MEMT/CHOR 828/VOIC 921:

Science-based Voice Education/Graduate Vocal Pedagogy

FALL 2016

PROFESSOR: James F. Daugherty Office: 448 Murphy Office Hours: Monday, Noon - 1:00 p.m.; Thursday, 1:00 - 2:00 p.m. Email: jdaugher@ku.edu GRADUATE ASSISTANT: Caitlin Teters Email: teters.caitlin@gmail.com GRADUATE ASSISTANT: Alan J. Martin Email: alanmartin@ku.edu COURSE WEB SITE: http://people.ku.edu/~jdaugher (then click "Current Courses") The course web site houses a variety of class-related material, including evaluation forms, links to web-based resources on vocal anatomy, physiology, and acoustics, and electronic versions of the course syllabus and calendar. COURSE DROP BOX: The drop box contains some assigned readings and handouts. The url address will be emailed to you. PURPOSE: This course facilitates for vocal performers, voice teachers, choir directors, music therapists, and other professionals: (1) understandings of contemporary voice science methodology, research, and clinical practice that have particular application for the voice studio, choir rehearsal, and/or individual careers in voice performance, (2) an appreciation of the scientific method in matters of vocal pedagogy, particularly in the diagnosis and correction of vocal inefficiencies, and (3) an ability to converse intelligently with voice scientists, otolaryngologists, and others, so that (4) dialogue between voice science and the vocal arts can be mutually informative. To those ends, the course: (a) examines vocal anatomy and physiology as they pertain to respiration, phonation, resonance, articulation, and lifespan vocal development; (b) surveys the acoustic properties of sound as they relate to voice production and perception; (c) considers pedagogical strategies for working with voices of various age levels, abilities, and prior learning experiences, including diagnosing inefficient vocal phenomena and implementing learning experiences to modify them; (d) looks at the role of the voice teacher, choir director, or music therapist in fostering vocal health and voice care, so they may know when to refer students to a voice center or otolaryngologist (and, when invited, to serve as a contributing member of a voice therapy team); (e) explores the use of spectrogram software in teaching singing; (f) explores where to find and how to read scientific research related to the human voice and its employment as both a solo and choral musical instrument; and (g) addresses matters of interest to voice teachers, choir directors, and music therapists such as membership in professional organizations, professional ethics, opportunities for ongoing professional development, and the business dimensions of setting up and maintaining a private voice studio. The following diagram sketches the three major, overlapping content emphases of the course:

N.B. The work of this course is predicated upon the following value assumptions: (a) “artistic” and “scientific” approaches to voice pedagogy are mutually informative; and (b) factual knowledge of human voice phenomena ultimately benefits our students, enabling us as professionals to abide by that most basic of ethical principles: “First, do no harm.” REQUIRED TEXTBOOKS: Boytim, J. F. (2002). The private voice studio handbook. Hal Leonard Publishing Co. �

ISBN 10: 0634047388

Bozeman, K.W. (2013). Practical voice acoustics: Pedagogic applications for teachers and singers. Hillsdale, NY: Pendragon Press. ISBN 978-1-57647-240-8

Colton, R.H., Capser, J.K, & R. Leonard (2006). Understanding voice problems: A

physiological perspective for diagnosis and treatment. 3rd ed. Philadelphia: Lippincott Williams & Wilkins. ISBN-10: 0-7817-4329-0. ISMB-13: 978-0-7817-4239-9.

McKinney, J.C. (2005). The diagnosis and correction of vocal faults. Rev. ed. Nashville:

Genovox Publishing. ISBN 1577664035 Davids, J. & LaTour, S. (2012). Vocal technique: A guide for conductors, teachers, and singers. Waveland Press, Inc. ISBN 13: 978-1-57766-782-7 The Dropbox Folder (url at first class meeting) contains other assigned readings. REQUIRED MATERIALS: Media to video-record and playback voice lessons. RECOMMENDED BOOKS: Chapman, J.L. (2006). Singing and teaching singing: A holistic approach to classical voice.

San Diego: Plural Publishing. McCoy, S. J. (2004). Your Voice: An Inside View. Princeton, N.J.: Inside View Press. Nair, G. (1999). Voice-tradition and technology: A state of the art studio. San Diego, CA:

Singular Publishing Group. Includes CD of rudimentary Voce Vista software. Sataloff, R.T. (2005). Voice science. San Diego: Plural Publishing. Thurman, L & Welch, G. (Eds). (2000). Bodymind and voice: Foundations of voice education.�

(3 volumes). Denver, CO: National Center for Voice & Speech. ISBN 0-87414-123-0� RECOMMENDED ADVANCED TEXTBOOKS: Baken, R.J. & Orlikoff, R.F. (2000). Clinical measurement of speech and voice. Second ed. San

Diego, CA: Singular Publishing Group.

Sundberg, J. (1987). The science of the singing voice. DeKalb, IL: Northern Illinois University Press.

Titze, I.R. (2000). Principles of voice production. Iowa City, IA: National Center for Voice & Speech.

OTHER VERY USEFUL BOOKS: Benninger, M.S. & Murray, T. (2006). The performer’s voice. San Diego, CA: Plural

Publishing. Miller, R. (1996). The structure of singing: System and art in vocal technique. New York:

Schirmer Books. Monahan, B. (1978). The art of singing: A compendium of thoughts on singing published

between 1777 and 1927. Metuchen, NJ: Scarecrow Press.

Potter, J. (Ed.) (2000). The Cambridge companion to singing. Cambridge, UK: Cambridge University Press.

Sataloff, R. T. (2006). Vocal health and pedagogy (Vol I): Science and assessment. 2nd ed. San

Diego: Plural Publishing. Sataloff, R. T. (2006). Vocal health and pedagogy (Vol II): Advanced assessment and treatment.

2nd ed. San Diego: Plural Publishing. Stark, J. (2003). Bel canto: A history of vocal pedagogy. Toronto: University of Toronto Press. SPECROGRAPHIC SOFTWARE: All students enrolled in this course will receive free a copy of the Voce-Vista Pro software program. This software is useful for providing visual feedback in singing instruction and also for certain research purposes. It runs, however, only on PC compatible computers (133Mhz, 16 MB memory, Windows 95 and above, excluding the Vista operating system). A Mac-compatible version is in development (you may check the VoceVista web site for an update on that process). Per licensing agreement with the developer of Voce Vista, Dr. Donald Miller of the Groningen Voice Research Lab in The Netherlands, only those students and faculty affiliated with KU are eligible to receive Voce Vista in this manner. Please do not make it available to non-KU personnel. Others, of course, may purchase it via the vocevista.com web site. COURSE CALENDAR A Course Calendar with Assignments will be posted on the course web site. A tentative calendar accompanies this syllabus. Reading assignments must be completed prior to the class session for which they are listed. The instructor reserves the right to schedule unannounced pop quizzes on the readings. ATTENDANCE POLICY Miss no more than one class meeting for any reason. Failure to complete this requirement will result in lowering of the final grade one increment for each transgression. For extremely extenuating circumstances, contact the instructor as soon as possible. VOICE TEACHING PRACTICUM All students in this course will engage in teaching a series of voice lessons (N=6) to a particular learner. Students in voice performance and music education will follow a private voice studio approach to this practicum experience. Students in music therapy may undertake therapeutic voice pedagogy with an older adult, a Speech-Language Center client, or a person chosen in consultation with a music therapy faculty member. Graduate choral conducting students with a regularly meeting ensemble may elect to do group voice pedagogy in lieu of private lessons, so long as rehearsals designated for this purpose are voice-centered rather than simply literature-centered. Students in other disciplines may negotiate with the instructor a practicum experience that best serves their needs and program goals. Each practicum session must be videotaped. Each lesson must be planned beforehand and evaluated afterward by means of submitted evaluation forms. Signed permission must be received in order that lessons may be videotaped and shared with the class as a whole. Specific details for carrying out this practicum will be discussed in class.

COURSE REQUIREMENTS AND GRADING: Master’s and Doctoral Students:

1. Evidence of regular, on time completion of assigned readings, as indicated by short HAT reflection activities or pop quizzes at the beginning of each class, and contributions to class discussions.

2. Complete with competence all course lab experiences (N = 16). Many of the labs will be completed during class time each week. Others will be assigned as homework. Some others that acquaint you with specialized equipment in the Vocology Laboratory may require you to schedule individual appointments with Mr. Martin or Ms. Teters.

3. Pass (with a score of 90 or above) N=3 Competency Tests: (a) vocal anatomy and physiology, (b) acoustics of vocal sound/hearing, and (c) voice pedagogy. Students not achieving a score of 90 or above may retake each test once. Individual appointments must be scheduled for re-tests.

4. Complete with competence the Voice Pedagogy Practicum (Graduate students: N=6 lessons), including submission of a Voice Lesson Evaluation Form after viewing a video of each of your lessons. Also includes in-class presentation of excerpts from three voice lessons taught. One of these in-class presentations must be of your first lesson with the student. The evaluation form for lessons 2 - 6 is online. (http://web.ku.edu/~cmed/private/vlesson.html). You should type and save your responses first in a word processing document, then cut and paste into the appropriate boxes on the online form. Doing so protects your evaluation should there be a glitch (e,g, power failure, server down) prior to clicking submit. NOTE: The first voice lesson only requires a different type of evaluation. Your first lesson must include a diagnostic/intake process (if such was not conducted prior to first lesson). NOTE: For the first lesson only, after you have reviewed your videotape, send (in lieu of the voice lesson evaluation form) an email to jdaugher@ku.edu with a copy to teters.caitlin@gmail.com, subject line: First Voice Lesson. In that email, detail succinctly (a) the diagnostic/intake procedures you used, (b) a brief summary of the diagnostic/intake data you accumulated, (c) your diagnosis of the major "it" re: this student, based on the data, (d) how, specifically, you plan to address this "it" in the next lesson, (e) what you did well, (f) where you think you need improvement.

5. Analysis of N=3 voice research articles. For graduate students, this is a package deal. No credit awarded for less than 3 analyses, completed with competency. (a) Gain instructor approval of chosen articles by submitting via email the bibliographic reference data and abstract for each chosen research article by the date listed on the course calendar. This submission is the research articles proposal. At that time, the instructor will tell you which analysis form is most appropriate for your chosen articles. Some journal suggestions: Journal of Voice, Journal of the Acoustical Society of America, International Journal of Research in Choral Singing, Journal of Research in Music Education, Journal of Music Therapy, & Phoniatrics, Logopedics, Vocology. Some electronic database search suggestions: PubMed, ProQuest, JSTOR, IIMP. SAGE. The Journal of Voice website allows you to perform a keyword search for particular articles in that journal and provides abstracts: http://www.jvoice.org. You will need to obtain the article itself via KU. (b) Complete and submit a Research Analysis Form (see course web site) on the chosen articles. If you have a question about which form to use, email the instructor.

6. Senior Learner Presentation. Serve as “senior learner” for a 20 minute class presentation, either on a topic from the assigned readings or another topic that particularly interests you. This oral presentation may relate to your three research analyses, or chosen doctoral project topic (see below), but it need not necessarily do so. Presentations include preparation of

informative handouts to be distributed to the class, a list of readings and resources for colleagues to explore, and incorporation of powerpoint or other visual and/or aural media in some way. One may not simply lecture. Presenters should allow time for colleague questions. A general rule of thumb: 15 min presentation, 5 minutes for questions.

Doctoral Students (Ph.D./D.M.A.) only:

7. In consultation with the instructor, design and carry out a doctoral level project related to vocal pedagogy and your specific interests. To afford flexibility in meeting individual student interests and needs, this project may have a research/scholarly focus or an applied focus. The final, submitted "product" may be either a paper (12 - 16 pp) or a portfolio. Possibilities include (but are not limited to) a small-scale research project, a review of research literature on a specific topic, a research proposal, a scholarly examination of some phenomenon using primary sources, an annotated bibliography of appropriate vocal literature for a specific teaching situation, critical analyses of two or three vocal pedagogy books (other than the ones required for this class) or two or three vocal literature anthologies, a detailed compilation of targeted vocalises for specified vocal inefficiencies, detailed lesson plans for incorporating vocal health instruction segments into a series of studio lessons, detailed plans for gradually teaching use of spectrographic software across a specified period of time, etc. Consultation with the instructor will result in a mutually-agreed upon project "contract" that specifies what you plan to do and what the final "product" will be.

All assignments must be completed and turned in on, or before, the due dates in order to receive credit. No assignments will be accepted late. All assignments must be typed unless otherwise specified. There will be no final examination in this course. FINAL COURSE GRADE: Master’s Doctoral Evidence of Engagement with assigned readings & class discussions 5 points 5 points All labs completed 10 points 10 points N = 3 Research Article Analyses 12 points 12 points Competency Test I (90 or above) 15 points 10 points Competency Test II (90 or above) 15 points 10 points Competency Test III (90 or above) 15 points 10 points Teaching Practicum, including Evaluation forms and in- class presentations 20 points 20 points In-Class Teaching/Sr. Learner 8 points 8 points Doctoral Project ----------- 15 points ________ ________ 100 points 100 points This is a competency-based course. Students will be awarded consistently the maximum points, as listed above, for each requirement completed “with competency,” as determined by the instructor. As long as a first, good-faith effort to demonstrate a particular competency was made and made on time, students may, without penalty, re-do or re-take any of the above until competency is achieved (with the exception of reading/discussion, of course). Students not demonstrating competency by

the final class meeting, however, will have the full number of points listed above subtracted from their final course grade. N.B. For doctoral students, the project will be graded traditionally, with 15 points awarded for a project of “A” quality. No grades of Incomplete will be given in this course. Can every student potentially earn a final grade of A in this course? Sure. Why not? CRITERIA FOR FINAL COURSE GRADE: A = 93 - 100 points, B = 85 – 92 points, C = 77 – 84 points, D = 70 - 77 points, F= 69 points or below. No final grade will be awarded without turning in a final grade checklist. This document is attached to this syllabus and also may be downloaded from the course web site. OPTIONAL RESEARCH PROJECT PARTICIPATION: Students who elect to participate in a class related research project requiring time outside of class can earn 1-2 points added to the final course grade. Aside from participation, a brief written reflection on this experience is also required. ACADEMIC MISCONDUCT Academic misconduct by a student shall include, but not be limited to, disruption of classes; threatening an instructor or fellow student in an academic setting; giving or receiving of unauthorized aid on examinations or in the preparation of notebooks, themes, reports or other assignments; knowingly misrepresenting the source of any academic work; unauthorized changing of grades; unauthorized use of University approvals or forging of signatures; falsification of research results; plagiarizing of another's work; violation of regulations or ethical codes for the treatment of human and animal subjects; or otherwise acting dishonestly in research or academics. A number of sanctions may be imposed on a student for academic misconduct, ranging from admonition to expulsion from the University. These sanctions include a reduction of grade for the specific assignment/exam or for the entire course. The University’s policy regarding academic misconduct, including a complete list of potential sanctions, is located at http://policy.ku.edu/governance/USRR#art2sect6 . ACCOMMODATIONS AND SERVICES FOR STUDENTS WITH DISABILITIES The Academic Achievement and Access Center (AAAC) coordinates academic accommodations and services for all eligible KU students with disabilities. If you have a disability for which you wish to request accommodations and have not contacted the AAAC, please do so as soon as possible. They are located in 22 Strong Hall and can be reached at 785-864-4064 (V/TTY). Information about their services can be found at http://www.access.ku.edu. Please contact me privately in regard to your needs in this course.

OPPORTUNITIES FOR FURTHER STUDY The International Voice Care Network and the National Center for Voice & Speech Vocology Institute each offer intensive one to three week courses every summer. The Voice Foundation offers a symposium each June that brings together medical doctors, voice scientists, voice performers, speech-language pathologists, and voice teachers for mutually informative sessions and discussions. The Pan American Vocology Association (PAVA) offers a symposium each fall that brings together voice teachers, speech-language pathologists, acting teachers, voice scientists, and other voice professionals for informative sessions and discussions.

National and regional conferences of the National Association of Teachers of Singing (NATS) typically offer several vocology-oriented sessions. Conferences of the American Choral Directors Association (ACDA) and the National Association for Music Education (NAfME) are beginning to do so. KU offers graduate degree emphases (MME, PhD) in vocal pedagogy and choral pedagogy, in which students may select coursework and practica from the School of Music, Department of Speech-Language-Hearing, and the KU Med Center. Summers-only graduate study is possible for the MME degree. KU graduate courses in vocal pedagogy may also be applied, with approval, to MMus and DMA degree programs in voice performance. Keep up with news of the KU Vocal/Choral Pedagogy Research Group via "liking" us on Facebook: University of Kansas Vocal/Choral Pedagogy Research Group. HEARING EVALUATION Audiology graduate students in the Department of Speech, Language, Hearing offer free hearing testing for KU students. Contact the Department for specifics. Noise Induced Hearing Loss (NIHL) is a growing concern for musicians, including (and sometimes, especially) vocalists. NIHL is irreversible. It's a good idea to get your hearing tested.

MEMT/CHOR 828/VOIC 911: DESCRIPTION OF TEACHING PRACTICUM

Each student in the class will teach a series of voice lessons (N=6) to a selected person. Students in music therapy may undertake therapeutic voice pedagogy with an older adult, a Speech-Language Center client, or another person chosen in consultation with a music therapy faculty member. Practicum Requirements:

1. Enlist a student to teach (or client with whom to work). 2. You must obtain written consent of the prospective student or client to participate in this

teaching practicum and to have his or her voice lessons or therapy sessions video-recorded. Use the Voice Teaching Practicum Permission Form included at the end of this syllabus. If you wish to enlist a student or client under the age of 18, you must consult first with the instructor. Generally, we discourage teaching those under 18 years of age for this practicum. In certain cases, we may permit it, but you must first have instructor permission and then gain written permission from the student’s parent or guardian as well.

3. Schedule with your student a series of six voice lessons. Videotape each lesson. Unless you

are teaching a family member or roommate, voice lessons should be taught in a Murphy Hall practice room. You must secure permission from the instructor to use another location.

4. Your first lesson must include a diagnostic/intake process (if such was not conducted prior to

first lesson). NOTE: For the first lesson only, after you have reviewed your videotape, send (in lieu of the online voice lesson evaluation form) an email to jdaugher@ku.edu with a copy to teters.caitlin@gmail.com , subject line: First Voice Lesson. In that email, detail succinctly (a) the diagnostic/intake procedures you used, (b) a brief summary of the diagnostic/intake

data you accumulated, (c) your diagnosis of the major "it" re: this student, based on the data, (d) how, specifically, you plan to address this "it" in the next lesson, (e) what you did well, (f) where you think you need improvement.

5. At least one of your lessons must include use of visual, spectrographic feedback in some

fashion.

6. At the conclusion of each voice lesson, view and reflect upon the videotape of that lesson. Then complete and submit the online Voice Lesson Evaluation Form (Course Web Site) for your second lesson onward. See above (#4) for how to submit an evaluation of your first voice lesson taught).

It is a good idea to use your word processing software to write and save your responses/comments. You can then paste those saved comments onto the electronic form. This practice insures that, should something unforeseen happen as you submit the online form, you will not have to start over again with the writing of your responses. You should receive an immediate electronic acknowledgment if the form was successfully submitted. If you do not receive this electronic acknowledgment, then for whatever reason there was a glitch in its submission. You will need to submit the form again.

7. As you engage in the practicum, consistently reflect upon these questions: (1) Am I

demonstrably helping my student/client achieve efficient, comfortable vocal production habits in accord with his or her own singing goals? (2) What are my current strengths as a voice teacher? (3) What improvements to my teaching do I need to implement? (4) Am I conducting myself ethically and as a professional? The “Evaluating Your Voice Lessons” handout (to be distributed in class) suggests criteria to assist you in these ongoing reflections.

8. At stated times, bring a selected portion (4 -5 min.) of a videotaped lesson to class. You must

(a) have the video cued and ready to go beforehand, and (b) have ascertained beforehand its playback compatibility with the classroom’s audio-visual equipment. You will present in class portions of at least three voice lessons taught. One of these presentations must be of the first lesson.

LISTS OF TERMS AND BRIEF DISCUSSION QUESTIONS The competency tests in Vocal Anatomy/Physiology and Voice Acoustics/Hearing will be drawn from these terms and questions. It is a good strategy to write down definitions and/or responses to each item on these lists as you engage in your weekly reading and web site explorations. These lists are also available on the course web site in .doc form, so that you may download and reformat them according to your needs. COMPETENCY TEST I: BASIC ANATOMICAL/PHYSIOLOGICAL TERMINOLGY VOICE HEALTH/VOICE CARE Please define ALL the terms on this list, even headings. Be prepared to discuss how an anatomical component functions physiologically. Explain briefly the role each term takes in voice production. Anatomy Physiology Anatomy Physiology Respiration: rib cage subglottal

12 rib pairs supraglottal true ribs phonation threshold pressure false ribs transglottal airflow floating ribs appoggio intercostal muscles diaphragm sternum clavicle epigastrium thoracic cavity trachea abdominal cavity

lungs bronchi S/Z Ratio Phonation: larynx transducer Cartilages of larynx

epiglottis (elastic cartilage) thyroid cartilage (hyaline) cricoid cartilage (hyaline) arytenoid cartilages (hyaline) corniculate cartilages (hyaline) cuneiform cartilages (hyaline) hyoid bone Folds/Spaces

false vocal folds ventricular folds ventricles vestibule

aryepiglottic fold true vocal folds epithelium lamina propria & layers Reinke’s Space vocal ligament thyroarytenoid muscles vocalis, muscularis glottis

vocal fold adduction vocal fold abduction vibration gentle onset glottal onset aspirate onset Open Quotient (OQ) Closed Quotient (CQ) Electroglottography (EEG)

vibrato vibrato rate vibrato extent

Intrinsic laryngeal muscles

cricothyroid muscle (pars recta and pars oblique) cricoarytenoid muscles (posterior and lateral) thyroarytenoid muscles interarytenoid muscles (transverse and oblique) Extrinsic laryngeal muscles

suprahyoid muscle group infrahyoid muscle group

strap muscles Resonance: pharynx vocal tract

nasopharynx oropharynx laryngopharynx

hard palate velum/soft palate uvula piriform sinuses chiaroscuro zygomatic muscles (major and minor) fascia

Articulation: tongue lips velum/soft palate hard palate (alveolar ridge)

mouth, cheeks jaw

Nervous System: innervation

vagus nerve superior branch vagus nerve superior branch external route vagus nerve recurrent branch vagus nerve

Theories of Voice Production: Source-Filter theory

Myoelastic-Aerodynamic Theory of voice production Bernoulli Effect Non-Linear Theory of voice production

Voice Health/Care: phonotrauma benign vocal fold lesions

Can you accurately describe, in terms your students can understand, how the vocal folds open and close, with specific reference to the opener/closer muscles involved? Can you accurately describe, in terms your students can understand, how the vocal folds lengthen and shorten, with specific reference to the lengthener/shortener muscle involved? Can you list three major things all persons can/should do to care proactively for their voices, and give a succinct anatomical, physiological, or acoustic reason for each? Can you list three major things singing voice performers can/should do to care proactively for their voices, giving a succinct rationale for each? Can you list and briefly discuss at least four readily audible and/or observable signs/symptoms of inefficient voice production? What particular symptoms would prompt you to suggest a student or client seek evaluation by an otolaryngologist or other medical professional? COMPETENCY TEST II: BASIC TERMS: VOICE/VOICE-RELATED ACOUSTICS & PHYSIOLOGY HEARING ANATOMY & PHYSIOLOGY Acoustics Psychoacoustics Vibration Sound wave Waveform Compression Rarefaction

Simple harmonic motion Complex harmonic motion Cycle Period Periodic cycle Aperiodic cycle Noise Frequency Pitch Fundamental Frequency (Fo) Hertz (Hz) Amplitude Intensity (Io) Loudness Decibel (dB) Sound Pressure Level (SPL)/Sound Intensity Level (SIL) Lombard Effect Self-to-Other Ratio (SOR) Chorusing Effect Reverberation Timbre Resonance frequency Harmonics Overtones Partials Formants Singer’s Formant Formant tuning Acoustic loading of vocal folds Register theories “Register break” Passaggio Sound spectrum Spectrogram Perturbation Signal-to-Noise Ratio Jitter Shimmer sampling rate CD sampling rate digital recording analog recording ,mp3 vs. .wav

Nyquist sampling Narrow Bandwidth Wide Bandwidth Low pass filter High pass filter Phonetogram Voice Range Profile Multi-Dimensional Voice Profile (MDVP) LTAS (Long-term average spectrum) Hearing Anatomy & Physiology: Outer ear Pinna External auditory meatus External auditory canal Mode of operation (outer ear) Function (outer ear) Middle ear Ossicles Malleus Incus Stapes Tympanic membrane Eustachian tube Oval window Mode of operation (middle ear) Function (middle ear) Inner ear Semicircular canals Cochlea Organ of Corti Tectorial membrane Basilar membrane Internal auditory canal Cilia Auditory cranial nerve (VIII) Mode of operation (inner ear) Function (inner ear) Noise Induced Hearing Loss (NIHL) Can you explain succinctly, in terms your students can understand, why the Lombard Effect matters with respect to both solo and choral singing? In a way your students can understand, can you explain vocal resonance succinctly, using such terms as fundamental frequency (Fo), partials/overtones/harmonics, and formants? Please include how these acoustic terms relate to the vocal tract.

In a way your students can understand, can you explain the differences between solo singing voice acoustics and choral singing voice acoustics? If presented with a spectrogram or spectrum of a moment in time of singing voice production, can you interpret and succinctly explain some major pieces of data or information of interest contained therein? Explain succinctly to a student what noise induced hearing loss is and how one can act proactively to protect oneself from experiencing this loss.

FINAL GRADE CHECKLIST: VOIC 921-MEMT/CHOR 828 NAME ___________________________________________

GRADE CRITERIA: A=All course requirements completed on time with competence and accuracy. (Full point totals awarded)

B=All course requirements completed with competence, though one or two turned in late; or the student has one unexcused absence. C=All course requirements completed adequately, but three or more requirements completed late, or the student has two unexcused absences. D=One or more course requirements not completed; or three unexcused absences. F=Multiple course requirements not completed; or more than three unexcused absences. I is not given. No grade will be given without the final checklist. Requirement Date Completed or Submitted Not Completed 1. Lab Experiences

Lab 1 _____________ ____________ Lab 2 _____________ ____________ Lab 3 _____________ ____________ Lab 4 _____________ ____________ Lab 5 _____________ ____________ Lab 6 _____________ ____________ Lab 7 _____________ ____________ Lab 8 _____________ ____________ Lab 9 _____________ ____________ Lab A _____________ ____________ Lab B _NA_________ __NA_______ Lab C _____________ ____________ Lab D _____________ ____________ Lab E _____________ ____________ Lab F _____________ ____________ Lab G _____________ ____________ Lab H _____________ ____________

2. Research Articles Proposal 1 _____________ ____________ Analysis 1 _____________ ____________ Proposal 2 _____________ ____________ Analysis 2 _____________ ____________ Proposal 3 _____________ ____________ Analysis 3 _____________ ____________

3. Competency Test I (90 or above) Yes No

4. Competency Test II (90 or above) Yes N5o 5. Competency Test III (90 or above) Yes No 6. Voice Pedagogy Practicum

Lesson/Session 1 _____________ ____________ Eval Form Submitted _____________ ____________ Lesson/Session 2 _____________ ____________ Eval Form Submitted _____________ ____________ Lesson/Session 3 _____________ ____________ Eval Form Submitted _____________ ____________ Lesson/Session 4 _____________ ____________ Eval Form Submitted _____________ ____________ Lesson/Session 5 _____________ ____________ Eval Form Submitted _____________ ____________ Leson/Session 6 _____________ ____________ Eval Form Submitted _____________ ____________

9. Presented video of three lessons Yes No in class 10. Class Sr. Learner Presentation _____________ ____________ 11. Doctoral Students Only: Project Proposal _____________ ____________ Final Project Submitted _____________ ____________ 12. (Optional)

Participated in Class Research Project: Yes No Submitted Written Reflection: ________________ (Date) Keep this document. Record when you complete assignments during the semester. Turn it in on the last day of class.

VOICE TEACHING PRACTICUM PERMISSION FORM University of Kansas graduate students who are enrolled in the VOIC 921/MEMT-CHOR 828 course in Graduate Vocal Pedagogy complete a Voice Teaching Practicum Experience with volunteers who wish to receive a series of voice lessons. There is no charge for these voice lessons. Volunteers who agree to participate receive no remuneration for their participation. Practicum voice lessons are video-recorded to assist KU students in evaluating their teaching skills. By my signature below, I hereby volunteer to participate in a series of weekly voice lessons (4-6) with ________________________, a graduate student at the University of Kansas, who is currently enrolled in a course in Vocal Pedagogy. I understand there is no charge for these voice lessons. I understand that I will receive no payment for participating in these voice lessons. I understand that I may withdraw my consent to participate in these voice lessons at any time. Date: ________ Signature: ___________________________________________ Volunteers under the age of 18 years must also present signatures of a parent or guardian granting permission to participate. Date: ________ Signature of Parent/Guardian: ___________________________ By my signature below, I hereby grant permission for these practicum voice lessons to be video-recorded. I understand that portions of these videotapes may be shown in the vocal pedagogy class and/or in individual conferences with the course instructor. I understand that I may withdraw my consent for videotaping of lessons at any time. I further understand that these videotapes will be destroyed at the conclusion of the semester. Date: ________ Signature: ___________________________________________ Volunteers under the age of 18 years must also present signatures of a parent or guardian granting permission for voice lessons to be videotaped. Date: ________ Signature of Parent/Guardian: ___________________________