vocal folds in this population. There is sometimes a glottic gap at the posterior portion of the vocal folds, which affects the way the vocal folds vibrate and close and creates certain mechanical stresses that make some individuals more prone to developing these lesions. Pseudocysts are also often linked with other glottic closure issues, such as vocal fold paresis (a partial paralysis or weakness, typically unilateral). When we see pseudocysts in cisgender males, they are often accompanied by signs of paresis.

In terms of treatment, most laryngologists and SLPs agree that voice therapy should be the first line of treatment. Therapy can help the singer work with the pseudocyst and it often makes the lesion more pliable and sometimes smaller, though it rarely resolves entirely with voice therapy alone. Our research has shown that around 2/3 of patients were able to successfully return to performing after voice therapy without further treatment. The remaining 1/3 typically opt for surgery. This is usually not because they can’t produce a good sound, but because they can’t consistently produce the sound they need in an efficient way, especially for high-demand environments like Broadway, where singers may perform up to eight shows per week. For these performers, consistency and reliability are key, and if they feel they can't consistently meet these demands, they may choose surgery.

Because pseudocysts often develop as a result of an anatomic predisposition to them, they have a higher rate of recurrence compared to other types of vocal injuries. In fact, we found that about 1/3 of our patients who underwent surgery experienced a recurrence of the lesion, though usually to a milder degree. Of those who experienced a recurrence, 2/3 were able to continue working without further treatment, while the remaining 1/3 opted for repeat surgery. So, through our studies we found a 1/3, 1/3, 1/3 paradigm: 1/3 ultimately had surgery, 1/3 experienced a recurrence, 1/3 had a second surgery.

The latest study on pseudocysts, led by Dr. Christine Clark and the Parker team, offers new insights into anatomic differences that may help explain why pseudocysts appear unilaterally in some individuals and bilaterally in others. Overall, there is a growing trend in our field to move away from debating terminology and instead focus on understanding chronic versus acute phonotraumatic lesions, identifying those most predisposed to them, and making informed decisions about the best treatment approaches. And in the end, that’s the most important use of all of this study.

References: Estes C. Sulica L. Vocal fold pseudocyst: Results of 46 cases undergoing a uniform treatment algorithm. Laryngoscope 2014 May; 124(5): 1180-6.

Estes C, Sulica L. Vocal fold pseudocyst: A prospective study of surgical outcomes. Laryngoscope 2015 April; 125(4): 913-8.

Clark CM, Kim YE, Sulica L. Vocal fold pseudocysts: Are unilateral and bilateral lesions distinct entities? Laryngoscope. 2025 Jan;135(1):234-238.

Acoustics/Resonance

Resonance has long been a foundational element of voice teaching and voice therapy, and there is a wealth of resources available that explain the rationale, physiological basis, and methods for achieving it. In fact, I can't recall a single day in my work where we didn’t address resonance in some form. However, I've noticed that some of the patients I work with become so focused on trying to feel anterior-focused resonance - often described as "in the mask" - that they unintentionally create laryngeal tightness or even engage facial muscles in a way that causes unnecessary strain. For example, if I ask a patient to say something like "nyah nyah nyah nyah nyah" in a mocking tone, or "I can't STAAAND that," I may notice that they tense the muscles of the face and around the nasal passages to try to feel more “mask resonance.” However, resonance is the vibration of sound within space, and that space can be shaped in various ways depending on what the singer needs to achieve. In these cases, I’ll encourage the patient to try again, this time without transmitting tension to the face, allowing the resonant vibrations to move freely in the space without restriction. I might say, “Do it again, but this time your face shouldn’t show what you’re doing. We should hear and feel changes but not see them.”

Speaking of space, I’m not a fan of telling my patients to "make space." Can we really create space? Anatomically, we’re limited by the structures we have, so it’s not about creating more space, but rather about learning to use the space we have more effectively and preventing any unhelpful tension that might restrict it. To explore this concept, I may turn to exploring different vowel sounds, especially the /i/ vowel. Ken Bozeman has discussed the /i/ vowel extensively in his work, and it’s a great tool for understanding how resonance functions.

When we ask young singers which vowel gives them the best sense of openness, many will initially default to /a/ because of its open mouth posture. However, I often find that the /i/ vowel can offer a remarkable sense of clarity and resonance. The reason for this is that the /i/ vowel, with its specific tongue placement and shape, naturally encourages more forward resonance and allows for a clearer, more efficient use of the available vocal tract space. It promotes an open throat while minimizing unnecessary constriction, which in turn can lead to a freer, more resonant sound. By focusing on this vowel, some singers may develop a better awareness of how to navigate their vocal tract for optimal resonance, even in more challenging repertoire or vocal settings. This is not about "forcing" space but about unlocking the potential of the space we already have, and guiding patients to access that space with ease and efficiency. For me, personally, I find if I am singing and it feels particularly weighty, vocalizing on /i/ or simply shaping the vocal tract to an /i/ configuration helps me find more ease and consistency.

I emphasize to my patients that resonance is a result of good vocal technique and efficient breath support, not something they need to force. In many cases, my focus shifts to helping them notice the sense of airflow and avoid any constriction, allowing resonance to occur naturally, rather than trying to "make" it happen. There are various sounds we can use to help explore different resonant sensations. When I first meet a patient, I might have them experiment with sounds like /m, n, v, z/ and /u/ to observe how each one feels and how to build on that sensation. A fun way to encourage this exploration can be talking about our favorite "mmmooovvviessss," which allows us to experience a range of resonant sensations in a single word. A simple “mhm” can also serve as a nice reset and reminder to tap into those resonant feelings.

My goal is to help patients build their kinesthetic awareness - helping them identify what sensations they feel, how they can manipulate them, and how these sensations may change depending on what they are saying or singing, or when they’re exploring different characters and emotions. Achieving balanced oral and nasal resonance isn’t a one-size-fits-all approach, and I believe that many singers, as well as early-career SLPs and voice teachers, sometimes get stuck because they don't explore a variety of options.

Additionally, in noisy environments like loud restaurants, where we may strain to speak over the noise, focusing on feeling resonance rather than hearing our voices can be a game changer. By tuning into the sensation of resonance, we can maximize vocal output while minimizing the risk of fatigue and vocal strain. This approach helps us maintain vocal health even in challenging environments.

Vocal Registration

When it comes to vocal registration, I believe the most important thing is to understand that the voice is a dynamic system, not a rigid set of techniques to be universally applied. If we limit our approach, or even our vocabulary, we may miss opportunities for our students or patients to fully explore the potential of their voices. While traditional concepts like chest voice, head voice, and mixed voice are widely used, I often find that rigidly categorizing these registers can be limiting. Instead, it’s more helpful to focus on how the voice can transition fluidly across registers. I like to focus on emphasizing balance and ease of production.

That said, because my role is in rehabilitation rather than habilitation, it’s important that I’m familiar with various approaches to registration and the vocabulary that accompanies them, not only what I learned as a singer. When my patients already have an established relationship with a voice teacher, especially one who has helped them explore registration in ways that work well for them, it’s my responsibility to “speak the same language” to avoid confusion and promote continuity of care. That means I need to keep up with the discussions on singing technique, communicate with my voice teacher colleagues, and most importantly listen to my patients to get a handle on their understanding of registration and what works for them. So, for any SLP who wishes to work with performers: keep an open mind when it comes to discussing these concepts and listen to what your vocal pedagogue colleagues are saying. Keep learning. Doing so will allow you to provide truly client-centered care.

Vocal Health

I think it’s incredibly valuable to take the time to closely examine how we use our voices on a daily basis and how that affects how we feel and sound, especially if we rely on our voices for our work. When speaking with performers or other professional voice users, like schoolteachers and group fitness instructors, I discuss concepts like "high cost" versus "low cost" voice use (for example, speaking in noisy environments versus gentle vocalization), vocal “naps” to avoid fatigue, strategies to recover from vocal strain or fatigue, and simply being mindful of how we use our voices. Using a tracking system, whether it’s as simple as a journal or something more technical, can really help someone become more aware of how their voice use impacts them, and it can assist in setting both daily and longer-term goals. Sometimes, pairing journaling with a tool like the Evaluation of the Ability to Sing Easily (EASE), developed by Dr. Debbie Phyland, can provide valuable insights into how daily voice use impacts specific aspects of the singing voice. As the saying goes, "knowledge is power," and when I work with patients to help them become more aware of their voice use, that knowledge empowers them to take ownership and control of their voice, rather than feeling entirely dependent on voice specialists.

Reference: Phyland DJ, Pallant JF, Benninger MS, et al. Development and preliminary validation of the EASE: a tool to measure perceived singing voice function. J Voice. 2013;27(4):454-462.

Vocal Style

Technique should serve style and artistic expression. It’s meant to enhance and support it, not inhibit it. Vocal style is an extension of an artist’s emotional expression, and that emotional connection can significantly influence vocal quality and performance. For singers exploring multiple styles, such as classical/musical theatre crossover artists, it’s important to understand how to adapt their technique to meet the demands of each genre, and adjust it to suit their character’s emotional or dramatic context (and of course the expectations of the production team).

When I began working at Weill Cornell, I realized that many of the artists I was seeing were musical theatre performers. A common concern among them was belting. So many people said they had trouble with their belt. We could talk endlessly about what belting is (or isn’t) and how to achieve it, but at the time, coming from a classical background, I found it difficult to feel it myself, let alone demonstrate it. This is when I was grateful for “a little help from my friends," fabulous voice teachers like Mike Ruckles, Deric Rosenblatt, and Chris York, who helped me explore it for myself.

Looking beyond musical theatre to genres like rock, with stylistic expectations such as growling, vocal effects, and screams, there are ways to execute these sounds sustainably. Some incredible voice teachers have paved the way in teaching healthy vocal "distortions." Melissa Cross and Mathias Aaen are great examples! Additionally, Sarah Kervin and Geddy Warner have contributed fantastic research exploring how certain types of vocal distortion may have effects similar to SOVTEs. It’s amazing how techniques once considered “unhealthy” can not only be done safely but also used as valuable tools in a singer’s technical toolkit.

In my work with the supremely talented Alex Brightman (of School of Rock and Beetlejuice), he described his approach to the Beetlejuice voice, with its signature growly roughness, as “using the brake pads.” His focus was always on maintaining a sense of airflow and never allowing pressure or tension to creep in. Without the break pads, there would be "metal on metal" - too much pressure on the vocal folds to keep up every night. That mindset helped him sustain that demanding vocal style throughout his run.

I may have gone off on a bit of a tangent, but I think it reflects a broader evolution in our understanding: that we can find ways to meet the stylistic demands of a role, or to express what’s most authentic to us as artists. We just need the right team and the right tools to help us get there.

Posture & Body Alignment

In terms of language, I prefer to talk about physical alignment rather than posture. My goal is to help patients find optimal alignment for singing, which includes soft knees, a sense of grounding through the thighs, relaxed shoulders, and a feeling of lift from the top of the head towards the ceiling. Notice how I built that from the ground up? When it comes to alignment, I tend to think that way. To make this more tangible, I might use imagery like imagining themselves as a "human Pilates band stretching in both directions" or as a “tree with grounded roots and growing branches.” My focus is on balance - ensuring there’s no rigidity, but also a sense of anchoring. That said, in performance and life, we’re constantly moving, sitting, standing, and transitioning between different positions. While it's helpful to practice voice strategies, vocal exercises, and repertoire with "perfect" physical alignment, it's equally important to work through movement. Incorporating movement early in voice training and therapy allows patients to build flexibility in their technique and supports a more natural integration of voice production. As a secondary benefit, movement can also help patients avoid overbreathing, breath holding, and unnecessary muscle tension, and instead build healthier vocal habits and better vocal efficiency. And, of course, sometimes a particular role may require physical demands that aren’t exactly optimal – many character roles may have some quirky physical elements. So for those individuals, we try to find ways to optimize their breathing and vocal efficiency despite the physical demands of a role, and then we work on ways to remove that physical characterization after the performance, much like taking off their costume, so that those demands don’t start to impact their day-to-day physicality. Sometimes working with a physical therapist or personal trainer, or incorporating some stretches, yoga techniques, or other techniques, can be helpful in removing that “costume” and finding good realignment.

Teaching Methods/Communicating complex ideas about singing

In my work, I focus on rehabilitation rather than teaching, so my scope and approach differ from that of a voice teacher. While I was trained in bel canto technique, I understand that this method doesn’t resonate with every singer. I’m fortunate to collaborate regularly with many skilled voice teachers. To do my job effectively as part of the voice care team, it’s essential for me to understand the technical approaches and language they use with their students/my patients. It’s also important for me to learn about each singer’s individual growth, progress, and goals.

When I first meet a singer, I often ask them to demonstrate their vocal regimen and share the specific goals they aim to achieve with each part of their practice. For instance, many singers can perform a lip trill, but there are different ways to execute it. I may see what happens if they modify their vocal tract shape - maybe by “thinking through” a particular vowel sound - and if that makes a positive change. I might also assess whether adjustments to their physical alignment improve their technique, or whether their onset or offset could be adjusted for better balance and efficiency. A lip trill isn’t a lip trill isn’t a lip trill!

I’m particularly interested in helping singers become more aware of the sensations they feel during vocalises and how they can carry those sensations beyond the practice room. Can they transfer those sensations into their repertoire? Into everyday speech? Into speaking on the phone or in a noisy setting, like a restaurant? I try to help identify what works for each singer and help them build on their strengths, or to encourage them to approach their practice in a new way that supports their rehabilitation and overall vocal efficiency. Since I work with so many talented voice teachers, it’s not uncommon for me to reach out to them about an “aha!” moment in a session, only to have them say, "I tell [my student] that all the time!" Sometimes, hearing the same information from a different perspective or in a new way can be helpful. With much of my focus being on the speaking voice and its role in supporting singing goals, many of my patients develop a new appreciation for their speaking voice habits and begin to recognize how that affects the career they have spent a lot of time, money, and energy building.

Final Thoughts (Words of Wisdom, Recommended Books, or Resources)

1. Some of my favorite resources, aside from those I've already mentioned in this interview (in no particular order), include The Vocal Athlete by Dr. Wendy Leborgne and Marci Rosenberg, The Manual of Singing Voice Rehabilitation by Leda Scearce, and A Systematic Approach to Voice: The Art of Studio Application by Dr. Kari Ragan. These are excellent resources for singers, voice teachers, and SLP voice specialists working with singers. Additionally, I’m extremely proud to have contributed a case study to the recently published 10th edition of Voice Therapy: Clinical Case Studies, where I share treatment of an opera singer with a vocal fold pseudocyst (a real case)! This book was my very first purchase after graduating with my SLP degree, and it remains a go-to resource, particularly when educating student SLPs. It was such an honor to have my case added to this edition, and I thank the editors, Dr. Joseph Stemple, Dr. Edie Hapner, and Lauren Timmons Sund for inviting me to contribute! While the book is an excellent resource for all SLPs interested in voice disorders, it features several interesting cases involving performers. I think it's useful for many vocal pedagogues at any stage of their career.

2. It’s not news to say that voice injury isn’t necessarily (or usually!) a career-ender, but the more we work to destigmatize it, the better! I’m grateful to have collaborated with the talented vocal pedagogue Amanda Flynn on studies about this topic, which have been well-received within the performing arts community, especially given that we found amazing information about the important role voice teachers play when it comes to identifying vocal red flags, referring students for a voice evaluation, and supporting them throughout their recovery. It’s inspiring to see performers becoming more open about their experiences with voice injury and recovery. I also hope vocal pedagogues will keep advocating for performers to receive preventive care and support from both their educational programs and professional production teams. Let’s continue this important conversation!

References:

Murphy Estes C, Flynn A, Born H, Clark C, Sulica L. Performers with history of voice injury: A survey study of treatment outcomes and vocal function. J Voice. 2023 Aug 28:S0892-1997(23)00233-3.

Murphy Estes C, Flynn A, Clark CM, Born H, Sulica L. Understanding Performers' Perspectives on Access to Care and Support for Voice Injuries: A Survey Study. J Voice. 2024 May 20:S0892-1997(24)00137-1. doi: 10.1016/j.jvoice.2024.04.018. Epub ahead of print. PMID: 38772831.

Please note that Christine Murphy Estes is not affiliated with VocalPedagogy.com and we do not give out contact information. We hope you enjoyed the interview!