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7-2021
Interpersonal Practices in Individualized Voice Teaching: A Mixed-

Method Study of Pedagogical Similarities and Differences
between Teachers of Singing and Speech-Language Pathologists
Brianna Smith
University of Nebraska-Lincoln, [email protected]
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INTERPERSONAL PRACTICES IN INDIVIDUALIZED VOICE TEACHING:
A MIXED-METHOD STUDY OF PEDAGOGICAL SIMILARITIES AND
DIFFERENCES BETWEEN TEACHERS OF SINGING AND SPEECH-LANGUAGE
PATHOLOGISTS
by
Brianna C. Smith
A DISSERTATION
Presented to the Faculty of
The Graduate College at the University of Nebraska
In Partial Fulfillment of Requirements
For the Degree of Doctor of Philosophy
Major: Music
(Vocal Pedagogy)
Under the Supervision of Dr. Kevin G. Hanrahan
Lincoln, Nebraska
July, 2021
INTERPERSONAL PRACTICES IN INDIVIDUALIZED VOICE TEACHING:
A MIXED-METHOD STUDY OF PEDAGOGICAL SIMILARITIES AND
DIFFERENCES BETWEEN TEACHERS OF SINGING AND SPEECH-LANGUAGE
PATHOLOGISTS
Brianna Charise Smith, Ph.D.
University of Nebraska, 2021
Advisor: Kevin G. Hanrahan
The interpersonal teaching practices of teachers of singing and speech-language
pathologists are examined in this mixed-method research study. The aim of this research
is to identify common teaching themes and to determine how the disciplines of voice
pedagogy and speech-language pathology agree and vary regarding interpersonal
interactions with voice users (i.e., students, patients, and clients).
This research aims to identify the areas of overlap and disparity in the fields of
voice pedagogy and speech-language pathology to determine where one field might
positively influence the other. First, based upon standards set by speech-language
pathologists and teachers of singing, this research identifies interpersonal practices
valued by teachers of singing and speech-language pathologists, compares these
practices, and makes recommendations for each of the two fields. Second, it identifies
and compares the types of instruction within these fields by looking at practices and
teacher training in interpersonal skills. In essence, this determines whether the values
(beliefs, expectations, and standards set by the field) held by teachers of singing and
speech-language pathologists align with training and use of interpersonal skills in and
across both fields.
This has led to an inventory of positive interpersonal practices of teachers of
singing and speech-language pathologists, through which recommendations are made for
individuals and institutions based on both the similarities and differences between these
two fields, with the aim of positively impacting current teachers of singing, speech-
language pathologists, and those in teacher education programs, as well as the broader
educational structures in place for individualized voice teaching.
Keywords: interpersonal, music education, vocal pedagogy, speech-language
pathology, teachers of singing, methodologies, research-based teaching, pedagogical
content knowledge, voice users

iv
ACKNOWLEDGEMENTS
I would like to thank the many people who have supported me throughout my
studies and especially during the writing of this dissertation. I express my sincerest
appreciation and gratitude to my advisor, Dr. Kevin Hanrahan, who advocated for me and
always encouraged me to grow, and my committee members, Dr. William Shomos, Dr.
Rhonda Fuelberth, and Dr. Angela Dietsch. Thank you all for contributing to my passion
for this topic and for the guidance, constructive criticism, and feedback you provided.
I would also like to acknowledge the Glenn Korff School of Music and the
Hixson-Lied School of Fine and Performing Arts for funding this research. I am grateful
to my professors in both music and speech-language pathology for their teaching and
guidance through this program. My love of teaching is a direct result of the educators
who have poured into me throughout my lifetime. My love of community is a result of
those with whom I’ve been blessed to work. To my peers, colleagues, and fellow artists,
thank you! To my students, you inspire me. Also, thank you to Emily Robinson and the
SC3L Statistical Cross-Disciplinary Collaboration and Consulting Lab for your help with
the quantitative analysis.
A special thank you to the friends and family who have showered me with
encouragement. To my parents, Brian and Shawna Bailey, thank you for being the best
models of generosity and hard work, and for editing many versions of this document. To
Brandon and Ashley Bailey, thank you for always lifting me up. To Greg, Trish, Cole,
Kelsey, and Jacob Smith, thank you for investing in me. To my extended family,
including my aunts, uncles, cousins, and grandmothers, thank you for championing me.
To Christie, Courtney, and Kim, thank you for always seeing my potential and for editing
v
portions of this. To Hannah, Chelcie, Christine, Shayna, and Bethany, thank you for
cheering me on. To my family at the Southwest Church of Christ, thank you for your
prayers.
And to my husband, Caleb Smith, I cannot put into words what your love has
given me. This project would not exist without you and your unfailing reassurance.
Thank you for your continual belief in me, even when I didn’t believe in myself. From
the conception of this research to its completion, you gave feedback that made me think
(and made me laugh). This is dedicated to you, now and later.
Finally, and most importantly, I am grateful to the ultimate example, who daily
shows me what it means to love others and to do unto them as I would want for myself
(Luke 6:31, John 15:13). You are the greatest interpersonal teacher. Everything I do, I do
for you.
vi
TABLE OF CONTENTS
LIST OF FIGURES ...................................................................................................................... xx
LIST OF TABLES .......................................................................................................................xxi
CHAPTER 1: BACKGROUND AND PURPOSE ....................................................................... 1
Introduction ................................................................................................................................ 1
Purpose ........................................................................................................................................ 6
Research Questions .................................................................................................................... 7
CHAPTER 2: LITERATURE REVIEW ..................................................................................... 8
Value of Interpersonal Skills ..................................................................................................... 8
Holistic Approaches ................................................................................................................. 8
Trust, Empathy, and Safe Environments ............................................................................... 10
Individualized Instruction ...................................................................................................... 13
Mentorship and “The Match” ................................................................................................ 15
Training in Interpersonal Skills .............................................................................................. 18
Collaboration and Multidisciplinary Training ....................................................................... 18
Standards of Training in Both Fields ..................................................................................... 26
Training Activities ................................................................................................................. 29
Pedagogical Content Knowledge ........................................................................................... 33
Use of Interpersonal Skills ....................................................................................................... 36
Awareness of Self and Others ................................................................................................ 36
Client-Centered Communication ........................................................................................... 42
Feedback and Setting Goals ................................................................................................... 47
Using Instructional Tools ....................................................................................................... 50

vii
Summary ................................................................................................................................... 51
CHAPTER 3: METHODOLOGY .............................................................................................. 52
Methodological Overview ........................................................................................................ 52
Definition of Terms .................................................................................................................. 52
Interpersonal .......................................................................................................................... 52
Intrapersonal .......................................................................................................................... 54
Teachers of singing ................................................................................................................ 54
Speech-language pathologists ................................................................................................ 55
Pedagogical content knowledge............................................................................................. 55
Voice user .............................................................................................................................. 55
Delimitations ............................................................................................................................. 56
Basic Assumptions .................................................................................................................... 58
Theory ....................................................................................................................................... 59
Participants ............................................................................................................................... 63
Phase 1 Participants ............................................................................................................... 63
Personnel and Facilities ........................................................................................................... 64
Researcher Positioning ............................................................................................................ 65
Procedure and Materials ......................................................................................................... 65
Phase 1 Measures ................................................................................................................... 65
Phase 2 Measures ................................................................................................................... 66
Phase 3 Measures ................................................................................................................... 70

viii
Data Analysis ............................................................................................................................ 70
Qualitative Data Analysis ...................................................................................................... 70
Quantitative Data Analysis .................................................................................................... 71
CHAPTER 4: QUALITATIVE INTERVIEW RESULTS – VALUE OF
INTERPERSONAL SKILLS ...................................................................................................... 76
Data Analysis Overview ........................................................................................................... 76
Relationship-Building .............................................................................................................. 78
Similarities in Relationship Building Between the Fields ..................................................... 78
Trust ................................................................................................................................... 78
Humor ................................................................................................................................ 81
Empathy ............................................................................................................................. 81
Importance of “Match” ...................................................................................................... 82
Relationship-Building in Med Subjects ................................................................................. 83
Empowering Voice Users .................................................................................................. 83
Role: Coach ....................................................................................................................... 84
Role: Nurturer .................................................................................................................... 85
Relationship-Building in Singing Teachers ........................................................................... 85
Role: Advisor ..................................................................................................................... 85
Role: Mentor ...................................................................................................................... 86
Role: Friend ....................................................................................................................... 86
Building Community for Singers ...................................................................................... 87
Safe Environments ................................................................................................................... 88
Similarities in Safe Environments Between the Fields .......................................................... 88
Power Dynamics and Emotional Safety ............................................................................ 88

ix
Physical Safety .................................................................................................................. 89
Nonjudgmental Encounters and Acceptance of Diverse Populations ............................... 90
Safe Environments in Med Subjects ...................................................................................... 91
Deconstructing Shame ....................................................................................................... 91
Respecting Spoken Content and Intent.............................................................................. 92
Safe Environments in Singing Teachers ................................................................................ 92
Affirmation ........................................................................................................................ 92
Modeling............................................................................................................................ 93
Voice-User-Led Practices ........................................................................................................ 94
Similarities in Voice-Use-Led Practices Between the Fields ................................................ 94
Voice User as the Center ................................................................................................... 94
Problem-Solving with the Voice User ............................................................................... 96
Fostering Independence and Reflective Thinking ............................................................. 97
Instructional Flexibility ..................................................................................................... 99
Taking Voice User Differences Into Account ................................................................... 99
Voice-User-Led Practices in Singing Teachers ................................................................... 102
Repertoire Considerations ............................................................................................... 102
Phase 1 Value Conclusions .................................................................................................... 104
CHAPTER 5: QUALITATIVE RESULTS – TRAINED INTERPERSONAL SKILLS .... 105
Types of Training ................................................................................................................... 106
Similarities in Training Between the Fields......................................................................... 106
Continued Education ....................................................................................................... 106
Training in Med Subjects ..................................................................................................... 107
Certification, Memberships, and Conferences ................................................................ 107

x
Teaching Licenses ........................................................................................................... 108
Musical Training.............................................................................................................. 109
Training in Interacting with Voice Users ........................................................................ 110
Training in Singing Teachers ............................................................................................... 110
Variety of Degrees ........................................................................................................... 110
Past Teachers as Models .................................................................................................. 111
Masterclasses, Internships, and Performance Experiences ............................................. 112
Lack of Coursework in Teaching .................................................................................... 113
Pedagogical Motivation.......................................................................................................... 114
Similarities in Pedagogical Motivation Between the Fields ................................................ 114
Student/Patient Successes................................................................................................ 114
Pedagogical Motivation in Med Subjects ............................................................................ 116
Whole Person Mentality .................................................................................................. 116
Seeing the Subjective in Health Care .............................................................................. 116
Feeling Needed ................................................................................................................ 117
Pedagogical Motivation in Teachers of Singing .................................................................. 117
Maintaining Own Vocalism and Musicality .................................................................... 117
Teamwork ............................................................................................................................... 119
Similarities in Teamwork Between the Fields ..................................................................... 119
Working with Other Voice Experts ................................................................................. 119
Understanding Roles within the Team ............................................................................ 122
Teamwork in Med Subjects ................................................................................................. 124
Working as a “Translator” for Team Members ............................................................... 124
Including the Family as Part of the Team........................................................................ 125
Teamwork in Singing Teachers ........................................................................................... 125

xi
Creating Healthy Voice Departments .............................................................................. 125
Phase 1 Training Conclusions ............................................................................................... 126
CHAPTER 6: QUALITATIVE RESULTS – USE OF INTERPERSONAL SKILLS ........ 127
Verbal Communication and Feedback ................................................................................. 128
Similarities in Verbal Communication and Feedback Between the Fields.......................... 128
Clear Communication ...................................................................................................... 128
Providing Feedback ......................................................................................................... 129
Verbal Communication and Feedback in Med Subjects ...................................................... 131
Word Choice and Asking Questions ............................................................................... 131
Communicating with Families......................................................................................... 132
Verbal Communication and Feedback in Singing Teachers ................................................ 133
Concise Instruction .......................................................................................................... 133
Open Interpretation .......................................................................................................... 133
Starting with Positive Feedback ...................................................................................... 134
Non-Verbal Communication and Listening Skills .............................................................. 135
Similarities in Non-Verbal Communication and Listening Skills Between the Fields ....... 135
Body Language and Facial Expressions .......................................................................... 135
Listening to Content and Delivery................................................................................... 136
Goal Setting and Decision-Making ....................................................................................... 138
Similarities in Goal Setting and Decision-Making Between the Fields .............................. 138
Striving Towards the Personal Goals of Each Voice User .............................................. 138
Goal Setting with Med Subjects .......................................................................................... 139
Customized Short- and Long-Term Goals....................................................................... 139
Following an IEP ............................................................................................................. 141

xii
Goal Setting with Singing Teachers .................................................................................... 141
Task-Oriented .................................................................................................................. 141
Musical Goals .................................................................................................................. 143
Teaching Techniques.............................................................................................................. 146
Similarities in Teaching Techniques Between the Fields .................................................... 146
Visual, Aural, and Kinesthetic Modes ............................................................................. 146
Scaffolding Instruction .................................................................................................... 148
Teaching Techniques in Med Subjects ................................................................................ 149
Practice Page and Game for Younger Voice Users ......................................................... 149
Teaching Techniques in Singing Teachers .......................................................................... 150
Teaching from Experience............................................................................................... 150
Research-Based Practices ...................................................................................................... 151
Research-Based Practices by Med Subjects ........................................................................ 151
Incorporating Research .................................................................................................... 151
Exclusively Research-Based Practices ............................................................................ 152
Research-Based Practices by Singing Teachers .................................................................. 152
Reading ............................................................................................................................ 152
Referencing Experiences of Other Singers...................................................................... 153
Struggle to Find Reliable Resources ............................................................................... 153
Professional Demands ............................................................................................................ 154
Similarities in Professional Demands Between the Fields .................................................. 154
Preparation and Reflection .............................................................................................. 154
Using Technology............................................................................................................ 155
Scheduling and Finding Balance ..................................................................................... 155
Professional Demands in Med Subjects ............................................................................... 157

xiii
Meeting Professional Verification Criteria...................................................................... 157
Professional Demands in Singing Teachers......................................................................... 158
Musical Genre and Performance Concerns ..................................................................... 158
Phase 1 Use Conclusions ........................................................................................................ 159
CHAPTER 7: QUANTITATIVE SURVEY RESULTS ......................................................... 161
Demographics ......................................................................................................................... 164
Results of the 33 Skills in Relation to Value, Training, and Use ........................................ 165
Relationship-Building .......................................................................................................... 167
Being a Friend to the Voice Users with Whom I Work .................................................. 167
Being a Life Coach to the Voice Users with Whom I Work ........................................... 169
Community Outreach ...................................................................................................... 170
Empathy ........................................................................................................................... 172
Humility ........................................................................................................................... 173
Humor .............................................................................................................................. 174
Respectful Relationships with Voice Users..................................................................... 176
Trust ................................................................................................................................. 177
Safe Environments ............................................................................................................... 178
Giving Voice Users a Space to Vent and/or be Vulnerable ............................................ 178
Making Voice Users Feel Safe ........................................................................................ 179
Voice-User-Led Practices .................................................................................................... 180
Interacting with Diverse Voice Users.............................................................................. 180
Knowledge of the Anatomy and Physiology of the Human Voice ................................. 181
Types of Training................................................................................................................. 182
Specializing in One or Two Specific Discipline Areas and/or Techniques .................... 182
xiv
Being Versed in a Number (3+) of Different Discipline Areas and/or Techniques ........ 184
Continuing My Education ............................................................................................... 185
Developing Pedagogical Content Knowledge, Either Through Research or Experience186
Teamwork ............................................................................................................................ 188
Collaborating with Others in Voice Related Fields ......................................................... 188
Giving Feedback in a Concise Manner............................................................................ 189
Using Prompting Questions ............................................................................................. 190
Non-Verbal Communication and Listening Skills............................................................... 191
Listening .......................................................................................................................... 191
Using My Intuition .......................................................................................................... 192
Goal Setting and Decision-Making...................................................................................... 193
Allowing Voice Users to Make Decisions ...................................................................... 193
Setting Realistic Goals and/or Expectations with Voice Users ....................................... 194
Teaching Techniques ........................................................................................................... 195
Flexibility in Instructional Techniques ............................................................................ 195
Starting with Fundamentals and Building from There .................................................... 197
Research-Based Practices .................................................................................................... 198
Attending and/or Presenting at Conferences ................................................................... 198
Attending and/or Presenting at Workshops and/or Clinics ............................................. 199
Contributing Research to My Field ................................................................................. 201
Reading Publications in My Field ................................................................................... 202
Professional Demands.......................................................................................................... 203
Preparedness .................................................................................................................... 203

xv
Reflecting on My Encounters with Voice Users After a Lesson, Session, or Appointment
......................................................................................................................................... 204
Pursuing Personal Growth in My Field ........................................................................... 205
Using Technology............................................................................................................ 206
Interpersonal Techniques ...................................................................................................... 207
Motivation ............................................................................................................................... 208
Phase 2 Conclusions ............................................................................................................... 209
CHAPTER 8: QUALITATIVE FOCUS GROUP RESULTS ................................................ 216
Relationship-Building ............................................................................................................ 216
Safe Environments ................................................................................................................. 217
Voice-User-Led Practices ...................................................................................................... 218
Types of Training ................................................................................................................... 220
Pedagogical Motivation.......................................................................................................... 221
Teamwork ............................................................................................................................... 221
Non-Verbal Communication and Listening Skills .............................................................. 223
Goal Setting and Decision-Making ....................................................................................... 223
Teaching Techniques.............................................................................................................. 224
Research-Based Practices ...................................................................................................... 224
Professional Demands ............................................................................................................ 225
Phase 3 Conclusions ............................................................................................................... 227

xvi
CHAPTER 9: DISCUSSION ..................................................................................................... 228
Getting Started and Setting Goals ........................................................................................ 228
Techniques for Building Relationships ................................................................................ 231
Creating Safe Environments ................................................................................................. 235
Communication ...................................................................................................................... 236
Multidisciplinary Practices.................................................................................................... 239
Motivation ............................................................................................................................... 240
What is Voice Pedagogy? ....................................................................................................... 241
Pedagogical Content Knowledge........................................................................................... 242
CHAPTER 10: RECOMMENDATIONS ................................................................................ 247
Recommendations for Teachers of Singing ......................................................................... 247
Recommendation 1 .............................................................................................................. 248
Recommendation 2 .............................................................................................................. 251
Recommendation 3 .............................................................................................................. 253
Recommendations for Speech-Language Pathologists ....................................................... 258
Recommendation 4 .............................................................................................................. 258
Recommendation 5 .............................................................................................................. 260
Recommendations for Both Fields ........................................................................................ 261
Recommendation 6 .............................................................................................................. 261
Recommendation 7 .............................................................................................................. 264
Recommendation 8 .............................................................................................................. 266
Recommendation 9 .............................................................................................................. 271

xvii
Recommendation 10 ............................................................................................................ 273
Recommendation 11 ............................................................................................................ 274
CHAPTER 11: CONCLUSION ................................................................................................ 277
Research Questions Answered .............................................................................................. 277
Research Question 1 ............................................................................................................ 277
(A) Similarities in Valued Interpersonal Skills ............................................................... 277
(B) Similarities in Trained Interpersonal Skills ............................................................... 278
(C) Similarities in Used Interpersonal Skills ................................................................... 279
(A) Differences in Valued Interpersonal Skills ............................................................... 279
(B) Differences in Trained Interpersonal Skills .............................................................. 280
(C) Differences in Used Interpersonal Skills ................................................................... 280
Summary ................................................................................................................................. 282
Limitations .............................................................................................................................. 283
Qualitative Phases – Interviews and Focus Group .............................................................. 283
Quantitative Phase – Survey ................................................................................................ 285
Future Research ..................................................................................................................... 285
References.................................................................................................................................... 290
APPENDIX A: Interpersonal Standards Within the Fields ................................................... 299
APPENDIX B: Institutional Review Board Approval Letters ............................................... 304

xviii
APPENDIX C: Research Theses and Sub-Questions.............................................................. 307
APPENDIX D: Qualitative and Quantitative Instruments .................................................... 309
D.1: Semi-Structured Interview Questions .......................................................................... 309
D.2: Quantitative Survey ....................................................................................................... 315
D.3: Focus Group Questions ................................................................................................. 333
APPENDIX E: Qualitative Transcripts ................................................................................... 334
Med Subject 1, Interview 1 Transcript ................................................................................ 334
Singing Teacher 1, Interview 1 Transcript .......................................................................... 427

xix
Focus Group Transcript ........................................................................................................ 523
APPENDIX F: Quantitative Data ............................................................................................. 545
F.1 – DEMOGRAPHIC RESULTS ...................................................................................... 545
F.2 – VALUE OF INTERPERSONAL SKILLS RESULTS .............................................. 547
F.3 – TRAINING OF INTERPERSONAL SKILLS RESULTS ....................................... 551
F.4 – USE OF INTERPERSONAL SKILLS RESULTS .................................................... 559
F.5 – CHECK ALL THAT APPLY TECHNIQUES RESULTS ....................................... 571
F.6 – CHECK ALL THAT APPLY MOTIVATION RESULTS....................................... 573
APPENDIX G: Social Media Accounts .................................................................................... 574
APPENDIX H: Excerpts from a Sample Syllabus for Individual Differences in Music
Learning ...................................................................................................................................... 575
APPENDIX I: Singer Intake Form ........................................................................................... 580
APPENDIX J: Singer Reflection Form .................................................................................... 582

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LIST OF FIGURES
Figure 3.1: Six-Circle Venn Diagram of Theoretical Model
Figure 3.2: Three Venn diagrams comparing and contrasting value, training, and use
Figure 4.1: A Venn diagram representing “Values” theme 1: Relationship-building
Figure 4.2: A Venn diagram representing “Values” theme 2: Safe Environments
Figure 4.3: A Venn diagram representing “Values” theme 3: Voice-user-led practices
Figure 5.1: A Venn diagram representing “Training” theme 1: Types of training
Figure 5.2: A Venn diagram representing “Training” theme 2: Pedagogical
Motivation
Figure 5.3: A Venn diagram representing “Training” theme 3: Teamwork
Figure 6.1: A Venn diagram representing “Use” theme 1: Verbal communication and
feedback
Figure 6.2: A Venn diagram representing “Use” theme 2: Non-verbal communication
and listening skills
Figure 6.3: A Venn diagram representing “Use” theme 3: Goal setting and decision-
making
Figure 6.4: A Venn diagram representing “Use” theme 4: Teaching techniques
Figure 6.5: A Venn diagram representing “Use” theme 5: Research-based practices
Figure 6.6: A Venn diagram representing “Use” theme 6: Professional demands

xxi
LIST OF TABLES
Table 3.1: List of Surveyed Skills
Table 4.1: Qualitative Themes
Table 7.1: Surveyed Skills Categorized by Theme
Table 7.2: Quantitative Survey Demographics
Table 7.3: Interpersonal Skill 27: Being a Friend to the Voice Users with Whom I
Work
Table 7.4: Interpersonal Skill 15: Being a Life Coach to the Voice Users with Whom
I Work
Table 7.5: Interpersonal Skill 5: Community Outreach
Table 7.6: Interpersonal Skill 24: Empathy
Table 7.7: Interpersonal Skill 3: Humility
Table 7.8: Interpersonal Skill 17: Humor
Table 7.9: Interpersonal Skill 30: Respectful Relationships with Voice Users
Table 7.10: Interpersonal Skill 28: Trust
Table 7.11: Interpersonal Skill 9: Giving Voice Users a Space to Vent and/or be
Vulnerable
Table 7.12: Interpersonal Skill 6: Making Voice Users Feel Safe
Table 7.13: Interpersonal Skill 26: Interacting with Diverse Voice Users
Table 7.14: Interpersonal Skill 2: Knowledge of the Anatomy and Physiology of the
Human Voice
Table 7.15: Interpersonal Skill 19: Specializing in One or Two Specific Discipline
Areas and/or Techniques

xxii
Table 7.16: Interpersonal Skill 29: Being Versed in a Number (3+) of Different
Discipline Areas and/or Techniques
Table 7.17: Interpersonal Skill 8: Continuing My Education
Table 7.18: Interpersonal Skill 14: Developing Pedagogical Content Knowledge,
Either Through Research or Experience
Table 7.19: Interpersonal Skill 23: Collaborating with Others in Voice Related Fields
Table 7.20: Interpersonal Skill 18: Giving Feedback in a Concise Manner
Table 7.21: Interpersonal Skill 32: Using Prompting Question
Table 7.22: Interpersonal Skill 1: Listening
Table 7.23: Interpersonal Skill 21: Using My Intuition
Table 7.24: Interpersonal Skill 31: Allowing Voice Users to Make Decisions
Table 7.25: Interpersonal Skill 22: Setting Realistic Goals and/or Expectations with
Voice Users
Table 7.26: Interpersonal Skill 20: Flexibility in Instructional Techniques
Table 7.27: Interpersonal Skill 4: Starting with Fundamentals and Building from There
Table 7.28: Interpersonal Skill 33: Attending and/or Presenting at Conferences
Table 7.29: Interpersonal Skill 13: Attending and/or Presenting at Workshops and/or
Clinics
Table 7.30: Interpersonal Skill 11: Contributing Research to My Field
Table 7.31: Interpersonal Skill 10: Reading Publications in My Field
Table 7.32: Interpersonal Skill 25: Preparedness
Table 7.33: Interpersonal Skill 12: Reflecting on My Encounters with Voice Users
After a Lesson, Session, or Appointment

xxiii
Table 7.34: Interpersonal Skill 16: Pursuing Personal Growth in My Field
Table 7.35: Interpersonal Skill 7: Using Technology
Table 7.36: Interpersonal Techniques
Table 7.37: Pedagogical Motivation
Table 7.38: Statistically Significant Valued Skills for Teachers of Singing
Table 7.39: Statistically Significant Valued Skills for Speech-Language Pathologists
Table 7.40: Significant Differences in Use
Table 7.41: Self-Taught Skills in Teachers of Singing
Table 9.1: Value of Friend vs. Life Coach

1
CHAPTER 1: BACKGROUND AND PURPOSE
Introduction
Aside from my family and closest friends, I would point to music educators and
mentors as having the greatest impact on my life. I have been influenced by a handful of
key individuals, from my elementary school choir director who gave me my first
ensemble solo to my high school voice teacher who introduced me to Italian art song, all
the way to my current voice teacher who has supported my continued education. Not only
did each individual encourage my love of music and teach me certain skills, but they also
invested in me as a person. Thinking back, I realize the value of these relationships and
my interactions with them: Who saw me individually on a weekly basis and spoke truth
and encouragement to me? Who gave me personal, academic, and career support
alongside musical technique? Who knew my goals and helped me fulfill my potential?
However, as I have discovered over time and especially through this research,
being a voice teacher is so much more than just imitating my own teaching models. It is
also more than singing repertoire, explaining anatomy and physiology, providing
performance opportunities, and encouraging practice habits. While all of these necessary
things happen in the voice lesson, they do not fully capture the unique dynamic that exists
between teacher and student. Furthermore, learning how to address musical and vocal
technique does not fully prepare teachers for non-musical concerns.
Interpersonal is a word describes the “soft skills” of empathy, humor,
instructional flexibility, and others that teachers of singing often employ. Interpersonal
skills describe existing interactions and relationships that people share. It can be broad
and encompass large groups, but it can also be used to describe what transpires between
2
just two people. This is the case with voice lessons between the teacher and singer.
Helding (2010), in considering the connection between music and Howard Gardner’s
intelligences (of which interpersonal skills is one), found the studio to be one of a few
settings that affords an intimate environment for developing interpersonal intelligence.
But for this setting to be successful, there must be “tactful, civil and mature interaction”
between the teacher and the student (Helding, 2010, p. 328).
In the earliest volumes of the Journal of Singing, interpersonal skills are
discussed. For example, Cady (1965) wrote, “Because the voice studio is a place where
two people meet, the structure of an interpersonal, intimate situation is a paramount
concern to those who use a studio for their livelihood” (p. 16). He reminded teachers that
it is within their power and responsibility to create relationships and understand the
humanity needed in voice lessons. Similarly, Dwyer (1971) said, “It is a fact of human
experience that many people are by nature dependent on others. They look to others for
advice, knowledge, skill, strength, even courage” (p. 16). It is important to not only
recognize the connected nature of people, but to hold that responsibility with care. Voice
experts who work in one-on-one settings are the ones who are often looked upon for help
from voice users. “Almost everyone benefits socially and emotionally when supported by
others” (Jellison, 2015, p. 138).
Therefore, as a teacher who considers interpersonal skills necessary in my line of
work, and based on personal interest, I decided to research interpersonal skills in the field
of voice pedagogy. As in the case of many teachers of singing, I was a singer before I
was a teacher, and a teacher before a researcher. Now in all three roles, I search for
practices that will help both teachers and students to guide conversations in the fields of
3
voice towards a better understanding of interpersonal practices in individualized voice
teaching.
However, after seeing the need for more research on interpersonal practices
employed by teachers of singing, I began to think about voice education and voice health
as a whole. In learning more about the fields of speech-language pathology and voice
medicine, I realized that many of the skills utilized by teachers of singing were used by
voice experts across fields, while also seeing key differences. Thus, the decision to
compare the use of interpersonal skills used by teachers of singing with those used by
speech-language pathologists is based on an existing connection between these two
fields.
The relationship between voice pedagogy and speech-language pathology is not a
new one, but it is one that researchers continue to study (David, 1995; Dayme, 2005;
Gilman, et al., 2010; Heuer, et al., 1993). The overlap in techniques is most apparent in
people who have voice or neurological disorders, those who have undergone surgery on
the larynx and/or the vocal tract, or professional voice users, defined as “anyone whose
voice is essential to their job” (American Academy of Otolaryngology), who need help
developing healthy voice habits (Buescher, 2002; Heuer, et al., 1993; Kisselburgh, 1956;
Salvador & Strohauer, 2010; Stemple, 2020; Wan, 2010). While the research on treating
injured voices and professional voice users continues to grow, there are more
comparisons that can and should be drawn between these disciplines regarding the way
they interact with students and clients in their care. Little research has been done which
compares and contrasts the interpersonal teaching methods of teachers of singing and
4
speech-language pathologists, though professionals in both fields recognize the need for
strong interpersonal, or “soft skills.”
For example, both teachers of singing and speech-language pathologists recognize
the intertwined nature of one’s voice and one’s self-concept. Changes to the voice,
whether they are caused by pathology, a change in fach (voice type), or even just a “bad”
day, can severely affect a voice user’s view of themselves, and there are often
psychological factors that accompany physiological outcomes in the voice (Awan, 2001;
Rosen et al., 1993; Sjoerdsma, 2013). The voice expert holds something extremely
delicate in their care when they work with voice users, because “the singer's voice is (or
is often perceived to be) everything,” according to Rosen, et al. (1993) who wrote, “The
mind and body are inextricably linked. What is felt in the body and produced by the voice
is possible only because of the brain” (p. 32). The deeply personal nature of the voice
places voice users in vulnerable situations. Hence, the relationship between the voice user
and the voice expert must be built on trust.
In voice pedagogy, interpersonal skills such as working well with others and
having a charismatic personality are highly desirable for musicians in educational,
professional, and amateur settings (Blosser & Parker, 2011; Jackson & Burgess, 2016.
Joseph, 2015; Laird, 2015; Parker, 2007). In interviews with top singers and conductors
in the United States, Joseph (2015) found that in addition to skills related to
musicianship, the most marketable singers are also able to take direction, work with a
team, have a charismatic personality, and are emotionally invested in the end product.
Good interpersonal skills are a top priority for those who hire singers, but there is little
research on how these skills are developed in the solo voice studio. Singers often choose
5
teachers based on teacher personality or studio atmosphere (David, 1995, p. 18) and seem
to flourish in settings where “respect, cooperation, and co-responsibility” are present
(Dayme, 2005, p. 156). Many teachers of singing place value on the student as an
individual and develop a healthy relationship with them (David, 1995; Dayme, 2005).
In speech-language pathology, interpersonal skills include reading verbal and
non-verbal cues, establishing rapport, motivating voice users, and communicating in
positive ways (Awan, 2001; Boone, 2020). Speech-language pathologists often ask voice
users to describe problems in their own words. They then help them put problems in
perspective and provide them with empathy and follow-up support (Boone, 2020, p. 184,
198). The interpersonal clinician can better assist voice users in reaching health goals.
“Because patients seen by speech-language pathologists are communicatively impaired
due to speech and/or language and/or cognitive deficits, it is crucial that clinicians and
students-in-training demonstrate effective interpersonal and communication skills”
(Zraick, 2003, p. 239). Speech-language pathologists, thus, are focused on more than just
“fixing” a vocal concern, just as teachers of singing address more than just music.
There are also differences between the fields of speech-language pathology and
voice pedagogy, a significant one being that while the field of speech-language pathology
has rigorous training and interpersonal expectations for those certified to practice
(ASHA, 2018; see Appendix A), the field of voice pedagogy needs more research
concerning social approaches, not just scientific and physiological ones. Specifically, it is
concerning that teachers of singing are not required to be licensed in any way (David,
1995, p. 87). Also, there is some disagreement within the singing voice community as to
what qualifications and training are necessary to be able to teach (Gilman, et al., 2010, p.
6
174). However, voice pedagogy is increasingly becoming more systematic and objective
in its approach to evidence-based practices, a positive development that could be aided by
emulating the well-proven techniques of speech-language pathologists (Dimon, 2018;
Dayme, 2005; Gilman, et al., 2010).
Purpose
The aim of this research is to positively impact current teachers of singing,
speech-language pathologists, and those in teacher education programs, all of whom see
students in one-on-one sessions, as well as the broader educational structures in place for
individualized voice teaching by supplementing ideas found in educational research. Due
to the private setting, interpersonal skills and relationships are conceivably implied in the
teaching of singing and speech-language pathology fields. This, however, does not
excuse the fact that there is not enough research on the common practices of
individualized teachers of voice. By comparing and contrasting quantitative and
qualitative responses from current teachers of singing, speech-language pathologists, and
otolaryngologists, a more realistic and encompassing look at the fields will be examined.
Through this mixed-method study, an inventory of interpersonal practices of
teachers of singing and speech-language pathologists is presented. Recommendations are
made for individuals and institutions based on both the similarities and differences
between these two fields. This research will also help expand both fields’ understanding
of pedagogical content knowledge by determining how teachers of singing and speech-
language pathologists communicate content effectively. The similarities and differences
in value, training, and use of interpersonal skills among teachers of singing and speech-
language pathologists are the focal points through which this research is presented.
7
Research Questions
The following research questions consider similarities and differences in regard to
interpersonal skills that are valued, trained, and used in the fields of voice pedagogy and
speech-language pathology:
1. Are there interpersonal skills that are (A) valued, (B) trained, and/or (C) used
by both fields?
2. Are there interpersonal skills that are (A) valued, (B) trained, and/or (C) used
by only one of the fields?
3. Are there interpersonal skills that are valued and trained by both fields, but not
used, or only used in one of the fields?
4. Are there interpersonal skills that are valued and used by both fields, but not
trained, or only trained in one of the fields?
5. Are there interpersonal skills that are trained and used by both fields, but not
valued, or only valued by one of the fields?

8
CHAPTER 2: LITERATURE REVIEW
A review of the literature will first establish the current state of interpersonal
practices in voice teaching by considering research done about teachers of singing and
speech-language pathologists. The relationship between the fields will also be examined,
as will the use of interpersonal teaching through individualized instruction. Interpersonal
skills within both fields, and the training and implementation of such, will be identified.
The literature is subdivided into categories based on the value of interpersonal
skills, training in interpersonal skills, and use of interpersonal skills. In regard to valued
interpersonal skills, topics include holistic approaches; trust, empathy, and safe
environments; individualized instruction; and mentorship and “the match.” The
discussion of training in the fields includes collaboration and multidisciplinary training,
standards of training in both fields, training activities, and pedagogical content
knowledge. Finally, the discussion of use of interpersonal skills revolves around
awareness of self and others, client-centered communication, and feedback and setting
goals.
Value of Interpersonal Skills
Holistic Approaches
It is imperative that voice experts spend time learning about each student because
of the uniquely personal qualities of each vocal instrument. Boone et al. (2020) writes:
Because emotionality and vocal function are so closely intertwined, effective

voice therapy often requires the treatment of the total person and not just
remediation of voice symptoms. Therefore…getting to know the patient is an
important prerequisite to taking a case history or making an instrumental-
perceptual voice evaluation. (p. 3)
9
It is not possible to detach the voice user from the voice. Any attempts to do so could not
only break teacher-student trust, but also hinder vocal progress due to this intertwined
nature. Furthermore, it is important to assess how a person feels about his or her voice
and how that perspective affects them personally and professionally (Boone et al., 2020,
p. 12-13). This may sometimes require psychological therapy to address any emotional
problems influencing the voice (Boone et al., 2020, p. 14). There is a similar sentiment in
the field of voice pedagogy:
The process of voice teaching is not a pursuit in which disembodied voices are
trained to respond automatically to this or that thought. Rather, the process of
voice teaching is a gradual analysis of the total personality of the student. Like his
teacher, the student is a totality. There is no such thing as a voice, or a body, or a
mind or emotions. There’s only a person whom you and I semantically dissect for
personal convenience in the process of communication. (Cady, 1965, p. 18)
Each voice user must be approached as a totality and treated holistically, as expressed by
many of the participants in the qualitative phase of this research.
Building rapport is important to holistic teaching. Teacher self-confidence, safety
and mutual respect, clear expectations and high standards, as well as an enthusiastic
teaching style were four findings of Clemmon’s 2010 research on rapport in the applied
studio. She found that a good rapport between teacher and student was necessary, and the
teachers she interviewed valued this rapport. One of her participants said, “What my
teaching does in bettering their singing is perhaps the most important thing in our
relationship” (p. 259).
Speech-language pathologists value skills such as building rapport, being warm
and friendly, empowering parents and children, coaching parents to model behaviors and
language, creating a safe environment for overwhelming emotions to be shared, sensing
“unique needs and individual and cultural perspectives,” and being reflective (Geller &
10
Foley, 2009, p. 9). Geller and Foley also illustrate how “use of self” plays a role in
speech-language pathology, as the clinician is the “vehicle through which information,
knowledge, and support can be given to a client and family” (p. 11). Teachers who are
known for strong interpersonal skills are seen as strong teachers.
Trust, Empathy, and Safe Environments
Due to the one-on-one nature of many clinician-patient interactions, trust is a
necessary component of interpersonal interactions. “‘Relational trust’ requires, but goes
beyond, patient confidence in their practitioner's technical competence. It emerges out of
mutual understanding and regard, and requires evidence that a doctor recognizes and
respects the patient's needs, concerns and choices” (O’Grady et al., 2014, p. 80). Building
trust is a difficult, though important, aspect of speech-language pathology and voice
medicine, according to O’Grady et al. (2014) as “trust between patient and doctor is
considered central to an effective therapeutic relationship” (p. 65). While much of the
research in medicine and therapy points to developing rapport, these authors also wrote,
“rapport cannot be equated with trust, which involves mutual understanding and regard as
well as confidence that the other party will act in one’s best interest” (p. 73).
Nonetheless, there are challenges and hurdles faced by both members involved in
an interaction when developing trust. For example, adolescents experiencing mental
illness often lack trust in others (Clarke et al., 2020, p. 1), which may prevent them from
approaching professionals (Rickwood et al., 2005, as cited in Clarke et al., 2020, p. 2).
Other examples are surgical patients who believe they are at greater risk when they have
limited knowledge of the surgeon’s technical competence (O’Grady et al., 2014, p. 68).
11
While building trust is a non-linear, on-going process in interpersonal
interactions, there are ways in which doctors and clinicians can foster it. For example,
Skirbekk et al. (2011) found patients had trust “if the doctor displayed early interest in the
patient, was sensitive, unhurried, stepped outside their professional role to highlight a
personal identity and built alliances with the patient to protect their interests” (as cited in
O’Grady et al., 2014, p. 66). Teachers and speech-language pathologists also “focus on
developing rapport and trust, express warmth through nonverbal ways like smiling, hold
high standards and offers emotional support and instructional scaffolding, show personal
regard for students by inquiring about important people and events in their lives,
encourage productive struggle, demonstrate competence in the technical side of
instruction” according to Hammond (2015, as cited in Cannon & Luckner, 2016, p. 96).
In these ways, trustful and professional relationships can be built.
Empathy is distinct from, though related to, trust in interpersonal communication,
as “empathy is the ability to identify another person’s feelings and experiences and to
view the world from their perspective” (Foster et al., 2017, p. 94). These authors go on to
say, “In healthcare provider–patient interaction, empathy improves interpersonal
communication, fosters therapeutic alliance, correlates with patient and provider
satisfaction, and improves patient care outcomes” (p. 94). Empathy contributes to patient
outcomes, and while there is variability in how empathy is taught in different healthcare
fields, “Empathy is included in the teaching curriculum for all professions collaborating
in the delivery of healthcare, with nuances specific to each field” (p. 96).
Dufault (2013) found that master teachers in voice have strong, trusting
relationships with students, and are “willing to change approach based on student needs”
12
(p. 40), and are intelligent and well-versed in several learning styles themselves. Blades-
Zeller (1993) lists the following as duties of the teacher of singing:
1) The ability to diagnose vocal problems and devise solutions; 2) the ability to
assess the student’s needs and clearly convey information to the student; 3) the
wisdom to treat each student as an individual; 4) a personal approach and
individual style of teaching that is not an imitation; and 5) is vigorous, involved
and still excited about teaching. (as cited in Dufault, 2013, p. 40)
Keeping in mind the impact of their communication on voice users, teachers of singing
cannot underestimate their influence. In fact, Scott McCoy (2013) wrote, “In the end, you
are the product of everyone with whom you have studied” (p. 297), with one of those
teachers being yourself (p. 298). Thus, the ways in which teachers of singing relate to
students with respect are of utmost importance. “In order for open communication to be
possible, the teacher of singing must create a relationship with students in which they
trust the teacher, feel safe, and have a sense of belonging” (Frey-Monell, 2010, p. 151).
This safe and respectful environment is just one aspect provided by teachers of
singing with strong interpersonal skills. The master teachers studied by Clemmons (2010)
were upbeat, respectful, had high energy levels, were mentally engaged in what students
were doing, and were aware of how their emotions affected their students. Rapport was
found to be “essential to good teaching and learning” (p. 264). Faith and trust
strengthened the working relationship between teacher and student, as did the idea that
they were partners working towards the same goal. In this way, positive interpersonal
relationships have the ability to greatly improve voice outcomes (Clemmons, 2010).
13
Individualized Instruction
All voice experts need to be aware of how to approach students as individuals and
tailor their instruction as necessary, as will be further discussed in the next two sections,
“Training in interpersonal skills” and “Use of interpersonal skills.” This is often observed
when working with students with diverse needs or those who are differently abled. For
example, music educators are encouraged to implement a knowledge of different learning
styles to best serve students based on learning and physical abilities. Furthermore, it is
imperative that voice experts understand and respect the individual culture of a voice
user, rejecting any cultural stereotypes and striving for a greater understanding of others
(Frey-Monell, 2010, p. 150). Jellison (2015) phrases it in this way: “We view children as
members of multiple groups defined by any number of factors and also view them as
individuals with unique characteristics and needs” (p. 142).
However, the ways in which teachers approach individualized instruction vary, as
is expected. The need for a variety of teaching methods depending on the needs of the
student is one thing that makes one-on-one teaching so demanding, yet rewarding. Not all
students can be effectively taught in the same way and individual differences often
require a holistic approach (Reid, 2018; Smith, 2017). This truth illustrates the need for a
better understanding of interpersonal teaching methods. In regard to this, Dayme (2005)
writes:
Individual patterns are unique, and you will find that with keen observation you
will become better at devising specific strategies to help yourself and possibly
others. As a teacher of the vocal arts, ask yourself, ‘Am I teaching voice to the
student, or teaching the student, voice?’ If the answer is the latter, then observing
how each individual functions physically and reacts to your instructions is crucial
to teaching success. (p. 3)
14
This type of “keen observation” does come with time and experience, but teachers of
singing still need more practical and systematic approaches to individualized instruction,
which is the gap this research aims to fill.
Again, the voice therapy field may offer a helpful perspective to teachers of
singing regarding individualized instruction. Boone et al. (2020) points out, “Two
patients with the same causative voice problem may require a distinctively different
combination of therapy procedures” (p. 13). Likewise, two singers may need to take
vastly different paths to accomplish similar voice goals. A deep understanding of learning
styles, learner motivation, and learner goals is necessary to know how to best aid student
growth. One speech-language pathology author, Awan (2001), asserts, “We do not treat
labels. Instead, we must treat each patient as a unique entity” (p. 3). Likewise, teachers of
singers cannot approach students with preconceived notions about them as people or as
vocalists.
Angell wrote that “effective instruction is not one-size-fits-all” (p. 131) and
recommends trying different methods to determining learner differences, including the
Enneagram test, determining dominant or preferred modalities (visual, auditory, or
kinesthetic) and Gardner’s intelligences. He also states that voice teachers should
recognize that “personality type, cultural background, body type, and mental and
emotional development affect how each singer thinks about singing” (p. 132).
Additionally, interpersonal approaches trained in elementary and secondary music
education may provide advantageous insights into interpersonal skills for one-on-one
teachers of singing. The K-12 music educator is often concerned with creating an
interpersonal atmosphere that encourages compassion and cooperation in the classroom

15
or large music ensemble (Blosser & Parker, 2011; Jackson & Burgess, 2016; Laird, 2015;
Parker, 2007). Laird (2015) highlights the idea that music connects people on a human
level and encourages “knowing another person’s internal state, including thoughts and
feelings…imagining how one would think and feel in the other’s place, and feeling
distress at witnessing another person’s suffering” (p. 56-57). She also emphasizes how
important the teacher-student relationship is in predicting school success (p. 59).
Likewise, Parker (2007) gives some recommendations for how the teacher-student
relationship can be beneficial and even therapeutic in a choral setting. “Practitioners must
accept clients for who they are. Through a mutual acceptance of the other, the
relationship becomes stronger and the environment for growth is created” (p. 29).
Mentorship and “The Match”
Mentorship is a vital aspect of training both pre-service voice experts and voice
students. Pre-service PreK-12 music educators, as compared to pre-service elementary
educators, were found to have a significantly higher number of mentors in their lives in
Barrett’s 2007 study on “Music Teachers’ Lateral Knowledge.” Musicians often identify
model mentors throughout their education as someone who inspired them to pursue a
career in music or who they wanted to emulate. Teachers of singing can find mentorship
in master classes where both master and student approach the interaction in open, honest,
and reflective ways and Helding (2010) asserts the value of learning interpersonal
intelligence in this type of public situation, which requires students to behave in a rational
and civil manner, even when under duress (p. 328).

16
Mentorship in speech-language pathology may be categorized by a strong match
between clinician and patient, a common indicator of engagement and success. The
therapy process is more successful when clinicians adapt their methods, give specific
feedback, build relationships and rapport, and are liked by the patient (Braden et al.,
2018, p. 1393). In a study done by Braden et al. (2018), they commented on this match,
having interviewed 34 pediatric patients, their parents, and their speech-language
pathologists and found that “the match matters,” “with children focused on the
personality and character traits of the clinician, whereas parents and SLPs were more
focused on their knowledge and skills” (p. 1398). Thus, when working with either
children or adults, rapport is “established by tailoring the content and context of treatment
exercises to the patients’ needs” (p. 1399).
Singers also recognize the importance of “the match,” as the teacher highly
influences the atmosphere of a private lesson or studio class. “The atmosphere of the
studio and the attitude of the studio teacher towards his or her students is tremendously
important. More and more students are selecting teachers based on teacher personality
and studio atmosphere as well as on the vocal techniques taught.” (David, 1995, p. 18).
Teachers who strive to be effective with their students must also strive to connect on this
interpersonal level.
While considering the role that teachers of singing play in the lives of voice users,
there is a fine line when it comes to emotional and mental health concerns of voice users.
There are conflicting opinions about how involved a voice expert should be in the lives of
voice users, especially in regard to their personal well-being. It may be more beneficial to
express one’s frustrations than to complete a book of exercises, according to Cady

17
(1965), who also said the realistic teacher will be careful to maintain a balance of any
personality differences (p. 19). One voice student interviewed by Clemmons (2010)
stated that the teacher should never cross the boundary to act as a therapist (p. 261). This
contrasts with an earlier philosophy presented by Rosen et al. (1993): “The singer's
personal, trusting relationship with his or her voice teacher makes the teacher a
potentially ideal co-therapist” (p. 34). Helding (2010) asserted that while “voice teachers
are not practicing cognitive therapists” (p. 328), there are methods they can use to
improve intrapersonal intelligence in voice users.
With boundaries in mind, most voice experts agree that they are not friends with
their students, even if they have friendly interactions (Clemmons, 2010, p. 262). One
technique that teachers of singing can employ in these situations is outsourcing.
Relationships with mental health professionals and knowing when or how to recommend
them to voice users, is one way in which voice experts can help voice users without
crossing boundaries or administering services for which they are not qualified (Walker &
Commander, 2017, p. 261). In terms of academic or professional outcomes, however,
many teachers of singing see themselves as career counselors for singers (Rosen et al.,
1993), which is something for which they are better suited.
Speech-language pathologists often view themselves as a guide when working
with voice users. In fact, in a lecture hosted by the University of Wisconsin Division of
Otolaryngology, Tolejano (2017) encouraged practitioners to be a guide rather than a
dictator. Allowing patients to notice changes for themselves, rather than being told what
happened, gives them more autonomy in their voice. Tolejano also told listeners to
eliminate preconceived notions about voice users. To best serve voice users, speech-
18
language pathologists give up counterproductive measures and are flexible in their
practice, something prevalent in the qualitative results of this research. Some other
barriers that speech-language pathologists try to avoid in order to encourage voice users
to comply with voice therapy include “lack of empathy and lack of follow-up support”
(Smith et al., 2009 as cited in Boone et al., 2020, p. 184). Strong interpersonal skills in a
speech-language pathologist can spur voice users on and keep them engaged.
While many interpersonal interactions between experts and voice users are
directed towards health outcomes in the field of voice medicine, there is still learning and
communication taking place. Similar to what is seen in the singing studio, the voice user
is at the center of the interaction in speech-language pathology and drives the goals,
activities, and outcomes of the process. This is becoming the norm world-wide, as
“patient-centered or client-centered care is now widely recognized as a foundation
principle of appropriate healthcare and there is evidence that increased patient
involvement in rehabilitation leads to better outcomes” (Finch et al., 2013, p. 2).
Training in Interpersonal Skills
Collaboration and Multidisciplinary Training
As previously stated, the relationship between voice pedagogy and speech-
language pathology is becoming more closely interrelated as experts in both fields
recognize the similarities between the two, as well as the benefits to this relationship.
“Increasingly, the distinctions between art and science are blurred; meetings and seminars
include speakers from all areas of voice-related study – doctors, therapists, actors,
singers, sports physiologists, Alexander and Feldenkrais teachers, and many others”
19
(Dayme, 2005, p. 2). As early as 1992, the National Association of Teachers of Singing
(NATS) and the American Speech-Language Hearing Association (ASHA), the
professional organization of speech-language pathologists, agreed that members needed
to “cooperate in the development and delivery of interdisciplinary programs and services
for singers with voice disorders” (Heuer, et al., 1993, p. 25).
The idea that one voice expert alone can possess all necessary information and
skills is not only harmful for the relationships between voice professionals, but it is also
detrimental to students who face the consequences of this elitist attitude. An atmosphere
of collaboration and mutual respect is necessary among voice professionals if there is a
hope of creating similar relationships with students. “Self-Determination Theory, an
empirically-based meta-theory of motivation, states that individuals are most productive
when their basic psychological needs for competence, autonomy, and relatedness are
met” (NATS Visits AATS, 2018, p. 494- 495). This points to the focus of this research,
interpersonal teaching methods.
While the focus on this research was originally designed to determine the role of
interpersonal skills between voice experts and the voice users in their care, there are
benefits to collaboration between voice experts. In fact, healthy working relationships
among voice professionals can positively influence voice users. Professionalism, open
communication, regular departmental forums, and uniformity in institutional policies are
all aspects of a healthy voice department that help create a more consistent and safer
environment for voice users (Ballard, 2001). Furthermore, Ballard (2001) says that
students benefit when teachers of singing consult one another with questions or
difficulties, as “a fresh perspective often helps fine tune or shed light on one’s approach
20
to working with a particular student” (p. 25). The field of voice pedagogy could benefit
from more interaction among teachers of singing, as well as the “checks and balances,
peer supervision” and “collegial support” found in other fields (Ballard, 2001, p. 25).
The collaboration between voice experts is a common theme that will be corroborated in
the qualitative results of this research.
The working relationship between teachers of singing and speech-language
pathologists has the ability to be mutually beneficial to those within these fields, as well
as for students, clients, and professional voice users who seek out their services. As an
example, “some voice labs offer stroboscopic screenings for freshman vocal or theatrical
majors to serve as a baseline” (Stemple, 2020, p. 379) or have a consulting speech-
language pathologist who works with the music department to conduct programs and
research (LeBorgne & Rosenberg, 2019).
Experts in voice medicine can assist singers in meeting vocal health goals, and
teachers of singing can help those with voice and communication disorders. In fact,
“music teachers may be naturally equipped to serve this population due to the nature of
musical and speech-language processes,” according to Culp and Roberts (2015). These
authors also draw connections between music activities and therapeutic activities, saying,
“Music educators and SLPs may already share some similar practices and goals. For
example, both seek to improve articulation.” Also, it is possible that some voice users are
better served by a teacher of singing, a speech-language pathologist, or both. The voice
team, as will be discussed below, functions best when cooperative efforts ensure
students’ needs are met. For example, Boone et al. (2020) writes:
21
Sometimes the voice client does not have a voice disorder but only a voice
difference, such as poor breathing, influencing a soft voice, or using a pitch level
that is not appropriate…The client with a “different” voice might be better served
on occasion by a National Association of Teachers of Singing (NATS) or Voice
and Speech Trainers Association (VASTA) member, rather than by an SLP. The
singing teacher and members of NATS have long recognized the connection
better emotions and the optimal usage of both speech and singing. Similarly,
voice-speech teachers and members of VASTA have developed voice
improvement methods that help the actor and speaker minimize speech
differences that might negate performance. In the treatment of psychogenic
dysphonia, there needs to be greater future interaction among the psychologist or
psychiatrist, the SLP, and the teachers/coaches of the singing and speaking voice.
(p. 83)
Therefore, more understanding, cooperation, collaboration, and communication need to
occur within these fields to better serve a wider body of voice users.
The fields of voice pedagogy and speech-language pathology are potentially
highly symbiotic when such collaboration is found. “The speech-language pathologist
needs to understand both the lifestyle demands and the vocal demands on the singer as
well as how those demands impact vocal health” (Gilman, et al., 2010, p. 177), while the
teacher of singing must acknowledge ways in which various medical conditions and
medical and/or surgical interventions can affect the tissues, a knowledge base that
speech-language pathologists bring to voice care. Both fields use their understanding of
scientific and physiological components of the voice, as well as potential faults
(McKinney, 1982; Reid, 2018). This understanding is often most apparent when working
with individuals with specific vocal disabilities or defects. Regarding speakers and
singers with voice disorders or concerns, ASHA, NATS, and VASTA [Voice and Speech
Trainers Association] “published a technical report on maintaining vocal health and
optimal vocal use in singers and speakers” and addressed interdisciplinary management
22
of concerns (Stemple, 2020, p. 372), although the roles that each should play are not
always clearly defined (Gilman et al., 2010, p. 171).
Not only does this relationship need to be more clearly defined, but it needs to be
expanded to the general population of professional voice users. “The management
approach must go beyond the manipulation of inappropriate vocal properties and must
involve all aspects of vocal hygiene counseling,” which “may depend on the abilities of
these disciplines to compromise and work together with the patient’s long-term vocal
health as the primary consideration” (Stemple, 2020, p. 369-370). In order to serve a
larger population of professional voice users, including singers, the relationship between
these disciplines could be implemented in new and thorough ways. Nonetheless, cross-
referrals among teachers of singing and SLPs have increased in recent years (Boone et
al., 2020, p. 14).
As of right now, “there is no set protocol for providing care for the professional
voice user,” (Stemple, 2020, p. 378), though the disciplines involved in the voice care
team are working to find ways to better work together. This voice care team works
together to determine the best route of care for each individual person. In doing so, each
member must “practice and respect other’s professional boundaries” (Stemple, 2020, p.
373). Despite having a similar knowledge base, techniques, and goals, the training and
requirements of each voice professional are unique. Stemple (2020) goes on to say that
the fields must work together when rehabilitating a voice user, because “treating voice
and speech disorders has legal implications and requires a master’s degree in speech-
language pathology, as well as a license and certification,” while “voice pathologists are
not trained to teach singing or acting” (p. 373).

23
Thus, the members of this team, as well as voice related fields as a corporate
whole, must connect through “a significant amount of communication, collaboration, and
cooperation between physicians, therapists, vocologists, voice coaches, and singers” but
“with clearly defined roles and standards for training” (Stemple, 2020, p. 373). Stemple
points to the creation of the Pan American Vocology Association (PAVA). According to
PAVA’s website, “The mission of the Pan American Vocology Association is to advance
the scientific and interdisciplinary study of vocalization across species,” through
“research, training, and dissemination of knowledge” (PAVA, 2021).
When working with injuries or vocal health concerns, “singers may consult with
voice teachers, family physicians, allergists, nutritionists, peers, or otolaryngologists/
speech-language pathologists without specialized training in helping singers” (Rosen et
al., 1993, p. 33). The voice teacher is often called upon to make a referral (p. 34). It is
important that experts in these fields utilize one another and work well together to best
serve the voice user.
Interprofessional collaboration is clearly important amongst voice experts. But for
speech-language pathologists specifically, Tsakitzidis (2015) found that 90% of 4000
students who participated in educational modules on interprofessional collaboration from
2005 to 2014 agreed with the statement: “interprofessional learning should be included in
undergraduate courses” (p. 5). More educational opportunities are being designed to
improve “interprofessional collaboration for the benefit of patient care” (p. 2), with a
focus on patient-centeredness and shared decision-making, which allows teams to
develop treatment plans that are relevant and best suited to patient needs (p. 4).
24
Working well with multidisciplinary teams is an interpersonal skill expected of
speech-language pathologists, as the professions of “behavior analysis, psychology,
speech-language pathology, and occupational therapy are likely to provide treatment
alongside one another and often to the same clients” (LaFrance et al., 2019, p. 709). In
these teams, “Ideas may be shared openly, with the purpose of effectively overcoming
barriers and solving problems. Additionally, improved transparency may lead to better
teaming” (p. 723), as well as “maximal communication,” “joint problem solving,” and
“collective progress evaluation” (p. 710).
Cooper-Duffy and Eaker (2017) point to the importance of interpersonal
relationships when working with a team, writing:
When working on a team, it is critical for members to be aware of their

interpersonal relationships. An interpersonal relationship is a verbal, written, or
nonverbal interaction among more than one person that can be short- or long-
term. This association may be based on inference, love, solidarity, regular
business interactions, or some other type of social commitment. The types of
interactions and relationships between team members can make or break the team
and its accomplishment of the goal. (p. 186)
The goal of this team is to be patient-oriented, community-oriented, and relationship-
focused. This requires professionals, including “special-education teachers, general-
education teachers, physical therapists, speech-language pathologists, occupational
therapists, medical professionals, paraprofessionals, social workers, counselors, school
psychologists, community personnel, and other school personnel,” to work with families
on “person-centered plans, individualized education programs (IEPs), assessments,
functional behavioral assessments, inclusion plans, transition plans, eligibility decisions,
and assistive-technology plans,” in order “to provide high quality outcomes for
individuals with severe disabilities” (p. 181).

25
The parent or guardian of a child in speech therapy is part of the team when using
interprofessional collaborative practice (IPCP), according to Cooper-Duffy and Eaker
(2017) and is an aspect of interpersonal teaching that may not be as prevalent in singing
instruction. Speech-language pathologists and voice doctors often treat children whose
parents or guardians are actively involved in their child’s treatment (Braden et al., 2018,
p. 1395). In adult patients, spouses or other family members may play a role in the
treatment process, especially to protect the rights and health of a vulnerable patient.
“Over the last few decades, growing recognition of the importance of family input and
participation has led to a change in the expected model of service delivery” (Mandak et
al., 2020, p. 1489). Additionally, since families may respond to problems, outcomes, and
interventions differently than professionals, it is important to view goals and resources
through the lens of family paradigms (Hidecker et al., 2009, p. 213). “Professionals have
expertise in their discipline, but they also need expertise in working with a wide diversity
of families,” according to Cooper-Duffy and Eaker (2017, p. 191). Additionally, there
may be mental health constructs that speech-language pathologists must keep in mind
when working with individuals and families (Geller & Foley, 2009). Thus, speech-
language pathologists are trained to work with families, which requires additional
interpersonal skills.
Needed interpersonal skills identified in IPCP include using teamwork with
clearly defined roles for each member, creating specific and measurable goals, providing
the reasoning behind skills and suggestions, giving timely feedback, avoiding judgment,
planning via an agenda or timeline, encouraging ideas from all team members, and
recognizing the uniqueness of each member. More specific actions require avoidance of
26
glancing at one’s cell phone in order to focus on the family, clarify requests, make
decisions with families, have open dialogue, do not interrupt, and say positive things
about the child. Finally, it falls to the professions to use interpersonal skills and “know
how to implement the collaborative problem-solving process” (Cooper-Duffy & Eaker,
2017, p. 191).
Standards of Training in Both Fields
One large hurdle to face when presenting the current state of voice teaching in
America today is the lack of standardized training for teachers of singing, especially in
regard to interpersonal practices, or “soft skills.” While the National Association of
Teachers of Singing (NATS) has a code of ethics that contains guidelines for personal
ethical standards, ethical standards relating to students, and ethical standards relating to
colleagues, these standards are not widely reinforced and there is no certification process
for teachers of singing. If a voice teacher wants to be a member of NATS, they need to
pay dues and meet the following qualifications to be considered a full member:
Teachers, Coaches, Choral Directors, and Collaborative Pianists who: 1) are at

least 25 years of age, 2) work with 6 or more individual singing or collaborative
pianist students per week, and 3) meet one of the following: Advanced Degree in
a related field with 2+ years teaching -or- Undergraduate Degree in a related field
followed by 3+ years teaching -or- 4 years of 1-on-1 study followed by 5+ years
teaching. (Becoming a NATS Member, NATS.org)
However, these qualifications do not apply to people who do not belong to NATS and
who teach voice in several different settings, including private home studios, community
music studios, and in university settings. The lack of consistent standards within the field
of voice pedagogy is troubling and can lead to much confusion between teachers,
27
students, and educational institutions at large. While standards for P-12 music educators
are well-defined and often tested through a certification process, “the path for becoming
an applied music teacher is less clear, less tangible, and often not supported in the current
conservatory-like system in North America,” according to Parkes (2009/2010, as Cited in
Angell, 2019, p. 127).
The lack of standardization in the field of speech-pathology also exists at times.
Despite guidelines set by ASHA and the American Academy of Otolaryngology-Head
and Neck Surgery, “There continues to be a large variability in specific protocols used for
evaluation of dysphonia including differences in data collection, measures, client tasks,
and so forth,” according to Patel (2018, p. 2), who also wrote:
Although these types of [voice disorder] assessments are performed on a regular

basis at many research and clinical facilities in the United States, a lack of
standardized procedures/protocols currently limits the extent to which the results
can be used to facilitate comparisons across clinics and research studies to
improve the evidence base for the management of voice disorders. (p. 2)
Accordingly, ASHA is working on standardizing the battery of assessments used with
voice users, improving the use of evidence-based practices, and ultimately improving the
level of care that voice users receive (Bless, 2014; Patel, 2018).
Nonetheless, speech-language pathologists are trained to meet their overall goal,
which is “to optimize individuals’ ability to communicate and swallow, thereby
improving quality of life” (ASHA, 2007, p. 3 as cited in LaFrance et al., 2019, p. 714),
while also addressing “the cognitive aspects of communication (e.g., executive
functioning), the voice component of speech, and issues related to sensory awareness”
(ASHA, 2016 as cited in LaFrance et al., 2019, p. 714). Furthermore, “speech-language
pathologists serve individuals, families, and groups from diverse linguistic and cultural
28
backgrounds. Services are provided based on applying the best available research
evidence, using expert clinical judgments, and considering clients’ individual preferences
and values” (ASHA, 2007, as cited in LaFrance et al., 2019, p. 717).
With service to clients in mind, the training process for becoming a speech-
language pathologist is rigorous. In addition to passing a Praxis exam, “there exist clear
national standards dictating the course of training for speech-language pathologists.
These requirements include both academic and experiential standards, determined by the
profession’s regulatory body, ASHA” (Council on Academic Accreditation, 2017, as
cited in LaFrance et al., 2019, p. 719). Pre-service speech-language pathologists must
have experience working with individuals of all ages and must complete a clinical
fellowship year, in which “mentorship is provided to develop a student’s clinical skills”
(LaFrance et al., 2019, p. 720). Training throughout a graduate program in speech-
language pathology covers a wide range of topics, techniques, and communication types,
which covers the base level of knowledge and expertise for a speech-language
pathologist. Any further specialization will also be met with further examination. There
are also expectations for those in the field to maintain their certification through “30
Certification Maintenance Hours (CMHs) during each 3-year interval” (ASHA
Certification maintenance frequently asked questions: General information).
The process of training and certification is an area in which voice pedagogy could
emulate the practice of speech-language pathology. “Most states have licensing
requirements for speech and voice therapists, and ASHA, which issues professional
certification for speech-language pathologists, has an extensive Code of Ethics by which
its members must abide to retain their membership. But voice teachers are not licensed”
29
(David, 1995, p. 87). Teachers of singing and authors on the subject of voice pedagogy
are aware of the lack of consistency in teacher training and practices. In his book,
Diagnosis and Correction of Vocal Faults: A Manual for Teachers of Singing and Choir
Directors (1982), James C. McKinney acknowledges that many teachers of singing do
not know how to identify, understand, and correct faults in the voice. The authors of
What Every Singer Needs to Know About the Body (2012) suggest that many singers
experience “unnecessary suffering” (p. vii) because they do not have an accurate body
map, or their teachers do not ask the right questions to correct misconceptions (p. viii).
Training Activities
Outside of the master class, as discussed by Helding (2010), it was difficult to
identify training activities completed by teachers of singing other than voice lessons and
vocal pedagogy coursework, which, according to Vetter (2016), can be highly irregular
and varies based on instructors and institutions. Performing is a training activity on which
many professional singers rely, but performing does not address the nuances of what it
means to teach, as will be addressed in the next section on pedagogical content
knowledge. Either teachers of singing need more training activity opportunities, such as
the ones used in speech-language pathology, or more research needs to be done to codify
how pre-service teachers of singing are developing their skills and honing their craft.
One type of training that could be adopted from the fields of education, medicine,
and the clinical sciences such as speech-language pathology is problem-based learning
(PBL). In medicine, this is an “instructional method that uses patient problems (e.g.,
fever, pain) as the context of teaching medical students problem-solving skills and is also
30
a process for acquiring basic and clinical science information through self-effort and
group cooperation” (Atre-Vaidya & Taylor, 2000, p. 202). PBL “fosters patient-centered
attitudes and enhances interpersonal skills,” while also improving board results for
students who experience PBL (p. 203). In speech-language pathology, PBL can train
speech-language pathologists to consider the concerns of voice users in an in-depth way
while respecting the individuality of each voice.
Another type of training is the use of standardized patients (SP), or people trained
to act like real patients during clinical simulations (Foster et al., 2017; Zraick, 2003).
These simulations provide hands-on opportunities and feedback to pre-service speech-
language pathologists. For example, when working with standardized patients, Zraick
(2003) had participating graduate students in speech-language pathology use a checklist
of interpersonal and communication skills:
1. Student introduced themselves appropriately.

2. Student touched patient or shook hands with patient.
3. Student was dressed appropriately for the encounter.
4. Student maintained eye contact with the patient.
5. Student “told before doing.”
6. Student treated patient with respect. (p. 241)
This, as well as shadowing and use of virtual patient technology, or “multimedia, screen-
based interactive patient scenarios” (Foster et al., 2017, p. 100), can educate clinicians in
empathy. Furthermore, Foster et al. (2017) found that medical students were perceived by
standardized patients as more empathetic after interacting with virtual patients with a
back story than those who interacted with virtual humans without back stories (p. 100-
101).
While working with SPs and virtual patient technology, pre-service speech-
language pathologists get to look directly at people, which is different than reading about
31
techniques conceptually, since “the ability to process others’ emotional states also relies
on one’s ability to recognize and symbolize others’ faces,” and “preliminary evidence
suggests that clinicians could undergo behavioral training to rewire their neural networks
and achieve increased empathy towards patients” (Foster et al., 2017, p. 95). Thus, hands-
on training interactions are essential.
Different types of training are needed for speech-language pathologists because
they often work with families, not just singular patients. To promote these skills in
preservice speech-language pathologists, Mandak et al. (2020) discovered that online
training can prepare students to work in family-centered ways, while also being a time-
conscious and practical way to fit relational training into the preservice training, as it only
took 75-90 minutes (p. 1496). These relational skills were trained via the LAFF strategy:
“(a) Listen, empathize, and communicate respect; (b) Ask questions; (c) Focus on the
issues; and (d) Find a first step,” while also incorporating “a caring atmosphere, treating
families with respect, and moving forward based on family desires” (p. 1491). A major
aspect of the training was simulated role plays, which allowed “the preservice SLPs to
demonstrate their pre- and post-instruction skills in a supportive and low-risk
environment.” Through these role plays, the “most effective” behaviors were identified
as:
(a) asking open-ended questions and taking time to ensure that the parent’s
concern is fully understood (identified nine times); (b) keeping the conversation
focused on the concern and addressing it directly, without getting too carried
away with suggestions and information (identified four times); and (c) showing
empathy and understanding and acknowledging the parent’s concern as valid
(identified two times). (p. 1499)
32
These, alongside skills such as initiating small talk, listening, allowing silence, using
appropriate body language, and asking permission to take notes were all interpersonal
outcomes of this preservice training.
Still, there are training gaps that researchers seek to address in speech-language
pathology. Zraick (2003) found that many pre-service speech-language pathologists had
poor interpersonal and communication skills, despite being enrolled in practicums and
courses that covered how to interact with patients. Thus, additional lectures were given
on these topics as part of Zraick’s research, resulting in “significantly increased
competency” (p. 243). Likewise, some “SLP students do not receive practical training in
techniques to communicate with people with aphasia (PWA) until they encounter PWA
during clinical education placements,” according to Finch et. al (2013, pg. 1). In their
findings, pre-service speech-language pathologists did not always feel confident in their
communication abilities when determining treatment plans and goals. Such anxiety
influenced interactions where “interpersonal skills and clinical skills are closely
interrelated” (pg. 2). After graduation, many speech-language pathologists relied on
“learning on the job” to fill in gaps in knowledge (pg. 3), but standardization of training
has occurred from ASHA in the past decade to address this.
The development of effective communication is imperative to experts in the field
of communication and clinical competence is actually related to the interpersonal skills of
the clinician (Colliver et al., 1999 as cited in Zraick, 2003, p. 239). Interpersonal skills
are more predictive of patient satisfaction than the physicians’ ability to give information
on patients’ condition or treatment (Phillips et al., 2012, as cited in Falkenstein et al.,
2016, p. 675; Mechanic and Meyer, 2000 as cited in O’Grady, 2014, p. 67). In medical
33
fields, “ineffective communication between physicians and their patients has serious
consequences for patients, including psycho-social distress, unnecessary treatment,
inadequate symptom management, and poor quality of life” (Falkenstein et al., 2016, p.
664). The same may apply to speech-language pathologists who treat medical concerns
alongside behavioral, communication, and social-emotional concerns.
Pedagogical Content Knowledge
Many teachers of singing share the belief of vocal pedagogue Richard Miller who
wrote, “Knowing how the singing instrument works, and knowing how to get it to work
consistently, is the sum of technical knowledge. That is why a systematic approach to
vocal technique is the most successful route to artistic singing. System and art conjoin to
produce the professional sounds of the singing voice” (2013, p. xvi). However, many in
the field disagree on the best ways to achieve these sounds, which leads to disparity
among teachers and students.
In voice pedagogy, the lack of clarity, as well as the variable types of training in
singing, contributes to issues for teachers and voice users, but also for researchers who
look to present research-based practices for the voice studio. Frey-Monell (2010), in
presenting research on motivation for singers in vocal studios, found a void in the
motivation research field because the one-to-one ratio in applied studio lessons has
traditionally separated these musicians from academic classroom studies (p. 147).
However, it is not just student-motivation techniques that are vague. There remains a lack
of consensus about many voice pedagogy topics due to lack of research in certain types
of voice training. For example, many teachers of singing have upheld classical technique
34
as healthiest for the voice, while others find there are healthy ways to approach
commercial contemporary technique and apply it to genres outside of classical music
(Baldwin, 2021).
Furthermore, the National Association of Schools of Music (NASM) does not
require undergraduate vocal pedagogy courses in its handbook, according to Vetter
(2016), and thus, “these courses are often deferred until graduate school and do not have
specific competency requirements” (p. 1). Vetter also explains that vocal pedagogy
courses vary from institution to institution, as topics are chosen by individual instructors,
and can result in learning gaps and inconsistent training among singers, which is a
disservice to students. She writes, “University degrees in vocal music should not only
train singers as performers, but also prepare them for future careers, including studio
voice teachers” (p. 36-37). Without a standardized method for voice education from
highest levels to the lowest, training and research in voice pedagogy can be unclear and
contradictory.
Even more concerning, “contemporary research can be biased, predicated upon
personal opinion or methodology” (Dufault, 2013, p. 31). Practice-based research, “a
conceptual framework that allows a researcher to incorporate their creative practice,
creative methods and creative output into the research design and as a part of the research
output,” has been used more frequently in the 21 st century to address specialized topics
that do not easily fit into traditional research models (Edith Cowan University, 2021).
Nonetheless, with a lack of literature on certain subjects, many teachers of singing rely on
their own singing experiences to influence their methodology (Angell, 2019).

35
This is a common theme found in research on pedagogical content knowledge,
especially in the field of music education. It is common for teachers to teach in the way
they were taught or to teach in the ways they best learn (Loewenberg Ball et al., 2008;
Major & Palmer, 2006). It is also possible that expertise in a certain field shapes the way
a teacher views instruction. For example, Gohlke (1994) investigated the pedagogical
content knowledge of four pre-service music teachers. She found that students’ emphasis,
vocal or instrumental, was influential in that vocalists focused on the text, genre, and
historical context while teaching a song. The instrumentalists approached the teaching as
if for performance, looking at time signature, key signature, rhythms, etc. (Gohlke, 1994
as cited in Haston, 2018). The beliefs that teachers hold about their discipline, in addition
to what they believe about students, schools, learning, and teaching, influence their
course planning and lessons (Grossman et al., 1989 and Stark, 2000, as cited in Major &
Palmer, 2006). Pedagogical content knowledge “helps to distinguish a teacher’s own
proficiency in a skill area…from the explicit knowledge of the skill that is needed in
order to teach it to students” (Loewenberg Ball et al., 2008, p. 395).
In voice teaching, each voice expert must have a deep understanding of what to
ask of voice users and why. They possess knowledge of why certain topics are important,
of conceptions and misconceptions about the voice and how to correct them effectively,
of understanding the reasoning behind mistakes or the cause of a vocal error or disorder,
and of what makes topics easy or difficult to learn (Loewenberg Ball et al., 2008; Major
& Palmer, 2006; McKinney, 1982; Shulman, 1986).
Regrettably, a problem that exists in the training of classroom educators also
exists for one-on-one voice teachers: “Unfortunately, subject matter courses in teacher
36
preparation programs tend to be academic in both the best and worst sense of the word,
scholarly and irrelevant, either way remote from classroom teaching” (Loewenberg Ball
et al., 2008, p. 406). Likewise, many programs through which teachers of singing are
educated are not focused on actual teaching practices. A significant takeaway from
Haston (2018) was that in-service music educators rarely credited their undergraduate
music education experience with providing them with pedagogical content knowledge.
With this in mind, there must be better ways to support and develop pedagogical content
knowledge in educators, including those who focus on the voice. However, with these
developments, the learning experience must be student-focused and not about teachers
and their display of knowledge (Major and Palmer, 2006).
Use of Interpersonal Skills
Awareness of Self and Others
The interpersonal skills employed by teachers of singing have a direct impact on
voice users. In such a competitive and highly personal field, teachers of singing are often
responsible for helping voice users navigate challenges, anxieties, and self-doubt. Rather
than students finding help or information on their own, teachers can “remove barriers to
students’ development and allow them to improve more rapidly and with less frustration”
(Walker & Commander, 2017, p. 261). Thus, current research shows the benefit of
certain practices, as well as cautions teachers of singing against others. Due to the
intimate and personal nature of the voice, teachers of singing must anticipate the needs
and concerns of voice users. There are risks involved in the voice studio, especially when
the teacher prompts an emotional response (Rosen et al., 1993, p. 32).

37
Teachers of singing must tread lightly with voice users, especially when they first
start lessons. Proficient interpersonal skills will help assuage doubts and fears quickly in
the voice user, while getting to know voice users and their learning styles helps the
teacher be more effective (Rosen, et al., 1993). This is accomplished in many ways over
time, but may be started through the use of leading and open-ended questions, utilizing
student intake forms that collect information on the person’s voice history, and asking
students to describe vocal phenomenon in their own words. In this way, we “may start to
get some inclination regarding the patient’s personality traits and their possible
relationship to the perceived voice characteristics and patient symptoms” (Awan, 2001, p.
17). Awan (2001) found that this, in addition to completing perceptual and acoustic
assessments of the singing voice, can give teachers an idea of both the emotional and
physical status of the voice user (p. 19). Completing a psycho-social history may be
another step towards better understanding the individual (Aronson, 1990 as cited in
Awan, 2001, p. 19).
The process of taking on a new patient or client is comprehensive and allows the
voice user to express their needs immediately. The first interaction usually includes
conducting a thorough case history and a running battery of tests with a voice user.
According to van Leer (2008): “During case history, the clinician must establish rapport
with the patient so that there is an open and honest sharing of information, and so that the
patient will ultimately feel empowered to change his or her behavior if called upon to do
so” (as cited in Boone et al., 2020, p. 141). Many of the initial tests used with voice users
are physiological in nature, measuring components of the voice such as airflow and
range. Others are perceptual, such as the Consensus Auditory-Perceptual Evaluation of

38
Voice (CAPE-V) and measure components of the voice such as severity, roughness,
breathiness, strain, pitch, and loudness. However, the intake process also includes
psycho-social measures that help the clinician better understand the habits, self-efficacy,
personality, goals, and voice history of the patient.
One such measure is the Voice-Related Quality of Life questionnaire that
identifies problems such as feeling anxious, frustrated, or depressed and avoiding social
situations. The Voice Handicap Index asks voice users to rate the effects of their voices
on their lives. Statements from this include: “I use the phone less often than I would like
to,” “I feel left out of conversations because of my voice,” “My voice problem causes me
to lose income,” “I try to change my voice to sound different,” “My voice makes me feel
handicapped,” “My voice makes me feel incompetent,” and “I am ashamed of my voice
problem” (Jacobsen et al., 1997) These are just a few examples of the deeply personal
perceptions that voice users bring into voice therapy or medicine. Adult patients that
participated in a stuttering therapy group course at a UK national center expressed “a
range of negative feelings, including shame, embarrassment, frustration, isolation, anger,
desperation, fear and lack of confidence,” and over half of the participants saw therapy as
a desperate last bid for help (Everard & Howell, 2018, p. 1278).
While understanding the voice user is of utmost importance, some researchers
assert that voice experts begin with themselves. Psychologists believe our actions and
attitudes are always a product of our self-image, so a teacher who is anxious to improve
his attitude may need to assess his professional self-image to assure it is effective and
appropriate (Dwyer, 1971, p. 14). Being self-reflective is an important tenet of
interpersonal instruction, especially when dealing with a subject as sensitive as the voice.
39
Based on their observations and feedback from concerned individuals, teachers who
question their effectiveness are willing to accept failures and make the necessary changes
(Jellison, 2015. p. 140).
It is important that teachers recognize themselves as a “dynamic factor” in the
interaction, according to Cady (1965) who said, “To know and understand oneself is to
examine what one is, determine what one will except and reject, and, thereby, determine
what one can learn from a given teacher or teach a specific student” (p. 17). Therefore,
Cady recommends that teachers always start with themselves, as difficult as that may be,
to analyze and control their role as a “variable element” in the lesson studio as much as
possible (p. 18). Teachers of singing must be self-reflective and perceptive to the student
because both play an essential role in the lesson, and each member in an interpersonal
interaction brings a unique perspective to the situation.
Just as teachers of singing are asked to examine themselves and their
communication style, speech-language pathologists try to do the same when interacting
with patients. “The clinically astute clinician monitors his or her own verbal and
nonverbal behaviors during the case history interview in order to elect clinically relevant
information from the patient in a supportive and motivating manner” (Boone et al., 2020,
p. 141). In the same way that teachers of singing must often walk a fine line between
teacher and counselor, speech-language pathologists are aware of mental health
perspectives, while still focusing on communication outcomes. “It is important to make
clear distinctions between counseling approaches and a relational and reflective model of
clinical practice,” about which Geller and Folley (2009) write: “There is ongoing and
consistent attention to the overt and latent emotional dimensions of the clinical
40
relationship. Most importantly, the speech-language pathologist is working with the
parent and child rather than doing something to the parent and child” (p. 6). These
authors point to many interpersonal skills, since “relationship-based intervention
prioritizes the connection (or bond) between the speech-language pathologist, the client,
and the family” (p. 6).
Speech-language pathologists are emotionally aware of themselves and their
patients. “Emotional resonance between a clinician and a client is important in
developing a therapeutic relationship” (Beck & Verticchio, 2018, p. 192) and a self-
reflective practitioner is more likely to show compassion to clients. According to Omrod
(2014), humans have the following psychological needs: “arousal,” “relatedness,”
“competence,” and “self-determination” (as cited in Cannon & Luckner, 2016, p. 96).
Speech-language pathologists hold all of this in mind when working with individuals.
However, this may also lead to burn-out, of which they are trained to be aware. Beck and
Verticchio (2018) found that mindfulness is an important skill for a clinician to possess,
as it helps facilitate relationships, accomplish professional outcomes, and leads one to
“understand self so can help others better” (p. 202).
With this in mind, voice experts must consider themselves as well as the student,
understanding humankind and psychology. While it is harmful to use certain stereotypes
to describe students or clients, Punt (1979), as cited in Stemple (2020), used these
descriptors for the personalities of professional actors and singers: “Intense, volatile,
excitable, emotional, neurotic, anxious, temperamental, moody, intemperate, vain, and
unstable” (p. 384). It is unfair to assume these traits in a student but understanding the
effect of one’s state can be very illuminating and will allow the teacher to detect when
41
stress or personal problems transfer to the voice. “A teacher must be able to understand
and work with each individual singer’s ego and have an understanding of his or her
learning style” (Dufault, 2013, p. 31), and yet this is not always fostered or trained in
teachers of singing (Cady, 1965; Angell, 2019). If a teacher of singing does not
acknowledge that there is psychological interaction between themselves and the student,
that very interaction will be threatened (Cady, 1965, p. 18). If teachers do not understand
their own beliefs about voice teaching, their ambitions for students, the effect of their
verbal and nonverbal communication, or their own prejudices, they have the potential to
do more harm than good (Angell, 2019; Cady, 1965; Dwyer, 1971).
In voice lessons, the teacher and student are often alone, or work with an
accompanist for part of the lesson. Many teachers of singing recognize the delicate nature
of this relationship and do their best to create an atmosphere that welcomes the student as
an individual. David (1995) makes recommendations such as, “Above all, the teacher
must remember that the voice is attached to a body which is also a person with intellect
and emotions” (p. 18) and “The teacher should speak directly with these students about
their goals and tastes and how they relate to the technique the teacher is attempting to
teach” (p. 91).
Speech-language pathologists also recognize that the voice, though only one part
of a person, influences other areas of his or her life:
An individual is a whole made up of interdependent parts, which are physical,

mental, emotional, and spiritual. When one part is not working at its best, it
impacts all the other parts of that person. Furthermore, this whole person,
including all the parts, is constantly interacting with everything in the surrounding
environment. (Stemple, 2020, p. 132)
42
Therefore, it is necessary that each individual voice user is seen as a unique entity, with
unique needs and experiences. Viewing voice users this way, speech-language
pathologists are cognizant of individual differences and needs, “behavioral, emotional,
physical, and structural,” and use “many voice therapy techniques” rather than one
approach alone (Boone et al., 2020, p. 185). Boone et al. (2020) expanded on this idea,
saying, “One cannot easily separate the person from his or her voice. Some voice
problems may be among the visible symptoms of someone with serious personality
problems, or sometimes the voice problem may be the cause of psychological
maladaptive reactions.” Counseling, explanations of the problem, and “putting the voice
problem in its proper perspective,” are all techniques utilized by speech-language
pathologists (p. 198). Speech-language pathologists must be well versed in a number of
different interpersonal techniques, in addition to therapy techniques, to accomplish this.
Client-Centered Communication
Client-centered care may be accomplished by motivational interviewing (MI), a
type of “client-centered directiveness by way of a carefully cultivated and highly stylized
way of speaking,” (Carr & Smith, 2014, p. 85), in which practitioners are aware of tone
of voice, gestures, postures, and amount of speaking relative to the client (p. 86). MI
practitioners also ask open questions, use extended pauses, control stress and intonation
of the voice, and are overall concerned with how they say something in addition to what
they say (p. 87). MI is an interpersonal technique that clinicians may use to minimize
resistance, noncompliance, or therapy dropout (Behrman, 2006, p. 215). Behrman (2006)
gives the four assumptions of MI, the last of which is “every patient has the potential for
43
behavioral change; it is the therapist’s task to release that potential and facilitate the
natural change process inherent in the patient” (p. 216).
Additionally, the four general guiding principles for engaging patients are
“expressing empathy, developing discrepancy, rolling with resistance, and supporting
self-efficacy” (Miller & Rollnick, 2002 as cited in Behrman, 2006, p. 216). Self-efficacy,
the fourth principle, is also a prevalent theme in music education research, and a voice
user benefits from “belief in his or her ability to change a specific behavior” (Bandura,
1977 as cited in Behrman, 2006, p. 217). Though not acting as a therapist, these
communication techniques could be employed in clinical settings, especially as speech-
language pathologists often undergo psycho-social training (Ullrich et al., 2011).
Specifically, Ullrich et al. (2011) studied the communication skills and empathy
employed by speech therapists in oncology:
Patients with head and neck cancer suffer from high levels of mental distress, but
relatively seldom use psychosocial support or psychotherapy. This results in
speech therapists becoming some of the most important contact persons, with
their speech therapy enormously tailored to psychosocial concerns. Therefore,
speech therapists in oncology face challenges going beyond the scope of their
normal education. (p. 294)
Through a psycho-social training program, speech therapists in oncology dealt with
emotional issues, including “active listening,” “communication of bad news,” and
“communication of complex information” (p. 295). After being trained to meet patients’
needs, “the data show a clear increase in the frequency of conducive communication
styles and decrease of non-conducive communication styles” (p. 298).
Teachers of singing must also be highly skilled at communicating and, as the
primary listener in the lesson studio, they should be aware of how to best impact the
voice user and assist in their growth. Cady (1965) cautions teachers of singing to
44
communicate clearly, admitting that there is “jargonese and fragmentation of singing
teachers as a professional group,” which often exists due to the “nonverbal nature of
music” (p. 17). Teachers of singing should use instructional language that is clear and
concise, rather than jargon. They should not try to impress students with their knowledge
or expertise or provide overly complex explanations of no benefit to the singer (Angell,
2019, p. 131). Moreover, it is important to develop a common terminology with voice
users (Bartholomew, 1983 as cited in Dufault, 2013). The same is also true in speech-
language pathology, as the clinician must often act as a translator and advocate for
families, communicating “jargon, unspoken rules, and expectations” (Cooper-Duffy &
Eaker, 2017, p. 182).
In working with students of varying abilities, the teacher must present challenges
that encourage growth while keeping their current capabilities in mind (Angell, 2019;
Cady, 1965; Dufault, 2013; Jellison, 2015). Such types of communication will be further
discussed in the results of this research, but language is one prevalent type of
communication in interpersonal relationships between teachers of singing and voice
users. In receiving critique, voice users stress the importance of not being looked down
upon or demeaned as a person. It is possible to provide critique in such a way that it does
not attack the person, but helps the voice improve, as does using language that points the
voice user in a positive direction (Clemmons, 2010). Furthermore, Clemmons writes:
The words a teacher chooses, the energy a teacher imparts, coupled with their
nonverbal communication - in general, the way a teacher treats a student - affects
the student in powerful ways. In this particular case, the teacher has empowered
the student to do her best. Words have power. Teachers who use words that are
enthusiastic and affirmative can empower students to be more confident and
motivated. (p. 262)
45
In terms of nonverbal communication, some types may include eye contact, humor,
gestures, and posture (Dufault, 2013, p. 38). Additionally, “the teacher's personal
example applies in every aspect of the studio, from the cluttered desk to the books on his
shelf. The total person of the teacher is the example, not just his voice or his technique. In
fact, a teacher is his technique” (Cady, 1965, p. 18). In addition to the words they use, a
teacher communicates through their appearance, personal interests, beliefs, and goals.
In regard to verbal communication in speech-language pathology, Colton et al.
(2011) wrote, “very specific and firm instructions have to be given but must be adapted to
the individual,” regarding vocal surgery and giving pre- and postoperative instructions.
The clarity and effectiveness of the speech-language pathologist can make or break the
voice user’s recovery. In addition to putting a problem in perspective, as previously
discussed, speech-language pathologists can make subtle shifts in their communication to
produce better outcomes. For example: “Instead of saying, ‘You are not using your voice
as well as you could,’ a clinician might say, ‘Your vocal folds are coming together too
tightly.’ The latter statement absolves the patient of the guilt he or she might experience
if the clinician indicated that the patient was doing things ‘wrong’” (Boone et al., 2020, p.
198).
Patients are put at ease when speech-language pathologists use sensitivity, while
also recognizing the personal needs that may or may not relate to the voice. Speech-
language pathologists are encouraged to give instructions that are brief and clear, without
putting the patient “psychologically on the defensive during the first visit.” (Boone et al.,
2020, p. 199). Other verbal communication happens in dialogue. “In the spirit of patient-
centered counseling, the patient does most of the talking within the clinical encounter”
46
(Behrman, 2006, p. 17). Therapists ask open-ended questions, affirm and acknowledge
effort, and summarize patient statements.
Nonverbal communication includes reading people, such as being aware of
“sweaty palms, avoidance of eye contact, excessive postural adjustments, facial tics,
masked facial expression, head and neck muscle tension, head and/or hand tremors”
(Awan, 2001, p. 19-20). Awan (2001) also reinforces some of the research found in voice
pedagogy regarding the psych-social nature of voice users. While he agrees that it is not
necessary or realistic for speech-language pathologists to conduct formal personality
testing or be experts in psychological therapy, it is possible to screen patients for the
influence of stressors, anxiety, and somatic complaints on their voice (p. 20). Other voice
symptoms related to stress include “diplophonia, dry throat and mouth, harshness,
elevated pitch, functional dysphonia, and shortness of breath” (Boone, 1997 as cited in
Boone et al., 2020, p. 230). Thus, many voice therapy techniques work to relax patients.
In this way, the speech-language pathologist is utilizing interpersonal knowledge
unrelated to their knowledge of the anatomy and physiology of the voice. Additionally,
Speech-language pathologists and voice doctors often send patients home with an audio-
video recording of each session (Boone et al., 2020, p. 185). “Providing visual feedback
for the patient can play a prominent role in voice therapy inside and outside of the clinic”
(Boone et al., 2020, p. 237).

47
Feedback and Setting Goals
Feedback in the voice studio can function in a similar way, assuaging student
fears and providing support in meaningful ways. In addressing performance anxiety and
emotional concerns in performers, Walker and Commander (2017) write:
Compounding the problem, teachers often provide ineffective advice that

exacerbates and perpetuates students’ problems. For example, teachers may tell
emotionally fragile students to just “buck up and tough it out,” or “you’re so
talented, I don’t know what you are afraid of,” rather than provide appropriate and
meaningful support. Instead, teachers can develop tools to help a student address
anxiety and build confidence. (p. 262)
To achieve this, Walker and Commander (2017) recommend teachers work with students
to develop individuality, implement positive self-talk and mindfulness, identify support
systems, and name, then map out, micro-goals. Micro-goals are goals over which the
student has control, such as practicing more often, whereas macro-goals are dependent on
outside forces, such as whether the singer is cast in a role. Focusing on micro-goals gives
students attainable success and helps them move forward (p. 66). While there are several
ways to set goals with voice users (Dufault, 2013), one helpful system is the SMART
acronym that encourages goals that are “Specific, Stretching, Significant; Measurable,
Motivational, Meaningful; Attainable, Agreed-Upon, Action-Oriented; Relevant,
Rewarding, Reasonable; and Time-Based, Tangible, Trackable” (Drucker, 1954, as cited
in Walker & Commander, 2017, p. 267).
The goal setting process is important with patients of speech-language
pathologists. According to Haley et al. (2019), “Collaborative goal setting is at the heart
of person-centered rehabilitation” (p. 1). Collaborative goal setting is purposeful in how it
involves the patient and trains them to think like clinicians. In some cases, “clients
instinctively assume a passive attitude in the rehabilitation process, trusting and relying
48
on therapists to tell them what to do,” and thus, “rehabilitation clinicians report that they
learn very little from their clients when they ask what they wish to address in therapy”
(Haley et al., 2019, p. 2). In a four-step model called FOURC, the authors begin to
address this by helping patients see possibilities instead of problems when identifying
communication goals. Then, when working towards solutions, the client has “first say” in
giving suggestions and ideas (p. 4).
This is in direct opposition to the modes of operation used by some teachers of
singing, in which the voice expert gives all the feedback and suggestions. Giving singers
an active role in the process could be a beneficial practice to consider incorporating into
more voice teaching, as the client is more likely to accept what the clinician may have in
mind if they are allowed to express their ideas first. In turn, the clinician may be able to
approach the plan with more flexibility and sensitivity to the clients’ circumstances
(Haley et al., 2019, p. 5). Finally, clinicians and patients can collaborate on a plan, then
complete and continue the plan, modifying as necessary. This corroborates Cannon &
Luckner (2016), who wrote, “Effective instruction occurs when there are clear learning
objectives, systematic instruction, and opportunities for interaction” (p. 98). Furthermore,
“skilled professionals know that individualism and collectivism exist on a continuum and
that being aware of students’ preferences and cultural orientations can facilitate
instructional conditions that promote learning” (p. 97).
In relation to goals, it is important for voice experts to know how to motivate
voice users. One of the master teachers interviewed by Clemmons (2010) rejected fear
and anxiety as motivators, but emphasized the importance of a positive environment (p.
260). However, Clemmons did find that teachers who have high expectations for voice
49
users are successful in motivating students by demonstrating the “teacher’s belief in a
student’s potential” (p. 261). Tactics that threaten or scare students will have negative
consequences, but a learning environment without challenges is also discouraged
(Helding, 2010). Voice experts need to set realistic goals and expectations based on the
inherent skills and needs of each student. Principles taken from Universal Design for
Learning (UDL) may also help in motivating learners, such as “giving more (or less)
feedback, modeling, giving students strategies for organizing information as it is
presented, allowing breaks during a lesson or during the rehearsal of a difficult piece,
changing the order of the activities” (Jellison, 2015, p. 124). Jellison (2015) also states
that interests and personality may influence student success and participation, so it is
important to recognize just how much the individuality of a voice user influences the
outcomes of singing lessons.
Affirmation can be used to spur on students, while criticism should be directed
toward the voice, not the person, and opportunities for self-correction should be provided
(McCoy, 2018, as cited in Angell, 2019). Language is influential on a learner’s self-
concept, which in turn affects their motivation and effort (Cimpian et al., 2006 as cited in
Frey-Monell, 2010, p. 149). Unmotivating teacher actions listed in Stammer (1999) that
Frey-Monell (2010) suggests may apply to applied teachers include “choosing repertoire
that is too easy…making the semester grade contingent on the success of an upcoming
performance….and communicating displeasure without providing guidelines for the
students on how to improve” (p. 150). Being aware of how teacher choices affect
students’ motivation is imperative to the overall success of voice users.

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Using Instructional Tools
Voice experts work to determine which tools will best encourage engagement and
progress in voice users. One set of questions from Hurst-Wajszczuk (2010) may help
with determining learning styles, such as, “Describe someone who was your ideal
teacher. How did s/he teach? What made you feel successful in that environment? Which
learning preference did that teacher likely have and was it possibly the same as your
own?” Hurst-Wajszczuk encourages teachers to “design lesson plans that equally involve
each learning style” (p. 425) in order to address different styles of learning and to prevent
them from teaching to their own preferences. This idea is reiterated by Swanson (2005)
who wrote, “it is not incumbent upon the student to adapt to the teaching style of the
teacher” (p. 203). While many teachers adapt their teaching to different learning styles
instinctively, teachers can be better at this by establishing each student’s learning style,
observing student behaviors, noticing patterns in students, discovering the ideas students
have of themselves and providing multiple opportunities for both comprehending and
demonstrating knowledge (Dwyer, 1971; Swanson, 2005). This is a concept central to
Universal Design for Learning (UDL). It is also supported by music education, as
explained by Jellison (2015): “Students may hear a teacher talking but may grasp what is
said more quickly when the teacher refers to visuals, and students may read printed music
but make fewer errors playing a difficult repeating rhythm when they circle the rhythm
throughout the music, play it out of context several times, then play it in context” (p.
118).
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Summary
Voice experts in the fields of voice pedagogy, speech-language pathology, and
voice medicine are aware of interpersonal aspects of voice care. There are many skills
that are valued, trained, and used in these fields, such as building rapport, tailoring
instruction to suit the needs of voice users, guiding voice users through tasks,
collaborating with other professionals, and using verbal and nonverbal types of
communication. However, it is unclear how value, training, and use of certain skills all
align, or how generalizable this is to voice experts as a whole. For example, methods for
giving feedback and setting goals were present in the vocal pedagogy literature, but it is
unclear which training activities are preparing teachers of singing to use this skill. It is
also unclear how common this skill is across teachers of singing as a group, as well as
how it is implemented and how often it is used by individual instructors. Therefore, using
the interpersonal skills discovered in this literature review as a baseline, the methodology
described in the next chapter was designed to answer the research questions regarding
value, training, and use of such skills.

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CHAPTER 3: METHODOLOGY
Methodological Overview
The existing research in voice pedagogy and speech-language pathology led to the
development of research questions regarding value, training, and use of interpersonal
skills, which were best answered by a mixed-method research methodology. Qualitative
and quantitative measures were both necessary to determine the existence of
interpersonal skills within one-on-one interactions between voice experts and voice users.
In order to affirm the existence of skills reported in the research and potentially discover
new ones, three phases of research were conducted.
In the first phase, initial and follow-up interviews were conducted with eight
voice experts, four from the field of voice pedagogy and four from the fields of speech-
language pathology, voice therapy, and voice medicine. The qualitative results of these
interviews shaped the questions of a quantitative survey, which, in the second phase, was
sent to members of NATS and ASHA to determine the generalizability of certain themes.
Finally, in the third phase, a focus group was conducted with voice experts who were
invited to participate as a result of their completion of the quantitative survey. The
qualitative results of this conversation led to a better understanding of the reality of
interpersonal teaching today. The following methodology lays out salient terms,
delimitations, basic assumptions, theory, participants, personnel and facilities, researcher
positioning, the procedure and materials, and the data analysis measures.
Definition of Terms
Interpersonal is the term used to describe one’s interactions with others. In
education, many refer to Howard Gardner’s intelligences, in which interpersonal means

53
“the ability to notice and make distinctions among other individuals” (Gardner, as cited in
Parker, 2007, p. 27). Interpersonal interactions in the fields of voice pedagogy and
speech-language pathology aim to maintain a strong working relationship with students
and clients, which can manifest itself in a number of different skills.
Interpersonal knowledge and skills required for a speech pathologist include
effective communication; understanding and accommodating different learning styles;
understanding of learner differences such as age, gender, culture, and self-concept, and
being able to address these for successful interactions; effective listening skills;
understanding and accommodating differences in communication styles; and
understanding and implementing conflict resolution strategies. A “professional and
supportive relationship that allows for growth” is needed and expected by the American
Speech-Language-Hearing Association (ASHA, 2018). ASHA also has a thorough code
of ethics, broken down into four different principles that mirror many aspects of
interpersonal-related principles of professionalism and ethical behavior. For a full list of
standards set by the field, see Appendix A.
The National Association of Teachers of Singing (NATS) also has interpersonal
skills interwoven into their code of ethics. These include standards in relation to self,
students, and colleagues and are quoted verbatim in Appendix A. A few defining skills
include honesty, professionalism, continual growth, avoidance of discrimination,
maintaining a relationship with students, respecting individual differences, and
communication.
However, comparing and contrasting these lists is just the beginning to
understanding how these interpersonal skills are developed, encouraged, and enforced in
54
these two fields. Interviewing and surveying experts in these fields will allow an
inventory of standard practices to be developed, through which individuals,
organizations, and schools can be more purposeful about positive interpersonal
relationships. Both of the fields can develop better interpersonal skills by considering the
standards set by one another.
Intrapersonal relates to how one knows oneself and is essential to the voice user.
For example, “The singer who does not know her own temperament may commit to a
teaching post for which she is poorly suited. The singer who does not know her own
limitations may be led by visions of grandeur to attempt that which is beyond her
abilities” (Helding, 2010, p. 328). Intrapersonal intelligence is the opposite of
interpersonal, though the two often influence one another in the learning methods of
voice users, and both are necessary. While much of these findings center around
interpersonal relationships from the point of view of the voice expert (either teachers of
singing or speech-language pathologists as defined below), there will be times in which
intrapersonal is used to describe the internal perspectives of the participants.
Teachers of singing may be defined in a number of different ways because they
play a variety of roles, including vocal pedagogue, singing coach, acting coach, and
more. NATS says teachers of singing work in independent studios, community schools,
elementary and secondary schools, or higher education. For the purpose of this study,
they will be defined by their mastery of singing techniques, teaching techniques, and
performance practice. They will be current teachers of singing employed as part-time or
full-time teachers. Delimitations are given below.

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Speech-language pathologists are individuals who “work to prevent, assess,
diagnose, and treat speech, language, social communication, cognitive-communication,
and swallowing disorders in children and adults,” according to ASHA (2018). For the
purpose of this research, otolaryngologists were also included in this subsection.
Pedagogical content knowledge is “knowledge of how to teach” content, in
comparison to content knowledge, which is “knowledge of the subject you are teaching,”
(Conway & Hodgman, 2009, p. 4). Conway and Hodgman expand to say, “Most young
professors and graduate instructors have solid content knowledge but little understanding
of how to teach that content. Pedagogical content knowledge is learned through study and
experience” (p. 5).
The idea of pedagogical content knowledge originated with Schulman’s 1986
publication, “Those who understand: Knowledge growth in teaching.” Schulman was one
of the first to investigate sources of teacher knowledge and the ability to teach a subject
matter with expertise. Master teachers are historically known for this ability, but
Schulman wanted to illustrate ways in which it was learned. He proposed that there were
three forms of knowledge: propositional knowledge, the wisdom of practice and
experience, case knowledge, the practical and theoretical “how” of teaching, and strategic
knowledge, the application of principles and understanding to practice. Before Shulman,
content matter was simply the “context” in which teaching was done (Loewenberg Ball et
al., 2008). Pedagogical content knowledge in the context of interpersonal teaching
practices will be examined.
Voice user is the term used when discussing anyone who receives services from
the voice professionals involved in this research. This includes patients, clients, and
56
students of teachers of singing and speech-language pathologists. Due to the wide variety
of individuals receiving voice services, whether related to singing, therapy, or medical
treatment, in several different settings, voice user will be used as a blanket term in the
qualitative and quantitative data analysis. If more specificity is needed, a specific term
will be used to describe the person in question. Voice users may or may not include
professional voice users, who “rely directly on their voices for their livelihoods”
(Stemple, 2020, p. 370).
Delimitations
The focus of this study is on one-on-one, individualized teaching. Therefore,
while research on classroom or music ensemble teaching was used for context in the
literature review and may provide context for much of the participant experiences,
participants for this research will have individualized teaching experience. The research
questions were designed to focus on this individualized setting and will not focus on
classroom or ensemble teaching.
Voice is a broad field with many subsections. In the field of speech-language
pathology, audiologists and neurologists were not recruited or included in the qualitative
interviews. They were not invited to participate in the quantitative survey. While these
specialists are often included in the treatment of voice patients and play a vital role in
helping both functional and rehabilitating voices, this research is focused on those
working primarily with the three major subsystems of the voice: the respiratory,
phonatory, and resonating/articulatory systems (Awan, 2001; Johnson and Sandage,
2020; Stemple, 2020) and identify as speech-language pathologists in their ASHA
membership.
57
Additionally, while many individuals seeking voice services also receive other
educational accommodations, special education teachers were not recruited or included in
the qualitative interviews. Teachers of singing or speech-language pathologists may work
with voice users with atypical needs, but they are neither labeled nor function as special
educators.
In the field of teachers of singing, choral directors were not included due to the
ensemble nature of their instruction. While choral directors utilize many of the same
skills as one-on-one teachers of singing, and may occasionally work with individuals,
their training differs. Likewise, though they often work with individuals, professionals
with the title “vocal coach” were not recruited or included in the qualitative interviews. In
the field of voice pedagogy, “vocal coach” needs to be better defined, as does the
difference between vocal coaches and teachers of singing. This research aims to identify
those who work with voice users and develop better definitions and well-defined roles.
Vocal coaches are defined as those who self-identify as a vocal coach and fit at least one
of these three roles: (1) is not a singer’s primary teacher, (2) does not work with a singer
on a weekly basis, and/or (3) only works with a singer for specific needs, such as
auditions or performances. Vocal coaches utilize interpersonal skills, but those with more
intermittent teacher-student relationships were not included. This includes collaborative
pianists, who often provide coaching or recommendations to singers, but do not provide
primary voice instruction. Choral directors, vocal coaches, and collaborative pianists all
play an important role in vocal education, but are not the intended participants for this
research.
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Basic Assumptions
One of the main assumptions of this proposed study is that interpersonal teaching
methods occur in all studio lessons with teachers of singing, as well as therapy and
medical sessions with speech-language pathologists and otolaryngologists. Types of
interpersonal communication vary based on the individuals interacting and can be
generalized as good or bad, healthy or unhealthy, and productive or nonproductive. The
assumption of this research is that a greater awareness of interpersonal practices in
individualized voice teaching will lead voice experts to implement more skills that result
in positive interpersonal relationships with voice users, while eliminating those that are
harmful. It is assumed that voice experts would desire such adjustments. The theory
illustrated below shows how student-centered teaching could essentially impact the
training and practices within the fields of voice pedagogy and speech-language
pathology. With this in mind, there is the assumption that teachers who are more
comfortable with interpersonal practices and individualized instruction will better tailor
their lessons to students, and thus, be more effective teachers.

59
Theory
Figure 3.1. Six-Circle Venn Diagram of Theoretical Model: Representing the similarities
and differences amongst value, training, and use of interpersonal skills for teachers of
singing and speech-language pathologists.
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Figure 3.1 was designed to identify the value, training, and use of interpersonal
skills in and across the fields of voice pedagogy and speech-language pathology in order
to compare and contrast the two. This was used to answer the research theses and
describe how voice experts value interpersonal skills, how they are trained to uphold
them in practice, and how often they use them.
On the bottom of this Venn Diagram, the blue intersections represent the overlaps
in value, training, and usage of interpersonal skills by teachers of singing. “S” represents
where value, training, and use all align in teachers of singing. On the top, the red
intersections represent the overlaps in value, training, and usage of interpersonal skills by
speech-language pathologists and “SLP” represents where value, training, and use all
align in speech-language pathologists. For both fields, this represents the goal of effective
interpersonal practices. However, on both sides there are also ways in which value and
use align, but training is missing; training and use align, but value is missing (in which
case, use of those skills is questionable); and training and value align, but the use is
missing, for example, if teachers of singing do not make studio policies clear (a lack of
usage), despite this being valued and trained by NATS (NATS Code of Ethics, 2018).
In the middle of the Venn diagram, the fields of voice pedagogy and speech-
language pathology intersect with one another. The star represents where the fields are
already in agreement. These are the skills that are valued, trained, and used in both fields.
An example would be if both teachers of singing and speech-language pathologists value
listening, are trained in listening, and use listening.
After identifying similarities, differences are considered outside of this middle
intersection. Within these outer areas lies comparisons for voice experts. “1” shows skills
61
valued by teachers of singing and speech-language pathologists, but only trained in
speech-language pathologists, while “2” shows valued skills only trained in teachers of
singing. “3” shows skills being used by both fields, but only trained in speech-language
pathologists, while “4” shows used skills only trained in teachers of singing. While there
are other intersections, these four are the main focus of the recommendations in Chapter
10 as they relate to the training of voice experts.
Such recommendations are made to expand the middle of the circle and encourage
growth in both fields. As multidisciplinary training and shared understanding increase
between the fields, the value, training, and use of interpersonal skills will reflect greater
overlaps. Specific suggestions for each of these recommendations are given based on
similarities and differences between the fields.

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Figure 3.2. Three Venn Diagrams Comparing and Contrasting Value, Training, and Use:
Comparisons in value, training, and use of interpersonal skills for teachers of singing and
speech-language pathologists. Smith, B. (2021).
63
In Figure 3.2, individual intersections between the fields are shown. “V”
represents shared values between teachers of singing and speech-language pathologists,
“T” represents shared training between teachers of singing and speech-language
pathologists, and “U” represents shared use of interpersonal skills between teachers of
singing and speech-language pathologists. Differences fall on the outside of these
intersections. Figure 3.2 was used as the initial comparison points for the qualitative and
quantitative results.
Participants
Phase 1 Participants
In Phase 1, participants for the qualitative interview portion of this research were
current teachers of singing, speech-language pathologists and otolaryngologists who
work one-on-one with students or clients with at least three years of prior teaching
experience. Teachers of singing included teachers at universities, adjunct voice
professors, and private studio teachers. Speech-language pathologists and
otolaryngologists worked at the elementary, secondary, or collegiate level, as well as in
medical fields. Eight voice experts were interviewed for this qualitative data: four
teachers of singing and four in the fields of speech-language pathology and
otolaryngology. Of these eight participants, seven were female and one was male. This
breakdown is especially reflective of the speech-pathology profession, in which there are
fewer males in comparison to females (Finch et al., 2013, p. 5).

64
In Phase 2, participants in the teacher survey were voice experts in these fields at
the national level. These participants were accessed via the NATS “Research surveys”
page, email, and print mail. 50 teachers of singing, 63 speech-language pathologists, and
33 participants who operate evenly within both professions responded to the open call for
participants on the NATS website, 500 emails sent to randomly selected teachers of
singing who hold a NATS membership, and 1000 letters sent by mail to randomly
selected speech-language pathologists who hold an ASHA membership. Screening
questions at the beginning of the survey collected demographic information about the
participants and ensured they were eligible for participation.
In Phase 3, participants for the focus groups were selected from survey
participants who expressed interest. Thus, these participants were pre-screened and
eligible to participate because they belong to the groups being studied. 63 participants
indicated interest and were invited, and from this larger group, 5 teachers of singing
participated in this focus group. No speech-language pathologists elected to participate.
Personnel and Facilities
I administered the interviews, survey, and focus groups for this mixed-method
study. Interviews took place either in-person or over Zoom in a pre-determined location
with each participant, most often their regular teaching location. This is common in
qualitative research to best understand the actions and habits of the participants (Creswell
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& Poth, 2018). The survey was designed in Qualtrics (Qualtrics, Provo, UT) and
underwent procedures to determine validity. Face validity was established by the research
team and a panel of voice experts who took the survey to determine the ease of use and
the clarity of instructions, while providing feedback that was incorporated into the final
survey. Also, double barreled statements were eliminated (Austin & Reinhardt, 1999).
Researcher Positioning
As a singer and teacher of singing, my own teaching and learning experiences
drew me to this topic, but they also presented some challenges to my objectivity. To
combat this, I bracketed my own experiences before beginning data collection (Creswell
& Poth, 2018, p. 78). To do this, I set aside previously held prejudices, views, and
assumptions (Merriam & Tisdell, 2016, p. 27). I recognize that all the participants use
different teaching methods, the participants have a variety of teaching and singing
experiences, and all the participants have unique self-awareness of their singing and
teaching choices. This bracketing process ensures that I am viewing the experiences of
the participants through their eyes instead of my own. When presenting the research, I
acknowledge my own experiences and recognize ways in which I have been shaped by
the findings.
Procedure and Materials
Phase 1 Measures
Approval from the institutional review board (IRB) was given for this research
through an expedited, non-medical proposal. Approval letters are provided in Appendix
B. There were no known risks in participating, and none of the collected data included
confidential information. Participants provided informed consent after being made aware
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of their rights and the details of the study. In the first phase of this research study, semi-
structured interviews were conducted with four teachers of singing, identified as “Singing
Teacher N,” and four in the fields of speech-language pathology, voice therapy, and
otolaryngology, identified as “Med Subject N”. The first interview with each participant
was based on literature within both fields, the initial research questions in Appendix C,
and the preliminary interview questions in Appendix D.1. A second interview with seven
out of the eight participants served as a validation check to see if initial perceptions
aligned with those of the participants, and to ask their insights on any developing themes
(Creswell & Poth, 2018). These follow-up questions are also provided in Appendix D.1.
These interviews were conducted in-person in the teaching studios, classrooms, or offices
of the participants, or over Zoom video conferences. The interviews were audio recorded,
transcribed, and coded for themes to identify similarities and differences between the
training, value, and usage of interpersonal skills in the fields of voice pedagogy and
speech-language pathology, voice therapy, and voice medicine.
Phase 2 Measures
In the second phase of this study, a nationwide online survey designed in
Qualtrics (Appendix D.2) was administered to a broader sample of teachers of singing
and speech-language pathologists, in which the themes developed in the first phase were
further explored. The content of this survey was based on the qualitative interviews, in
order to determine the generalizability of the themes and practices discovered in the
interviews, and discover more approaches to interpersonal teaching strategies. As the
literature review did not reveal a surveying tool that would address interpersonal teaching
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techniques across both fields, the layout of this survey was modified from research done
in the field of music education by Payne for a Q-sort study (1990), that was then adapted
for use with rating scales by Austin and Reinhardt (1994, as cited in Austin & Reinhardt,
1999). In Austin & Reinhardt’s 1999 study, “Philosophy and Advocacy: An Examination
of Preservice Music Teachers' Beliefs,” pre-service music educators were asked to
evaluate philosophical belief statements twice: once on a statement’s validity for
including music education in the PreK-12 curriculum and once on its effectiveness as
advocacy statements. Thus, they were able to correlate the validity and effectiveness of
advocacy for each statement, as well as if there were significant differences between pre-
service educators based on grade (freshman, sophomore, junior, senior).
With this framework, this survey was based on 33 interpersonal skills identified in
the qualitative interviews. First, participants answered demographic questions that
provided an examination of the difference in skills between those in singing related
fields, those in speech-language pathology fields, and those who consider themselves part
of both fields. Participants also provided the ages of voice users with whom they work
and the settings in which they see them. Gender identity was also a demographic question
that could be used in future research to determine if any significant difference existed in
the value, training, or use of certain skills based on gender.
Next, participants considered each of the 33 skills three times. First, participants
used a sliding numerical scale to rate how much they value each skill in their line of work
from 0-100, 0 indicating they did not value that skill, 100 indicating that they value it
greatly. Second, participants selected ways, if any, in which they were trained in the same
33 skills. "Formal education in this skill" indicated training or encouragement from an

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accredited or certification-granting program with feedback from a teacher, supervisor, or
mentor. "Supplementary education in this skill" indicated training or encouragement from
a workshop or clinic, with or without feedback from a teacher, supervisor, or mentor.
“Self-taught" indicated the skill was self-developed, found via intuition, or the participant
sought information on this skill independently. "Received no training in this skill"
indicated they could not recall how they were trained in the skill or were unfamiliar with
the skill. One or more of these options could be selected. Third, participants selected how
often they used each skill: daily, weekly, every other week, monthly, every other month,
2-5 times a year, once a year, every few years, or never. Table 3.1 lists the 33
interpersonal skills in the order in which they appear on the survey, as determined by a
list randomizer.
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Table 3.1
List of Surveyed Skills
1 listening
2 knowledge of the anatomy and physiology of the human voice
3 humility
4 starting with fundamentals and building from there
5 community outreach
6 making voice users feel safe
7 using technology
8 continuing my education
9 giving voice users a space to vent and/or be vulnerable
10 reading publications in my field
11 contributing research to my field
12 reflecting on my encounters with voice users after a lesson, session, or
appointment
13 attending and/or presenting at workshops and/or clinics

14 developing pedagogical content knowledge, either through research or experience
15 being a life coach to the voice users with whom I work

16 pursuing personal growth in my field
17 humor
18 giving feedback in a concise manner
19 specializing in one or two specific discipline areas and/or techniques
20 flexibility in instructional techniques
21 using my intuition
22 setting realistic goals and/or expectations with voice users
23 collaborating with others in voice related fields
24 empathy
25 preparedness
26 interacting with diverse voice users
27 being a friend to the voice users with whom I work
28 trust
29 being versed in a number (3+) of different discipline areas and/or techniques
30 respectful relationships with voice users
31 allowing voice users to make decisions
32 using prompting questions
33 attending and/or presenting at conferences
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Finally, participants were presented with a list of interpersonal practices that were
common amongst the interview participants. This included questions about methods they
take with new voice users, current voice users, professional development, and personal
motivators for their work. The questions were designed to further address the research
questions by looking for overlapping or differing techniques, approaches, philosophies,
and desired outcomes in students/patients. Participants were also asked whether they
would be willing and available to participate in a focus group.
Phase 3 Measures
In the third phase of this study, a focus group using Zoom technology was
conducted with teachers of singing across the nation to confirm or deny developing ideas.
This conversation led to the positive edification of voice teaching practices. Focus group
questions are found in Appendix D.3.
Data Analysis
Qualitative Data Analysis
As a mixed-method study, both qualitative and quantitative data analysis methods
were used. In the qualitative data analysis, for both the interviews in Phase 1 and the
focus group in Phase 3, methods of analyzing phenomenological research were used. The
focus of a phenomenology is the essence of a lived experience (Creswell & Poth, 2018, p.
104), so phenomenological reduction was used to continually return to the essence of the
phenomenon (Merriam & Tisdell, 2016, p. 27). One way to do this is through imaginative
variation, in which the data is considered from different perspectives (Merriam & Tisdell,
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2016, p. 27). The unit of analysis, several individuals who have experienced the
phenomenon of teaching in an individualized setting, served as the focus and ensured that
there was a comprehensive and balanced analysis of each participant’s experiences
(Creswell & Poth, 2018, p. 104). All interviews were transcribed, inserted into a table,
and coded for themes. As previously mentioned, the bracketing of my experiences
prevented me from identifying themes or ideas that align with my previous beliefs and
helped me focus on the data as it presented itself. Using this table, significant statements
were highlighted and sorted into various categories. Quotes were combined into a textural
description and a structural description (Creswell & Poth, 2018, p. 78)
The data was analyzed via horizontalization, where “all pieces of data have equal
value at the initial data analysis stage [and] are then organized into clusters or themes”
(Merriam & Tisdell, 2016, p. 27). Data analysis moved “from the narrow units of analysis
(e.g., significant statements), and on to broader units (e.g., meaning units), and on to
detailed descriptions that summarize two elements: ‘what’ the individuals have
experienced and ‘how’ they have experienced it” (Creswell & Poth, 2018, p. 77).
Quantitative Data Analysis
The quantitative data analysis was done with assistance from the UNL SC3L
Statistical Cross-disciplinary Collaboration and Consulting Lab, based on the results of
the nationwide survey. In overview, the gtsummary package in R statistical software was
used to summarize the survey questions based on the profession grouping: singing
profession, speech-language pathology profession, and those who indicated working
equally within both professions. For quantitative variables, the median and interquartile
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range was found, along with a Kruskal-Wallis non-parametric test across professions.
Categorical responses were summarized by the number and proportion of participants
who selected each response, along with a Chi-square test and Fisher’s exact test when
counts were small. “Check all that apply” questions were separated into binary questions
where each individual box was indicated as a “yes” if checked and a “no” if left
unchecked. Chi-square and Fisher’s exact tests were conducted to compare across
professions. No post-hoc testing was conducted. For each of these measures, p-values,
which indicate the probability of being larger than the calculated test statistic value, were
used to determine whether a variable was associated with affecting the difference in the
response. If the p-value is less than 0.05, we claim that there is a significant effect of that
variable. In other words, there is a significant difference in response due to the predictor
variable, which is the three different profession groups.
There were 146 participants, 50 who indicated a singing profession, 63 who
indicated a speech-language pathologist profession, and 33 who indicated working
equally within both professions. In the singing profession, 44 out of the 50 participants
(88%) completed the entire survey, while 6 out of 50 (12%) did not, but all completed
answers were included in the statistical analysis and the specific number of answers (N)
for each question was taken into consideration. In comparison, 95% of speech-language
pathologists completed the survey, and 97% of those from who indicated working equally
within both professions completed the survey. For each of the statistical measures, N was
calculated based on how many participants answered that question. The demographic
questions asked of the participants, including gender pronouns, age(s) of voice users with
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whom they work, and work setting(s), were analyzed using Pearson’s Chi-squared test
and Fisher’s exact test when the values were small.
The Kruskal-Wallis Ranked sum test was used to measure the difference in
medians and interquartile range (IQR) among the three groups for the “Values” section of
the survey. This test is a non-parametric equivalent to a one-way ANOVA. Non-
parametric tests do not need any distributional assumptions, rather they use rankings to
compare between treatments. This test allowed a comparison to be made from the
numeric measures between groups. It was used to determine if profession affects how
much participants value a skill, such as Interpersonal Skill 1: Listening. To compare the
amount of “Value” for each item across professions, the median and interquartile range
(IQR) were calculated. The median is the middle value and 50% of the responses fall
below this value. The interquartile range (IQR) is the middle 50% of the data. Box-
whisker plots were drawn to represent the value of each of the 33 skills within the 3
profession groups. In these box-whisker plots, 25% of the responses fall below the lower
value and 75% of the responses fall below the upper value. The Kruskal-Wallis rank sum
test was used to compare the level of “Value” between the professions.
A Pearson’s Chi-square test was used for the “Training” and “Use” sections of the
survey, as well as the “Check all that apply” questions at the end of the survey. A Chi-
square test statistic is used to determine whether two categorical variables are
independent. For the “Training” section, these variables were the 3 profession groups and
four responses: Formal training, Supplementary training, Self-Taught, and/or No training.
For each of the 33 skills, participants could check any of the four training responses that
applied to them. Each response item was converted to a series of binary responses:
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Formal training (yes/no), Supplementary training (yes/no), Self-taught (yes/no), or No
training (yes/no). For each item and check box, the number of participants and
proportion, along with a Chi-square/Fishers Exact p-value is given. In this check-all
scenario, number of participants will not necessarily add up to the total number of
participants. For example, 23 out of 46 singing instructors (50%) indicated they had
formal training in listening, but these 23 could also have indicated supplementary training
or self-taught training for this same skill.
For the “Use” section, Pearson’s Chi-square test was used to compare the
frequency of use for each skill across profession. Respondents were initially asked to
indicate their use of each scale from one of the following: Daily, Weekly, Every other
week, Monthly, Every other month, 2-5 times a year, Once a year, Every few years, and
Never. However, the responses for Every other month, 2-5 times a year, Once a year,
Every few years, and Never were aggregated into “Less than once a month,” due to such
a small amount in each of these categories. For each item, the number of participants and
proportion, along with a Fisher’s Exact p-value is given. Note that each participant only
selected one response.
A comparison of the “Value” and “Use” sections was conducting using a Kruskal-
Wallis Test and boxplots to see if there was a relationship between high value and
frequent use of certain skills. For each profession, separately, the median “Value” with
the IQR was associated with the “Use” frequency. For example, 21 singing instructors
indicated they used listening daily and with a median value of 100 (IQR of 90 – 100)
while 12 indicated they used it weekly with a median value of 68. The p-value of 0.003
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(less than 0.05) indicates a relationship between the frequency of “Use” and amount of
“Value” for listening.
To compare the “Check all that apply” questions at the end of the survey, a
similar approach to the “Training” section was taken, using Pearson’s Chi-square test.
Each checkbox was converted into a binary yes/no response. For example, 32% of “ToS”
participants checked the box “I ask voice users to fill out an information survey or intake
form,” while 41% of “SLP” participants checked the same box, and 36% of participants
who indicated working in both professions checked the same box. Note that these
proportions (32%, 41%, and 36%) are not that different and there was no significant p-
value (0.6 > 0.05).

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CHAPTER 4: QUALITATIVE INTERVIEW RESULTS – VALUE OF
INTERPERSONAL SKILLS
Data Analysis Overview
The results of a mixed-method data analysis will be discussed in the following
chapters, using qualitative and quantitative data results in relation to shared and disparate
value, training, and use of interpersonal skills by voice experts. Each chapter will
illustrate these similarities and differences through a distinct lens. This chapter presents
the qualitative interview results regarding the value of interpersonal skills across both
fields. Chapter 5 presents the qualitative interview results regarding the training in
interpersonal skills across both fields. Chapter 6 presents the qualitative interview results
regarding the use of interpersonal skills across both fields. Within each of these three
chapters, the qualitative results are sorted into themes, listed in Table 4.1, below. Venn
diagrams throughout Chapters 4-6 will introduce the similarities and difference between
the fields for each theme and will include observations from the Med Subjects and
Singing Teachers in Phase 1, as well as the focus group members in Phase 3. Chapter 7
presents the quantitative results of the nationwide survey in Phase 2. Chapter 8 presents
the results of the qualitative focus group in Phase 3. Complete transcripts for the
qualitative interviews and focus group are found in Appendix E.

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Table 4.1 – Qualitative Themes

Chapter 4 – Value of interpersonal skills • Relationship-building
• Safe environments
• Voice-user led practices
Chapter 5 – Training in interpersonal skills • Types of training
• Pedagogical motivation
• Teamwork
Chapter 6 – Use of interpersonal skills • Verbal communication and
feedback
• Non-verbal communication and
listening skills
• Goal setting and decision-
making
• Teaching techniques
• Research-based practices
• Professional demands
The qualitative measures analyzed in this phase were semi-structured interviews
with eight voice experts. In this chapter, comments were categorized into three themes
related to the value of interpersonal skills: (1) relationship-building, (2) safe
environments, and (3) voice-user-led practices. These three themes represented
similarities and differences, as displayed in “Value” Venn diagrams: Figure 4.1, Figure
4.2, and Figure 4.3. These Venn diagrams summarize the qualitative comments made
within these three themes, but specific participants are indicated when appropriate. After
this summary, the qualitative narrative for each theme further describes the findings.
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Figure 4.1. A Venn diagram representing “Values” theme 1: Relationship-building.

Similarities and differences between teachers of singing and speech-language
pathologists.
Relationship-Building
Similarities in Relationship Building Between the Fields
Trust
The eight participants interviewed in Phase 1 demonstrated many similar qualities
that reflect the value of relationship-building with voice users. According to these voice
experts, relationships lead to positive voice outcomes and trust is an important aspect of
this. In the fields of speech-language pathology, voice therapy, and voice medicine,
developing trust often looks like empowering voice users. Med Subject 1 said she always
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asks how she can empower a patient, which includes rejecting the idea that voice users
are “broken.” She discourages ideas such as “I’m damaged,” or “I’m not good enough,”
or “I have this [diagnosis]” by helping them understand what a diagnosis means and
giving them a “deep kinesthetic sense of knowing that they’re going to be fine.” She said,
“In the healthcare sphere, there’s some pretty good data to show that if people feel
empowered and encouraged, their health outcomes are better.” Examples of this include
Finch et al. (2013), which showed that patient involvement in their own health care leads
to better outcomes, and Falkenstein et al. (2016), which stated the negative ramifications
of poor communication from health care professionals. Med Subject 1 balances
encouragement and constructive critique, develops rapport with voice users, and
encourages these positive health outcomes.
In providing feedback, Med Subject 1 also expressed how important it is to
encourage voice users toward positive change in a trusting relationship. To do this, she
says voice experts and voice users “need to have a relationship before [they] can really be
productive.” Furthermore, she said that critique must be given “alongside the person, and
not to them or down to them.” Med Subject 4 finds that relationships help voice users
reach goals, saying, “If they trust me [and] they know that I’m invested in them as an
individual, then I can get a whole heck of a lot more out of them than a working
relationship that’s pretty sterile.”
Personality plays a role in building trust, according to Med Subject 2, who said
she must be willing to listen, to be service-oriented, and to be a giving person as an
instructor. The personality of the patient also plays a role, and just as Stemple (2020)
stated that professional voice users often run the gamut in regard to personalities, Med
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Subject 2 finds that “personality is very involved in voice disorders.” Whether working
with perfectionists, high achievers, or people looking for a quick fix, she works as a
cheerleader and motivator. She said, “I cannot fix it for them, I can guide them, I can
coach them, I can tweak their technique, but it’s 100% on their shoulders. So again, you
have to build that trust, you have to build that relationship.” Building a trusting
relationship with voice users empowers them to continue in the therapy process and put
in the work to reach their goals.
Trust was also mentioned by the teachers of singing in Phase 1. Singing Teacher 3
works with many adolescent singers and finds trust essential to their development.
Singing Teacher 1 described sharing successes and having “come to Jesus” sessions with
students in need of advice as things that happen when a trusting relationship exists. She
also identified humility, from both teacher and student, as an important skill in building
trust because it creates a working environment in which voice users can grow. Like Med
Subject 2’s comments on personality, Singing Teacher 1 said, “It becomes apparent
pretty quickly whether or not students are in the art for the art or in the art for themselves.
And I find that students who are in the art for themselves become very difficult to teach,”
while she is “drawn to those students who have a sense of who they are and what they
want to say to the world,” as well as “generous and humble spirits.” Singing Teacher 2
called this being “charmed” or “intrigued” by a singer. When two different personalities,
voice expert and voice user, interact in a voice lesson, Dufault (2013) says it is “very
important to be able to establish trust with a student. Students and teachers need to
respect the process of learning how to sing, one that is slow and that takes time” (p. 73).
Singing Teachers 2 and 4 affirmed that building trust takes time.

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Humor
Humor is a disposition that voice experts often use to reach voice users. Med
Subject 2 said, “I smooth out the technique and I tweak it, but it’s constructive, it’s done
with humor,” and even more so, “Humor, it is critical to helping someone heal.” Singing
Teacher 4 uses humor to balance critique as well, using honesty and feedback that is
appropriate to each person’s age and comfortability. Humor is often used to make a voice
user feel more comfortable in challenging situations, as is empathy.
Empathy
Empathy, or “understanding, being aware of, being sensitive to, and vicariously
experiencing the feelings, thoughts, and experience of another of either the past or
present without having the feelings, thoughts, and experience fully communicated in an
objectively explicit manner” (Merriam-Webster), is important and can be learned through
a voice expert’s own experiences. For example, Singing Teacher 3, who overcame a
significant amount of stage fright and anxiety in her own college training, said, “I will
never put somebody on a stage to sing a song that they’re not confident about. I don’t do
that; I want them to have a good experience and not be traumatized.” At times, past
trauma can present itself in the voice, requiring wisdom and empathy from the voice
expert. Singing Teacher 1 said, “If there’s something unsettled or buried emotionally, for
whatever reason, with a student, it is going to manifest in the voice.” For example, she
said sexual abuse survivors who have found healing in the singing process developed
their voices in “a new, richer way.”

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Relationship-building is often a result of such empathy. “The voice and emotion
are so intimately intertwined, there are days when emotions are so out of balance that
phonating results in floods of tears, and you can’t discount that,” according to Singing
Teacher 1. Singing Teacher 4 agrees that it is “totally fine” if “a lesson is hijacked
because of an emotional day.” Singing Teacher 2 expressed something similar when she
said, “They don’t care what you know until they know that you care.” The fact that
“people take off their armor” is a major reason she enjoys working one-on-one with
students. She acts like a “surrogate advisor” to students, talking with them about their
other classes and music coursework. She sees it as part of her job to make sure they are
maintaining their academics and to take interest in them outside of the voice. Singing
Teacher 4 takes time to create relationships with voice users so that her comments are
met with acceptance and appreciation, rather than fear or rejection.
Importance of “Match”
The student-teacher match influences the interpersonal interactions in singing
lessons, similar to the clinician-patient match in voice medicine (Braden et al., 2018).
Singing Teacher 1 said, “I really put the onus back on the student to discover who they
are and what they need in a teacher to be successful.” This aligns with the opinion of one
master teacher interviewed by Dufault (2013): “When looking for a teacher, students
should audition them and take several lessons from them” (p. 37). As will be further
discussed in the theme “Voice-User Led Practices,” voice lessons work best when the
teacher and the student work well together and both play an active role in reaching
singing outcomes. However, sometimes the fit between the practitioner and client is not
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ideal and it is necessary to make changes. Med Subject 2 said, “If you’re not happy with
your doctor, if you’re not happy with your singing teacher, you need to change, it has to
be a good fit, and if you’re not happy with me, you need to tell your doctor it’s not a good
fit.”
Relationship-Building in Med Subjects
As one-on-one interactions lend themselves to variability, the relationships
between voice experts and voice users function in a variety of ways. Each member of an
interpersonal interaction brings in their own personality, beliefs, goals, types of
communication, and learning styles, and more. When these unique individuals collide, it
is natural that more than just the voice is present. The whole person, including thoughts,
feelings, and prior experiences, is present, and thus, the whole person must be addressed.
With this in mind, voice experts take diverse approaches and often have different
philosophies. One of these differing philosophies concerns what role the voice expert
plays in the life of the voice user. The terminology regarding life coach, friend, nurturer,
mentor, and therapist showed the disparity among the participants.
Empowering Voice Users
Empowering voice users is how Med Subject 1 chooses to interact with voice
users, an explanation unique to this participant. Regarding being a life coach, Med
Subject 1 said, “A lot of times people want that from us, and I think we have to be
extremely careful being so relational,” but said, “we try to be very careful not to take that
on, but to point out that that’s certainly needed.” She never refutes a voice user’s need for
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guidance, counseling, or therapy, but outsources to others rather than try to address these
needs on her own: “We try to help them identify who their coaches, therapists and
support people are. And we say that the voice lives between the head and the heart, so it’s
very important that if anything is in conflict that they do have help.” She recognizes these
conflicts in voice users, but then tries to “empower the patient to seek that support
wherever they feel most comfortable, whether that’s college health or [a] primary care
physician, or their voice teacher for some guidance to whom might be helpful.”
Role: Coach
Similar to the ideas of Med Subject 1, Med Subject 3 is invested in both student
trainees and patients, but conversely, does see value in the word “coach” in regard to
medical training. Furthermore, he said taking a personal interest in others is what makes
him feel like “a very good instructor.” Med Subject 2 works with a wider variety of voice
users in terms of age and often has opportunities to interact with them outside of therapy.
She has to make decisions about how this will or will not play a role in her practice. She
described it this way:
I am invited to performances all the time - and I try to go to as many

performances as I can, and I’m happy to do that. I’ve been invited to birthday
parties, I’ve gone to funerals, so I like to be considered their professional coach,
mentor, and friendship does enter into it, but you cannot be a friend to hundreds
of patients and you also kind of sometimes need to draw that line.
It is often difficult to define the relationship between voice expert and voice user,
especially when considering the human interactions that exist outside of voice instruction.
This line is something that is individual to each voice expert. For example, Med Subject 1
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and Singing Teacher 1, in contrast, do not usually attend performances to maintain equity
amongst voice users.
Role: Nurturer
Med Subject 4, conversely, has a different experience as someone who works
with young voice users. She is often looked upon to address social, emotional, and
behavioral training, which influences the teacher-student dynamic. She addresses a lot of
social-emotional development, as her preschool students are also working on that in the
classroom. She said, “Sometimes deficits or difficulties in the social-emotional area
might occur in a therapy session and so then I instruct, or coach, them as to how to handle
something.” Furthermore, this participant helps parents by giving advice from her own
parenting experiences and often recommends library books to them. She described the
difference between how she approaches parents and children (the voice users) in this
way: “So, I am more of a friend to the parent, but more [than a] caring individual to the
child. Nurturer, that’s the word.” Singing Teacher 3 also said nurturing was something
she offered students.
Relationship-Building in Singing Teachers
Role: Advisor
When working with students in need of services, Singing Teacher 2 said, “I know
I’m not their therapist, I’m not taking that on, but I do feel in those instances a
responsibility to, for example, call the counseling services and set up a session for a
student.” Like the philosophy of Med Subject 1, this singing teacher recognizes the need
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for emotional support for voice users: “Because our instrument is a part of our body and
our whole being, we can’t teach that if there’s something in the way, in an emotional or
personal concern.” She also supports her students and encourages their career pursuits.
Though she is not technically the academic advisor to her collegiate voice students, she
often acts as such and provides guidance regarding coursework.
Role: Mentor
Singing Teacher 1, who if forced to pick a label would consider herself a mentor,
said, “I do consciously draw a line,” in regard to personal concerns. She welcomes
students to share personal and musical successes with her, but does not share equally
about her own personal life. She also recommends help services to students when
necessary, including institutional counseling, psychological services, and other emotional
support services. However, she does give students room to vent, and assures them that
conversations stay in the room unless the person is in danger. Singing Teacher 4
expressed something similar, but said students often have varying levels of comfort with
being open: “It has to be their comfort level with me. I am more of an open book and
totally comfortable than a lot of students are, so it has to come from them. I don’t push
myself into their lives.”
Role: Friend
Singing Teacher 3 said part of the work is “in the connection and the vulnerability
that you guys create together.” While this is not musical, she said, “I think that that really
speaks to how they progress, because then they trust you.” This participant also accepted
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the term “friend,” a term excluded by the other participants. Thus, all voice experts
interviewed in this qualitative portion acknowledged some type of relationship with voice
users, but each voice expert has their own boundaries and expectations for these
relationships.
Building Community for Singers
Another difference between these groups was found when counting the comments
related to building community for singing students. Many teachers of singing addressed
the role of community for voice students, especially at the undergraduate level. The voice
studio is an influential part of the lesson experience and often plays a role in the teacher-
student match (David, 1995). Thus, relationships between students, in addition to the
teacher-student relationship, is an interpersonal expectation identified solely by the
singing teacher participants. In light of the COVID-19 pandemic, Singing Teacher 1 said
students “felt a degree of isolation too, which makes it difficult to grow as an artist
because we need that sense of community in order to take risks and challenges and have
the safety net in which we can fail in the pursuit of excellence, and this barrier has made
that very difficult.” Likewise, Singing Teacher 2 said that students new to the school at
which she works are slowly finding community online, but have struggled to connect.
With connection in mind, Singing Teacher 2 credits a weekly voice class at her
institution with building community. This course for new students teaches both musical
and soft skills in an academic, group setting, while also giving students time to build
collegiate connections. All of the voice faculty are present and accessible, which creates
collaboration between different studios. Subsequently, this weekly voice class has
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resulted in better retention rates, which, in her opinion, shows that students feel like they
are “part of the team.” This interpersonal approach to voice education was not an aspect
of the qualitative results from speech-language pathologists.
Figure 4.2. A Venn diagram representing “Values” theme 2: Safe Environments.

pathologists.
Safe Environments
Similarities in Safe Environments Between the Fields
Power Dynamics and Emotional Safety
Voice experts are responsible for creating safe environments in which voice users
themselves determine the culture in the room. Bandura’s Self-Efficacy Theory, cited in
Angell (2019), is based on changing “the balance of power by adjusting the role of the
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teacher to be the role of facilitator, who equips the students with learning skills rather
than covering content” (p. 128). Med Subject 1 calls this a shift in power that allows
voice users to be their authentic selves, communicate openly, and make progress towards
personal and vocal goals. In her practice, this is the first step in creating a safe
environment. Singing Teacher 3 also thinks of creating a safe environment as an
important first step and said, “I always make sure I let them know, as well, in the first
lesson: this is a safe space for you, anything going on, please don’t be afraid to share that
with me, because I just want the best for you, and I want to make sure that you’re okay.”
Physical Safety
While there are very real psychological concerns to consider when making voice
users feel safe, such as insecurities, fear, autonomy, and authenticity, Med Subject 2 also
ensures the physical safety of her patients. This includes installing guardrails at the
office, making sure voice users are comfortable walking up steps, and cleaning the
bathroom and office with germicidal wipes, something she did even before COVID-19
cleaning regulations. During the pandemic, she uses a HIPAA (Health Insurance
Portability and Accountability Act) protected Zoom. HIPAA regulations are mandatory
and influential on practitioners in medical fields. Med Subject 2 also works with patients
to know how to use their voice in emergency situations, such as if they fall down the
stairs at home or are assaulted. She empowers voice users to utilize their voices in a
number of different ways and thinks it is critical they know they can be safe with their
voice. Singing Teacher 3 described how she creates a safe environment for people of
various physical needs. Regarding a student with epilepsy, she said it is okay to be fearful
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of the unknown, but that she has a responsibility to treat students equally. She worked
with the family of this student to ensure all members were prepared to handle an epileptic
seizure, while viewing the student as more than just a condition.
Nonjudgmental Encounters and Acceptance of Diverse Populations
In a safe environment, voice users are given time to process changes in
themselves. Med Subject 2 provides space for frustrations and never judges voice users,
which is essential to creating a safe environment. Singing Teacher 4 agreed, saying,
“When people are judging, they’re judging you and your voice and [it’s] coming deep
within you, especially if you’re connecting to it emotionally, so that’s really hard.” She
uses empathetic listening to combat this, as well as comforts them when they are
frustrated.
Med Subject 4, who works with younger clientele, had slightly different
comments on creating a safe environment. For example, she uses small talk to show
interest in them as an individual because that “helps them to feel comfortable and able
then to engage in activities that might be challenging.” Singing Teacher 3 creates a safe
and comfortable environment for all students, acting as a support system of all different
cultures and sexual orientations. This participant along with Singing Teacher 1 spoke
about experiences with students who belong to the LGBTQ+ community. Singing
Teacher 1 said of students who have discovered their sexual or gender identity
throughout their education, “It’s amazing when they come to their own truth how the
voice becomes more free. You know, it’s that vocal and emotional connection.”
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Members of the LGBTQ+ community are present in voice therapy settings, too,
and many transgender individuals seek services to align their voice with their gender
identity (Stemple, 2020). Med Subject 1 believes in using gender-affirming care while
keeping in mind “anatomical risk factors and biological risk factors even if they no longer
identify with that gender.” She works with voice users towards whatever they define as
success to help them find their “best manifestation.” Gender is complex and presents
itself in many ways, but she addresses patient needs to the best of her ability. In working
with transgender and cisgender men and women, Med Subject 2 says she treats everyone
the same. This is also true of the socioeconomic status of the voice user, something
expressed by Med Subject 4. Voice experts see a wide range of people, but the
differences do not result in different quality of care. Overall, equitable environments are
safe environments.
Safe Environments in Med Subjects
Deconstructing Shame
Practical steps taken by Med Subject 1 to put patients at ease and make them the
“center of the culture,” includes “introducing every single person who comes into the
room, reiterating that they have autonomy over their healthcare record…being very
upfront about the philosophy of shared decision-making, and engaging them in the
process,” as well as sometimes asking people, such as family members, to leave the room
if they are not serving the needs of the patient. Due to the fact that voice health can be
“very stigmatized and shameful here in the Midwest,” according to this participant, she
does what she can to make the voice user feel safe. She said, “It’s really deconstructing
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power dynamics, making sure that you understand a patient’s preferences in terms of
being addressed, in terms of communication, in terms of post visit follow up.” She also
uses the voice handicap index, a common tool in voice therapy, to give patients a
reflective and objective way to discuss voice health issues.
Respecting Spoken Content and Intent
The fields of speech-language pathology, voice therapy, and voice medicine often
involve removing barriers in communication and listening for content as well as intent.
Med Subject 3 said that not only does he need to understand the problem, but he also has
to understand how the problem is affecting them, especially since patients are often
frustrated after having already spent a lot of time, energy, and money in the health sphere.
He said, “That demands respect for their time. You can only respect that through
interpersonal skills, understanding the burden of the disease, and then of course
transmitting to them what you think is going on. And sometimes, even telling them that
you don’t know.” This method allows the patients of this participant to feel valued and
heard.
Safe Environments in Singing Teachers
Affirmation
Most often, teachers of singing must balance praise and critique, and this often
directly relates to the student feeling safe and seen. Singing Teacher 3 affirms students
when they talk badly about their own singing, “Let’s try it again [and] see if you feel
better about it, but let’s not talk about ourselves that way.” Additionally, she stops them
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when they apologize to prevent them from having critical inner voices. Singing Teacher 1
uses a “sorry jar,” where students contribute money whenever they apologize for
something they did while singing.
Modeling
Singing Teacher 1 also makes students feel comfortable by modeling, even when
it requires bizarre activities and said, “Sometimes in order to make a change physically
when you’re singing, you have to do things that are a little bit ridiculous. And I make it
very clear to my students that I will not ask them to do something that I will not do in
front of them first.” These participants help students feel safe and bolster their self-
efficacy by letting them see their voices through kinder eyes.

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Figure 4.3. A Venn diagram representing “Values” theme 3: Voice-user-led practices.

pathologists.
Voice-User-Led Practices
Similarities in Voice-Use-Led Practices Between the Fields
Voice User as the Center
In working towards desired outcomes for voice users, a common value expressed
by these voice experts was to be led by each individual voice user. Singing Teacher 2
said the personality of a voice user “might be part of the instruction that’s even more
important than what’s happening with the vocal technique or the diction or the phrasing,
because that influences how they are approaching it.” Likewise, Med Subject 1 said she
“leaves space in the room so they feel comfortable” telling you about themselves and
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their background, because “if you don’t create an environment where they can bring their
whole self to the encounter, you’re going to miss all of it and that’s the whole story right
there.” Thus, as much as possible, the voice user is given the ultimate say in their vocal
health or vocal performance outcomes.
However, it can be difficult for voice users to express themselves honestly,
especially if they feel vulnerable about their voices or are unsure of how to manage the
power dynamic with their teacher, speech-language pathologist, therapist, or doctor. To
combat this power dynamic, Med subject 1 asks open-ended questions to better
understand the background and needs of patients, then gives them multiple opportunities
to make decisions “every time you have a power differential,” even if it’s a “small
choice.” This is related to research done by Ullrich et al. (2011), which said that
communication styles are non-conducive when they include: “non-acceptance of each
patient’s individual specificity, defense of emotional aspects of communication, or
misuse of status or power, or impairment of personal rights and rights to full and
understandable information” (p. 295). In contrast, Med Subject 1 said, “We do a lot of
trying to put the patient in the driver’s seat during the visit,” while Med Subject 2 said, “I
do ask for continual feedback from the patient and I give them permission to not like
something.” Giving the voice user permission to be honest about their learning and
recovery process is a practical way to build rapport while still achieving health goals.
Med Subject 2 expanded, “I give them permission to be totally honest with me.”
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Problem-Solving with the Voice User
Med Subject 2 works alongside patients as “detectives” to address voice concerns
as a team, looking at each voice as a puzzle made up of multiple factors. She tells them,
“We have to holistically look at anything and everything that could have affected your
voice to result in this lesion,” and also, “No one thing is going to fix your voice. Warm-
ups and cool downs are not going to fix your voice, water is not going to fix your voice,
using correct technique alignment is not going to fix your voice, but if we find all of your
puzzle pieces and put them together, that’s when you get the big picture.” She said that
her patients energize her and problem-solving with them keeps her “creative wheels
going.” Med Subject 3 enjoys the balance of surgery and “intellectually stimulating”
problem solving, saying, “You’ve got basically a cold case. The doctors have tried to
figure out and they can’t, and then I am able to go in and sometimes, in many cases,
break the case open and help the patient. It’s rewarding.” Singing Teacher 3 feels the
same, saying, “I just love someone who comes in and says, ‘My voice is doing this,’ and
it’s like a puzzle I have to figure out.”
Med Subject 3 also noted the importance of treating each voice user as a unique
individual with specific needs. He said, “I don’t one-size-fits-all things, whether they’re
patients, or whether they’re trainees or students.” He finds it more rewarding to see
individual needs, then use “one-on-one mentorship” in addition to the practices that work
well for most people. Med Subject 1 also recognized this balance between
individualization and working from a sound knowledge of how the voice works, saying,
“I love that it’s very individualized, but also there’s some really solid principles and some
really great logic that can be applied to certain situations.” Experts in voice medicine are
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trained to know where to begin with each voice user, and then change or adapt as the
individual needs. Joint problem solving also bolsters the findings of Frey-Monell (2013):
“The one-to-one voice lesson setting creates an atmosphere that promotes joint problem
solving between the teacher and the student during the lesson, and independent problem
solving on the part of the student once the practice room is entered,” which “creates an
interpersonal connection between the student and teacher that directly influences
motivation” (p. 223).
Fostering Independence and Reflective Thinking
Individualized instruction can lead to independence for the voice user, an
important outcome of voice therapy. According to Med Subject 1, “We don’t want them
dependent on us. We want to be there waiting in the wings to let them do their thing.”
This is therapeutic, according to her, and she said, “We try very, very hard to get the
patient to the point that they’re not a patient, to really do that rehabilitation and
understand where the anatomy and the demands align, because as long as the anatomy
and demands are in mismatch then you don’t have a situation that is sustainable.” The
importance of understanding the anatomy and physiology of each voice is a skill that
emerged in all three phases of this research, but in this phase, it is clear how this
knowledge helps practitioner and voice user work together to find sustainable habits. To
truly be voice user-led, voice experts state that the voice user must take this responsibility
for their voice and play an active role in their learning. Med Subject 1 does this in initial
meetings with voice users, in which she asks them to comment on recordings of their
voice and gives them the chance to guide the conversation. Med Subject 2 does this
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through weekly assignments, beginning sessions with a technique-check and questions
such as “Were you able to do this? Was this exercise difficult for you? Do you have any
questions? Do you like this app? Is this helping you?” Through weekly assignments,
voice users contribute to their learning, helping them to be reflective and proactive
learners.
Voice-user reflection is also utilized in voice lessons. Singing Teacher 1 asks
reflective questions of her singers to determine a direction for them and said, “You don’t
want to start fresh every week, you don’t want to reinvent the wheel every week,” and
works from what progress was made during the week. Singing Teacher 2 requires written
reflections, after finding that “students would come back the next week and would not
have practiced or would not have the same goals in mind for their practice time” as she
did. She now requires a written reflection be turned in within 48 hours of each lesson,
ensuring that students take responsibility for their own learning.
Med Subject 2 fosters independence by giving voice users multiple options for
exercises and therapy regimes. She uses phone applications, CDs, YouTube videos, and
other voice therapy programs to add to the “toolbox” of each voice user. She explains the
purpose of each exercise, allows them to make choices based on what they do and do not
like, and often asks them to design their own daily warm-up using the resources. She
believes it revitalizes them to try something new and different to attain their goal. In her
practice, it is vital that voice users not only get variety, but a say in what they do. Med
Subject 4, who works with younger clientele, does not always provide choices, but
provides a variety of modes through which students can approach learning. For example,
she uses auditory prompting for aural learning; high fives or fist bumps for kinesthetic
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cues, especially when blending sounds; and visuals, like a picture of a snake for the /s/
sound, for visual learning. Methods of individualized teaching will be discussed further
as its own theme.
Instructional Flexibility
Instructional flexibility was a voice-user led disposition expressed by Med
Subject 4, who said, “Sometimes I have to kind of switch gears, and sometimes I switch
gears in the middle of a session.” When what she planned does not work, she looks at
other goals for that voice user and quickly pulls out another activity. Singing Teacher 3
said, “As well as a teacher, I am also a student, because I’m always learning from my
students. I have to learn how to be more flexible, I have to learn how to convey things in
different ways than I would normally convey them.” Med Subject 2 said something
similar, telling patients, “You will teach me more than I will teach you,” and, “I’m
working with you to learn, and you are my teacher.” She also borrows ideas or new
approaches from voice users, gives them the credit, and then implements them with other
clients.
Taking Voice User Differences Into Account
Voice-user led techniques often take into account the age, personality, interests,
and background of the individual. In making generalizations about the impact of age on
singing, Singing Teacher 1 said, “Sometimes chronologically younger students come in
with less awareness of their own body that more chronologically mature students may
have,” and, “I think you also have to determine the emotional availability to change,
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which can be less flexible in a more chronologically mature student.” Singing Teacher 3
said, “There’s just no way that a third grader and a man in his 50s are going to have the
same style or preference of learning, so there has to be some kind of flexibility there.”
Med Subject 4, who mainly works with younger students, involves the parents in
choosing objectives more than the voice users themselves. This is in contrast to some of
the other participants who work with older voice users. With this in mind, it is important
to recognize that the voice changes with age, so it is natural that interpersonal practices
with voice users will change as well. Med Subject 1 sees many older voice users who
experience physiological changes that affect the voice, including swallowing dysfunction,
loss of respiratory strength, muscle loss, changes to the nasal cavity and pharynx, hearing
loss, and more. She helps her patients make decisions that best reflect their goals and
does not judge them, even if they decide to forgo treatment.
Singing Teacher 1 has had experience teaching singers who have autism and has
helped them adjust to singing in different ways. Often this involves feeding language
more frequently, suggesting experiences, and providing insights into “emotional subtlety”
for performing. Singing Teacher 3 helps students with anxiety and obsessive-compulsive
tendencies take a step away from the music, leaving a song or technique to “marinate,” as
she calls it, rather than have them repeat something over and over again. Singing Teacher
2 uses multiple genres of music to “help students find their own artistry and their own
interests and passions in a format in which they can be successful, and we can help
them.” In a similar way, Singing Teacher 4 wants students to be successful in their
singing, and believes becoming familiar with their personality helps accomplish this.
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Med Subject 4 described how she works to adapt techniques with voice users who
are English Language Learners. She took a summer course on evaluating bilingual
students which focused on honoring their first language and encouraging the continued
use of that language. She said an interpreter is used to ensure the gathering of accurate
information. In this way, she honors the culture and communication needs of voice users
and their families.
Just as both culture and family background play an active role in the voice users
seeking treatment from speech-language pathologists and voice doctors, it also plays a
role in the education of singers. For example, Singing Teacher 1 said:
We have to be respectful of their cultural musical heritage and the styles of

singing that they bring with them from their cultures. And some of those styles of
singing are so deeply ingrained, because they’ve been singing that way for their
whole lives or because they hear their parents sing that way, [and] are not as
conducive to the classical singing technique that this institution teaches. So, I
wrestle with that, and I haven’t come to a conclusion yet.
Teachers of singing often struggle to reconcile the needs of voice users with the
expectations of the professional, musical world in which they operate. This was
especially important to Singing Teacher 2, who has had to question the ladder of white
supremacy in her teaching. She questions the practice of assigning music written by
people that profited from the transatlantic slave trade.
To combat the traditional structure of teaching classical music, Singing Teacher 2
asks students to play a role in selecting repertoire by identifying any “specific nationality,
culture, lived experience, sexuality, composer identification…that they’re interested in
exploring in the repertoire just to a give them a voice,” while being careful not to put the
onus on them to advocate for their own diversity. Furthermore, she said, “I approach it
[diversity, equity, and inclusion] by continually working on myself.” By growing as an

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individual, she is continually considering how she can make the voice lesson studio a
more welcoming environment to all.
Voice-User-Led Practices in Singing Teachers
Repertoire Considerations
Repertoire considerations represent a difference between the fields, as speech-
language pathologists and otolaryngologists are not often selecting music for voice users.
Singing Teacher 1, in regard to diverse repertoire, expressed how important it is to
understand it. Regarding singing and teaching African American Spirituals, she said:
I think it’s so important that if you’re going to assign repertoire, you need to
understand it at a very deep level yourself. And it’s not something you can teach
on the fly. So, until I had the opportunity to study singing spirituals with African
American singers and figure out how to put that kind of authenticity into my own
body, I didn’t want to teach that repertoire.
This mindset is slightly different than that of Singing Teacher 2, who said, “I try to learn
about all singing styles, all singing techniques, and to be open to teaching all of that as I
can, even if that means I’m learning one step ahead of the student.” However, in both
instances, this kind of preparation takes a lot of work on the teacher’s part and an
investment of time and resources. When considering music that might be best for a
student, it is often difficult to find diverse composers. Singing Teacher 2 has struggled
with this and expressed frustration with the limits of music publishing that often results in
the oppression of music by marginalized composers. But in order to give students a voice,
as expressed earlier, she uses database resources, anthology resources, and even social
media to find diverse repertoire for her students. This contributes to a level of autonomy
for the student.

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The repertoire-selecting process in voice lessons often involves voice-user-led
decisions. Singing Teacher 3 looks for music that leads to student success and
engagement, telling students, “If you’re not invested in it and you’re just going on
autopilot, there’s no point.” This participant acknowledged that she followed a student’s
lead to change the trajectory of his lessons when he was not progressing. She honors the
“expertise” voice users have of their own voices and she chooses music that is
challenging, but not too difficult that they will quit out of frustration. Likewise, Singing
Teacher 4 gives students music they can do well, so they feel successful, but then also
gives them challenging pieces to strengthen and develop new skills. Through “working
all sides of their voice,” she trains singers to be more versatile. This participant also asks
questions of herself and her students on a weekly basis, “What are their strengths? What
are their weaknesses? What do we need to work on? What do they respond well to? What
do they not respond well to?”
Singing Teacher 2 said, “each lesson is individualized and tailored to that student”
which, according to Singing Teacher 3, may require “the ability to be a little bit like a
chameleon...because we just have people from all different walks of life.” Sometimes this
means adapting methods, trying new approaches to learn music, or choosing new music
completely. This was expressed by Singing Teacher 2 who had to find appropriate
repertoire for a student who struggled to count rhythms. Singing Teacher 4 offered some
approaches to repertoire with students who struggle with pitch, such as songs in which
the piano doubles the voice and “doing solfege exercises in the key of the piece” before
singing. Both Singing Teacher 1 and Singing Teacher 4 mentioned choosing warm-up
exercises, or vocalises, that are tailored to the needs of the individual student and the
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demands of the repertoire. Singing Teacher 1 picks repertoire based on student interest,
personality, and vocal ability, as well as her “gut instinct,” while ensuring a wide breadth
of language, culture, style, and skills that are required in a semester.
Phase 1 Value Conclusions
The three important themes related to valued interpersonal skills that emerged in
Phase 1 were relationship-building, safe environments, and voice-user-led practices.
From these values, specific interpersonal skills were identified. The similar skills
identified from the relationship-building theme were trust, humor, and empathy, as well
as developing respectful relationships with voice users and building rapport through
humility and understanding. Differences were found in relationship-building regarding
the terms friend and life coach, as well as the need to build community. Regarding safe
environments, participants in both groups saw the importance of making voice users feel
safe, both physically and emotionally, while the Singing Teacher participants made more
comments about giving singers an opportunity to vent or be vulnerable. Finally, the
participants in both fields found value in voice-user-led practices, such as interacting with
diverse voice users and knowing how to align vocal demands, and the demands of the
repertoire on the part of singers, with anatomy.
These valued interpersonal skills will be considered further in Phase 2 and set the
scene for the next chapter on trained interpersonal skills, as the interview participants’
value of relationship-building, safe environments, and voice-user-led practices influence
their pursued types of training, their pedagogical motivation, and their views on
teamwork between fields.

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CHAPTER 5: QUALITATIVE RESULTS – TRAINED INTERPERSONAL
SKILLS
As a continuation of the qualitative results, this chapter will present the training of
interpersonal skills in voice experts. Themes related to training include (1) types of
training, (2) pedagogical motivation, and (3) teamwork. These themes are discussed
through the lens of the interview participants, concentrating on the qualitative data results
in relation to shared and disparate training of teachers of singing and speech-language
pathologists and otolaryngologists. These three themes represented similarities and
differences, as displayed in “Training” Venn diagrams: Figure 5.1, Figure 5.2, and Figure
5.3, which summarize the qualitative comments and indicated specific participants when
appropriate. After this summary, the qualitative narrative for each theme further describes
the findings.
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Figure 5.1. A Venn diagram representing “Training” theme 1: Types of training.

pathologists.
Types of Training
Similarities in Training Between the Fields
Continued Education
Although training was an area in which participants largely differed, there were
some areas of overlap in training, mainly related to continued education. These
participants all pursued opportunities after their formal education that aided in their
training, including speech-language pathologists and voice doctors taking singing
lessons; experts from both fields attending the Commercial Contemporary Music (CCM)
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Vocal Pedagogy Institute at Shenandoah University, as well as other multidisciplinary
workshops, such as the PAMA certification course taken by Singing Teacher 2; and
taking acting or movement classes.
Training in Med Subjects
Certification, Memberships, and Conferences
There were types of training unique to the Med Subjects. For example, Med
Subject 4 explained that to maintain licensing with ASHA and to maintain current skills
and knowledge, 30 hours of continuing education related to her field is required every
year. To climb the pay scale ladder in the public schools and to explore practices that
positively benefit her students, this participant seeks continuing education that covers
apraxia, phonological disorders, and stuttering. These are the concerns she addresses
most often, as well as “how to address social emotional skills because behavior issues, or
parent concerns with behavior, seems to be more prevalent as we move forward.” She
then implements what she learns based on whether or not she believes it will work. She
also described the breadth of her formal education and how it allowed her to determine
the field in which she most wanted to work.
Med Subject 2 is a member of the Pan American Vocology Association (PAVA),
continues to take college credits, and considers herself a lifelong learner. She said: “I’m
happy anytime I’m involved in continuing education, if I learned one thing, I’m happy.”
Anything she learns from continuing education she shares with her voice users or makes
applications in her sessions with them. She spends much of her own money on her
training and takes it upon herself to fund many of her experiences. The other participants
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also indicated the expectation to stay professionally relevant by attending trainings,
conferences, and workshops, often paying out of pocket. She goes to conferences for
speech-language pathologists, vocalists, ENTs, and physicians, fully leaning into the idea
of multidisciplinary learning. This participant also holds other certifications, such as in
the Parkinson’s voice. Med Subject 1 said her regular stipend doesn’t cover the three
main conferences she is expected to attend, but this year due to the COVID-19 pandemic
and conferences being held virtually, she will be able to attend more without having to
pay for travel.
In attending these conferences, Med Subject 1 has a slightly different outcome in
mind than Med Subject 2. Med Subject 1 said, “I think for me, honestly, the discussion
and panels at these conferences are most helpful in clinical practice and just the chance to
interface with the people who you care about their opinions.” Building professional
relationships often occurs at conferences, which provides a different type of training and
learning.
Teaching Licenses
Both Med Subject 2 and Med Subject 4 hold state teaching licenses, with Med
Subject 2 holding one in two different states. The other participants, including the
teachers of singing, do not hold current teaching licenses, as this is not required to teach
in university and private settings.
In addition to teaching licenses, these voice experts have training in different
disciplines, but have found which ones are necessary to use in their daily work. For
example, Med Subject 2 said, “I think it’s important to be well rounded but then
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specialize in where your passion is,” and Med Subject 4 said, “I used to think that you
needed to know more about more, but given the job that you’re doing, I think it’s good to
know more about less. I mean more specific about the population that you work with.”
While voice experts are trained in multiple techniques and skills, the specific job
environment often requires specific skills to be used more often. As Med Subject 1 said,
“I believe in expertise, and I also believe in diversification. So, I believe that you have to
know enough about a technique to understand what its strengths and weaknesses are and
to know the correct people to apply it to.” In this way, most of the Med Subjects focus on
one or two specific disciplines within the larger field of voice care.
Musical Training
Three out of four of the medical subject participants mentioned having musical or
singing training of some kind, while teachers of singing did not mention training in
speech-language pathology or voice medicine. Med Subject 1 has vocal experience, and
though she no longer takes singing lessons, she wishes she had kept up with them. She
also spoke of her training in music and how this helps her interact with singers seeking
treatment. She said she has a “really good working knowledge of recording studio stuff
and how that’s different from live performance and the transition over different genres,”
which allows her to communicate more effectively when discussing vocal outcomes.
Med Subject 2 takes singing lessons and performs with different vocal
groups. Med Subject 3 underwent past undergraduate music training that helps in
interacting with singers: “I actually applied for a masters programs [in music], got
accepted to some, but I found that it was too steep really for me to get into debt, and
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actually exploring that and going after it helps me to understand the mentality and the
mindset for performing singers, which are some of my favorite people to treat and to
interact with.” This musical training is seen as an asset by these three Med Subjects.
Training in Interacting with Voice Users
Med Subject 1 expressed a desire to train and better prepare voice users for voice
health outcomes. She wishes there was a handout or resource available to help students
and working performers navigate vocal health through qualities such as “curiosity,
preparedness, self-reflection, [and] self-assurance.” She also wants more people to be
aware of voice health care options and for there to be more collaboration in her
community. This would assuage some of the fear and distrust witnessed by Med Subject
3, who said, “distrust of physicians is rampant,” so one must have the patient’s best
interest in mind. He expressed that being trained in interviewing techniques, as well as
techniques to disarm and de-escalate situations, allows him to navigate vocal health
alongside patients and bridge the gap between physician and patient.
Training in Singing Teachers
Variety of Degrees
In the singing teacher participants, each had different educational degrees: vocal
performance, musical theatre, arts administration, music entrepreneurship, and both
bachelor and graduate degrees, including terminal degrees in the field. This variety of
training is reflective of the field of voice pedagogy and could have implications for the
field. Also, in direct comparison to the medical subject participants, the singing teacher
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participants may have less access to workshops and clinics. Other than some
opportunities provided by NATS, the singing teacher's geographical location often
dictates what is available. Singing Teacher 3 said, “If you’re not in the right area, then
they’re just not here.” She has yet to find an applicable workshop or clinic for her as a
teacher, despite searching for over two years, and believes this hinders her professional
development.
Past Teachers as Models
Due to the nature of voice training, many participants pointed towards the
influence of their own teachers, while still developing philosophies and practices unique
to them. Singing Teacher 1 said, “I see, periodically, the influences of my teachers
manifesting in things that I say or approaches that I take, but with that I’ve also found
myself, as I gained experience as a teacher, really solidifying what I believe about
singing.” With this in mind, she has progressed from imitating teachers to owning her
own beliefs about teaching. She said she makes choices that reflect her values, “as
opposed to values that are imposed.” Likewise, Singing Teacher 4 worked with a variety
of different teachers over her educational career, and draws from a number of their ideas.
She said, “Mixing all of those together, I just call it my bag of vocal experience, and then
you just pull out what you need for the students you have, and hopefully you can match
something up.”
Expanding on the “bag” of experience, voice experts often have to balance being
specialized versus having a broad knowledge of the voice. Singing Teacher 3 had to learn
to take her training in classical and jazz music out of those two fields to apply it to
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everything else. Singing Teacher 2 does the same with her western classical training, as
she said not all students need to do classical music in an academic setting to be
successful. Singing Teacher 4 said, “Broader knowledge really helps the beginner
intermediate students until you get those advanced students. Then when you get those
advanced voices, it’s more those specialized [techniques] that helps.” This has vital
implications for voice training, as voice experts are often required to understand multiple
different discipline areas or musical techniques, but must also narrow down which
information and skills are most necessary in working with voice users.
Masterclasses, Internships, and Performance Experiences
Singing participants also credited masterclasses, internships, and performing as
educational experiences. Singing Teacher 4 performed constantly in “a lot of different
styles all at the same time.” Singing Teacher 1 said, “I was also one of the NATS interns
which was really significant, [and] significantly influenced my teaching practice, so I
would definitely include that in my training.” Similar to Med Subject 2, who finds value
in a number of different educational experiences and is happy to learn at least one thing
from every experience, Singing Teacher 1 believes that every time you experience
something, you take something from it. “I don’t think I could quantify if one was more
important than the other or expand on something specific that has revolutionized my
teaching per se.” Since teachers of singing prepare their students for performance
experiences, they use their own experiences as part of their training.

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Lack of Coursework in Teaching
While the above examples of training were important to the participants, some
participants gave enlightening comments about training they did not receive. Singing
Teacher 3 said:
I feel like even if you’re a vocal performance major, you should still have some
kind of education training or educational class. I never had to take any kind of
teaching class, so everything that I teach my students is either something that I
read in a book…Or something that I saw in my own lessons or how I wish that
my teachers would’ve approached something, or how they did approach
something that was successful with me.
Taking this into consideration, voice pedagogy as a field and educational systems need to
seriously consider what types of training is required of singers, especially in pedagogical
content knowledge. Singing Teacher 3 also wished she had more training in different
genres of singing, since she described her current teaching load as “99% contemporary,
be that rock, jazz, pop, musical theater, especially musical theater, and like 1% classical.”
She said this was scary to her when she began teaching, especially since her college
teacher was not supportive of her exploring jazz. She said it was hard for her to sing
authentically in this style because no one taught her how and she had to work “twice as
hard.” This participant’s experience is not unique and may reflect the educational
landscape of voice pedagogy today. Likewise, many programs do not require acting,
dance, or movement classes for singing teachers, something that Singing Teacher 4 found
invaluable about her training.

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Figure 5.2. A Venn diagram representing “Training” theme 2: Pedagogical motivation.

pathologists.
Pedagogical Motivation
Similarities in Pedagogical Motivation Between the Fields
Student/Patient Successes
The participants in Phase 1 of the research were all highly motivated and
passionate about working with the voice and with voice users as individuals, leading
them to pursue training and expertise in voice-related fields. Primarily, each expressed a
desire to help others and use their training to guide students and patients. Singing Teacher
2 described being part of a “cycle of gratitude towards one another,” that “makes it all
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worth it.” Helping people is a main motivator for her, as it is for Singing Teacher 1, who
said, “I love helping people grow. I love helping people, and this is going to sound really
hokey, finding their voice. You know, helping them get to what they really are trying to
say and helping them to discover the tools to be able to do that.” Each singer has a unique
voice, according to Singing Teacher 4, which inspires her to keep coming back: “It’s
never the same. No voice is ever, ever really truly like any other voice and every person
is unique. And so, it’s always brand new. Even if you’re teaching the same song, it’s
brand new every time.”
Dufault (2013) said something similar: “What makes teaching voice interesting is
that each student walking into the studio is unique and has a different set of strengths and
issues that need to be addressed” (p. 40). In Singing Teacher 4’s opinion, this also
explains why many teachers of singing continue teaching past the expected retirement
age. She said, “There [are] other students that are up-and-coming, that you’re really
excited about, and their voices. And they’re working hard, and their voices are exciting
and you’re getting a good rapport with them…It’s almost like a narcotic, you just, you
think you’re going to be done and you get a new fix.” Singing Teacher 3 described this
euphoric feeling as well, saying, “I think the main point of motivation that I get is, again,
from having successful lessons. Whenever I have one that I felt like I really got through
and they really had a breakthrough, I go home feeling like I’m on cloud nine.”
While the outcomes in voice medicine might be different, Med Subjects also
expressed being motivated by the successes of voice users. For example, the biggest
measure of success for Med Subject 2 is found in the physician’s follow-up visit when
the vocal disorder has been reduced or eliminated. Med Subject 3 expressed something a
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little more open-ended, saying “I put more stock in how the patient feels about the
interaction, so that’s how I measure success, it’s patient-physician.” “Individualizing
care” is important to this participant, who strives for “holistic success”:
Do I feel like I’ve really helped each individual patient that’s coming to my door?
And whether that’s with surgery or not, and whether it’s I’ve given them a
positive, “Okay, here’s what’s going on,” or whether the win is they have a better
understanding, [or] they leave feeling like for the first time they’ve been listened
to. That’s success.
Thus, the success of voice users is motivating to all eight of these participants, but the
ways in which this plays out for each of them is unique, as will be discussed next.
Pedagogical Motivation in Med Subjects
Whole Person Mentality
About serving voice users as a “whole person,” Med Subject 3 said “I think you
can’t help it but put yourself out there,” and he finds motivation in the “humanistic drive
to make a difference” for voice users. This whole person mentality is what motivates
Med Subject 4, as well as investing in the whole family of a voice user. She is motivated
by the positive feedback she gets from families, successes they have during and after
therapy with her, and the relationships she forms with them. This student-focused
approach is, by definition, interpersonal as she views her success as it relates to the
success of her students.
Seeing the Subjective in Health Care
Med Subject 3 expressed a unique motivation related to working in health care.
According to him, addressing the subjective nature of the voice often goes against the
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traditional model of maintaining objectivity in health care. Instead, he derives the most
motivation from individual voice users and does not discount what is happening in their
lives. He rejects practicing in a way that feels “hollow,” as many patients come with “life
issues going on.”
Feeling Needed
In answering what motivated her to enter her line of work, Med Subject 2 said she
chose speech-language pathology over her original desire to be a high school teacher
because “People come to you because they need you, they want you, they need to know
how to help themselves.” Again, this is an interpersonal motivation, as the dynamic
between herself and the voice user was influential in pursuing this field.
Pedagogical Motivation in Teachers of Singing
Maintaining Own Vocalism and Musicality
Teachers of singing were highly motivated by maintaining or improving their own
vocalism. Singing Teacher 4 began teaching as a side career to her performing, but
noticed improvements to her own voice as a result of teaching others. Singing Teacher 3
strives to maintain her own vocalism, even when it is difficult to fit into her schedule,
because she said, “When I do that and maintain my own vocal health, that motivates me
to express that to others.” She also said that teaching itself is like a performance, for
which she needs to be vocally and mentally prepared. Each of the teachers of singing are
also regular performers in opera, art song, musical theatre, jazz, and other CCM styles in
local, and some national and international, settings.

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Teachers of singing are all singers themselves, unlike speech-language
pathologists and voice doctors who most likely do not have the medical concerns or
diagnoses through which they are helping patients work. For example, a speech-language
pathologist may help someone with a stutter, having no personal experience with it
themselves, but a teacher of singing has personal experience with singing. About this,
Singing Teacher 3 said, “I always loved singing and I always loved music and for a long
time, maybe without even realizing it, that was like the main way I could express my
emotions without feeling like maybe I was being too much or too dramatic.” She went on
to say, “To be cliché, I feel like music is always going to understand you and it’s always
going to give you a space to have a platform to speak on really any subject. I mean, there
are songs about everything under the sun.” She allowed this to guide her, even when she
was encouraged to pick a career other than the arts, because it was something that spoke
to her and continues to do so. Singing Teacher 1 said, “Singing lessons are life lessons
and I think that’s really important.” The love of singing and music is a motivating value
of teachers of singing specifically.

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Figure 5.3. A Venn diagram representing “Training” theme 3: Teamwork. Similarities

and differences between teachers of singing and speech-language pathologists.
Teamwork
Similarities in Teamwork Between the Fields
Working with Other Voice Experts
One recurring theme in the qualitative interviews was the importance of
teamwork. Many participants stated that a voice team comprised of many individuals was
invaluable, as was encouraging voice users to rely on a community of support. This
aligns with much of the research, including what Scott McCoy wrote in his 2013 editorial
in the Journal of Singing, “Teamwork.” He said, “In most cases, a whole cast of players
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stands alongside every successful singer, each playing a different role” (p. 297).
According to McCoy, this cast includes classroom teachers, diction teachers, language
instructors, vocal coaches, opera and musical directors, choral directors, drama coaches,
and more. The voice team is expanded even further when collaboration with speech-
language pathologists and voice doctors occurs.
One desired outcome of this research is to strengthen the bonds between voice
professionals in order to best serve voice users. An interpersonal skill that was found in
both voice pedagogy and speech-language pathology during the qualitative interviews
was that of working with other experts in voice fields. Strong relationships between
teachers of singing, speech-language pathologists, otolaryngologists, and others lead to
better networks that help voice users. Thus, teamwork was a common theme among
interview participants. Med Subject 2 said singing teachers and speech-language
pathologists who work with the voice “complement each other,” “help each other,” and
communicate back and forth about goals for voice users. Med Subject 2 approaches team
members with respect, while also ensuring that voice users are being served. She said,
“It’s important to communicate with the singing teacher and give positive feedback,
because you don’t want the teacher to think this was their fault.” She expressed that many
teachers of singing are concerned that their students need therapy because of their
teaching techniques. She assuages this fear and is supportive of both the teacher and the
student.
Med Subject 1 agreed, saying that many teachers feel like a horrible teacher or
like they are to blame, but works to deconstruct that mindset:

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Teachers of singing [are] going to have a voice problem, statistically speaking, we

know that from the literature. So why don’t we talk about that and deconstruct it?
Because the vocal load you’re going to have exceeds human capacity. If we’re
stuck on technique equals vocal problem, we can’t get past shame in voices. And
so I think we’ve got a lot of work to understand that complexity, but I think it
kind of starts with deconstructing that it might be more complicated than just
technique. Or maybe as a teacher you’re not responsible for that voice issue.
By deconstructing some of the barriers between professionals in singing and medical
fields, voice experts can cooperate without fear and voice users can receive more
comprehensive care. Med Subject 1 also said, “I do think it’s really important for teachers
of singing to observe voice therapy, because I think the more you know about something,
the more you can explain it in a way that helps us navigate each other’s worlds.” She is
not sure what the right interval is, but encourages immersion across fields for voice
experts on both sides.
As shown in the research, the voice users benefit from these collaborative efforts
between voice professionals (Boone, 2020; Cooper-Duffy & Eaker, 2007; LaFrance et
al., 2019; Stemple, 2020; Tsakitzidis, 2015). In addition to the interprofessional
collaborative practices already listed, professionals may also help voice users through
recommendations and outsourcing. Med Subject 1 said she will occasionally recommend
a singing studio to a patient “once the rehabilitation part is worked out and we’re on to
habilitation, so habituation.” Finding a “technical person,” as she calls it, should be based
on “genre, goals, and personality type.”

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Understanding Roles within the Team
In working in multidisciplinary teams, it is important that each member of the
team knows their role and addresses only the vocal concerns for which they were trained
to treat. Overstepping not only weakens trust within the voice team, but has the potential
to be dangerous to the voice user. Med Subject 2 warns against vocal coaches who
advertise the ability to treat nodules, lesions, and other vocal cord dysfunctions.
According to her, it is “unethical” to attempt to treat medical conditions without an ENT
or voice therapist. It is the responsibility of the singing teacher to recommend medical
help to voice users in need, rather than treat them. Singing Teacher 1 agreed, saying, “I
am not in the business of diagnosing vocal injuries, but I sure need to know when I hear
one so I can help that student get the help, the assistance, and the support that he or she
needs.” Collaboration and communication can start when members of the team are clear
on their roles.
Singing Teacher 1 also said that voice doctors can understand the role singing can
play in therapy, giving semi-occluded vocal tract (SOVT) exercises as an example of a
sung technique used in therapy. Singing Teacher 4 referenced some of her own vocal
medical treatment, as she was able to see both sides of voice care when undergoing
treatment. She said, “I can definitely attest to the speech pathologist and doctors that have
musical language or have that sense of the voice and how we use it as vocalists as hugely
important. I was very lucky that my speech pathologist was a singer.” Med Subject 4
expressed a desire to know more about the voice, especially when she sees young
students abusing their vocal folds, but cannot treat them because it does not impair them
educationally, a parameter of her school practice. She admitted that sometimes she has to
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do research on the internet because voice was a less-covered area in her formal training.
Med Subject 1 said training programs are now working to lessen such learning gaps about
the voice in speech-language pathologists and therapists.
Singing Teacher 3 and Med Subject 1 gave credit to a Performing Arts Medicine
Association (PAMA) certification course, which aimed to better serve students and
clients through teamwork practices. In the course, doctors were educated on the singing
voice and teachers of singing were educated on how to work with the medical field. More
frequent use of comprehensive and multidisciplinary voice training has the potential to
influence all voice experts, and positively impact voice users as a result. To summarize,
Med Subject 1 said, “A lot of laryngologists have not taken the time to go observe
singing teachers, whether it’s in a group setting or an individual setting. And if they have,
maybe it’s once during training, if they don’t identify as a singer. Which I would say is
insufficient.” Experts in these fields need to work to alleviate this gap.
When experts in the fields of voice pedagogy, speech-language pathology, voice
therapy, and voice medicine know one another and work well together, voice users can
have their needs met in a variety of ways, whether it is therapy, recovery, rehabilitation,
habilitation, or habituation. Med Subject 1 supports “flat-hierarchy collaborative”
relationships in which each member of the team has a say in the process and goals for a
voice user, especially the voice user themselves.

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Teamwork in Med Subjects
Working as a “Translator” for Team Members
Interpersonal skills are needed to create open communication and teamwork in
speech-language pathology, voice therapy, and voice medicine, as Med Subject 3,
pointed out:
Because we don’t take care of people in isolation and in a vacuum, we need whole
groups of other experts to assist us with that. We also need to be able to have
good interpersonal skills with other physicians, other healthcare professionals, be
it nursing staff, care techs, you name it, and even down to the people who are
getting the ORs [operating rooms] ready, people in environmental, so those skills
are absolutely essential.
Med Subject 2 only sees patients who have already been seen by “an ENT or a
laryngologist or a pulmonologist,” so communication between the medical field and the
therapy field is imperative. This was corroborated by Med Subject 1, who gave two lists
of people involved, including “patients, their family members, our nursing staff, our
medical assistants, referring to speech pathologists, community voice teachers, and other
health-care providers that are involved in voice care” as well as, “a director or singing
teacher, the patient, the speech pathologist, the surgeon, primary care doctor, a
pulmonologist to get the asthma under control, and someone else to get a different birth
control pill [as an example]…or student health.”
These are examples of the wide range of people involved in working on the voice
and, in many cases, the voice expert has professional relationships with all of them. The
“collaborative nature” of the work is very motivating to Med Subject 1. She also enjoys
functioning as a translator or “go-between” for voice users and other members of the
voice team, something commonly expected of voice experts according to Rosen et al.
(1993).
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Including the Family as Part of the Team
Many voice experts go to colleagues with questions when working on a
challenging case, such as Med Subject 4, who consults with speech-language pathologists
who work in her building and the district, or even a doctor on occasion. But distinctively,
this participant also involves the family as part of the team, something common in
speech-language pathology (Braden et al., 2018; Cooper-Duffy & Eaker, 2017; Geller &
Folley, 2009; Hidecker et al., 2009; Mandak et al., 2020). She has parents or guardians
fill out an early childhood parent questionnaire to list “birth history, developmental
milestones, medical history, sleep, behavior” and all types of information “up until the
time that they bring them in.” She wants to include the family as much as possible and
encourages families in the therapy room “because then they saw exactly how I prompted
or coached or cued, and then they could do that at home.” She makes progress quickly
because of the collaboration with families and has continued to consult with parents
despite COVID-19 restrictions on in-person participation by connecting with them
outdoors in the parking lot. Utilizing parents as part of the team has benefits to her as the
voice expert, as well as the students in her care.
Teamwork in Singing Teachers
Creating Healthy Voice Departments
Collaboration is common in voice pedagogy, too. Singing Teacher 2 benefitted
from “observing other colleagues and professionals giving praise in meaningful ways,”
while Singing Teacher 4 enlisted all of her colleagues for help when working with a
student who had trouble matching pitch. This is also how she developed her own teaching
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style, saying she reflected on “different teachers and their styles,” kept in mind what she
thought they did well and what she thought she’d do differently. She, like many other
teachers of singing, learned a lot from observing other teachers, saying it is “eye-opening
to see how other people teach.” In working with both colleagues and students, this
participant thinks that healthy voice departments exist when there is clear
communication. For example, if a student wants to change teachers, she makes students
communicate those desires directly to the teachers involved. Voice departments at larger
institutions function best when instructional policies are consistent from teacher to
teacher, and all are held to a standard of professionalism (Ballard, 2001).
Phase 1 Training Conclusions
The three important themes related to trained interpersonal skills that emerged in
Phase 1 were types of training, pedagogical motivation, and teamwork. There were
similarities in the types of training of the interview participants, including their pursuit of
continued education, and some differences related to career paths and certification, such
as types of pedagogical content knowledge and the distinction between specializing in
one or two discipline areas and being versed in several discipline areas. The participants
gave different personal and professional motivators related to their fields, and these
unique differences will be further explored in Phase 2. Finally, collaborating with others
in voice related fields was important to all the Phase 1 participants. All these topics will
be important to keep in mind when discussing the use of interpersonal skills in the next
chapter, as training prepares voice experts to implement such skills. The next chapter will
conclude the qualitative findings of Phase 1.

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CHAPTER 6: QUALITATIVE RESULTS – USE OF INTERPERSONAL SKILLS
As a continuation of the qualitative results, this chapter will present the use of
interpersonal skills by voice experts. As a continuation of Phase 1, the following themes
were used to categorize the data: (1) verbal communication and feedback, (2) non-verbal
communication and listening skills, (3) goal setting and decision-making, (4) teaching
techniques, (5) research-based practices, and (6) professional demands. These themes are
discussed through the lens of the interview participants, concentrating on the qualitative
data results in relation to shared and disparate use of skills by teachers of singing and
speech-language pathologists and otolaryngologists. These six themes represented
similarities and differences, as displayed in “Use” Venn diagrams: Figure 6.1, Figure 6.2,
Figure 6.3, Figure 6.4, Figure 6.5, and Figure 6.6. These Venn diagrams summarize the
qualitative comments made within these three themes based on similarities and
differences, citing specific participants when appropriate. After this summary, the
qualitative narrative for each theme further describes the findings.

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Figure 6.1. A Venn diagram representing “Use” theme 1: Verbal communication and
feedback. Similarities and differences between teachers of singing and speech-language
pathologists.
Verbal Communication and Feedback
Similarities in Verbal Communication and Feedback Between the Fields
Clear Communication
Both voice pedagogy and speech-language pathology are communication-related
fields. Med Subject 1 said, “We work in the communication business, singing is a form of
communication.” Thus, she aims to communicate “concepts appropriately, to the point of
deconstructing shame,” to “make sure that people feel whole, and they’re empowered
when they leave.” Likewise, when asked about necessary interpersonal skills in her line
of work, Med Subject 4 listed communication, saying “I’m just constantly

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communicating.” Thus, many participants commented on the importance of strong verbal
communication and preferred avenues of providing feedback.
Med Subject 1 uses small talk to better understand both the physical and
psychological “place” that the voice user is in on any given day. “Every moment they’re
essentially being identified with their preferred pronouns and name, they’re asked
specifically about their story without interruption, they’re able to articulate their goals,
we have discussions of how realistic that is or not, there’s a lot of positive
encouragement,” she said of her very dynamic exams. Additionally, she uses a model of
shared decision-making when communicating with voice users. Med Subject 2 does this
as well, describing herself as having good “customer service” when working with both
voice users and doctors, a term used by Singing Teacher 3 as well. Singing Teacher 3
also found herself using more small talk during the COVID-19 pandemic to connect with
her students, while Singing Teacher 2 gave her students more opportunities to
communicate with her via call or text.
Providing Feedback
The balance between praise and critique while providing feedback was a common
theme among participants in both groups. Due to her sensitivity and that of her students,
Singing Teacher 3 expressed her avoidance of negative criticism, while still giving them
honest feedback. Singing Teacher 1 reframes the critique paradigm by giving students
responsibility over their own growth. She said:

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I think critique can be used in a very strategic way to empower a student and that
if you keep addressing the fact that this is their choice to make that they are the
ones who are doing the work and that they are developing a skill set and a toolbox
for their own future performances that it’s received a lot more openly than if it
were just a “you need to fix this.”
This type of feedback is beneficial to creating independent and confident singers.
The voice medicine participants also provided many helpful insights into how
they provide feedback and encouragement to voice users. Med Subject 1 said:
My examination is completely dependent on effort, and so I coach all the time

during my examination. And I also prompt for feedback: How did that feel? Does
that feel different than when you vocalized before the spray? Does that feel
different with a scope in? And how did that feel? Was that easy? Try this. I
noticed you didn’t breathe first, breathe again.
These are just a few examples of the many ways in which feedback is an on-going
conversation between her and the voice user.
Med Subject 4, similar to the singing teacher participants, also addressed the fine
line between encouragement and critique. It can be difficult to balance when working
with students that frustrate easily. She said, “If they struggle to perform a skill and I
correct numerous times and I see frustration happening, then we might just stop with that
skill or switch things up just a little bit,” while “constantly giving praise so that they get
that immediate feedback.” Praise is used as encouragement with her younger voice
students, to “ensure the continuing use of that correct skill,” according to this participant.
She also provided a practical type of correction when working with students with apraxia
who “front sounds”: “So, if the goal is for them to produce a /k/, a hard C, or a /g/ sound,
it’s in the back, but they front it, so they replace it with a /t/ or a /d/. So, “car” might be
“tar” or “go” might be “dough.” So, a correction would be, ‘Okay, try again, keep your
tongue down,’ and so that’s how I would use correction.” Correction can be done in a
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way that still builds self-confidence in the student, according to this participant, who does
“lots of praise and encouragement.”
The balance between praise and constructive critique is a concern for many voice
experts. However, it may also be important to consider what to praise in students,
according to Frey-Monell (2010), who uses growth mindset and incremental belief to
make learning a “life-long quest.” She wrote, according to this theory, that “teachers who
offer praise for their students’ efforts in the practice room and in the studio will foster
motivation that will have a greater lasting effect than simply praising students for their
talent and ability” (p. 148). The balance between giving feedback and allowing the
student to talk is delicate, but teachers and students with good rapport find
communication styles that work best for them (Dufault, 2013, p. 39).
Verbal Communication and Feedback in Med Subjects
Word Choice and Asking Questions
In the voice medicine field, even the smallest of words can make a difference, as
expressed by Med Subject 1 who uses inclusive language, such as “I look forward to
working with you in whatever way you feel comfortable.” She involves the patient in the
way she communicates, asking questions such as “Did we get it right? Am I
understanding you correctly? How is that exam for you? What was it like seeing your
instrument for the first time? Do you feel comfortable with the diagnosis? Do you
understand what that means for you?” This was also expressed by Med Subject 2, who
thoroughly goes over results with voice users in her care:

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I also go over their medical diagnosis and say, “Did the doctor explain vocal cord
dysfunction to you? Did the doctor explain muscle tension dysphonia? Do you
have any questions?” Of course, the doctor explained it, but it’s my job to make
sure their concerns [are heard], that they’re not worried about their diagnosis, that
something can be done and that they can reach their goals.
It is imperative the lines of communication are kept open and voice users are given a
chance to express themselves, ask questions, and ultimately have a say in their own vocal
development. Med Subject 2 also indicated using “active coaching,” saying things like,
“You know this can be done, I’m on your team, I know this is really hard, how can we
tweak it to make it easier for you?” This participant, though she provides assignments in
every session, avoids the word “homework” for adult clients to show them her respect.
This word choice is another way in which her verbal communication and feedback
encourages voice users. Language is also important to Med Subject 3, who specifically
uses “patient” over the word “client” because it demands more respect for their
vulnerability.
Communicating with Families
Med Subject 4 communicates with both voice users and their families, often using
different skills with children than with their parents. For example, she mentioned
coaching the parents more than the children, but no matter the interaction, she is always
encouraging, listening, and building rapport. Many interpersonal skills intersect with one
another, such as verbal communication and building rapport. Listening is often
considered a non-verbal skill, which will be discussed in the next theme.

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Verbal Communication and Feedback in Singing Teachers
Concise Instruction
Singing Teacher 1 said, “I am a big proponent of honesty and transparency and
learning how to communicate honestly in a respectful way to others,” while Singing
Teacher 2 highlighted the importance of having a number of “soft skills,” such as
communication and time management. Specific skills that Singing Teacher 2 uses,
crediting her choral conducting experience, include saying an instruction “in seven words
or less,” being “aware of everything that I present [as] something that they’re going to
give back to me,” and other choral rehearsal techniques that she applies to solo singers.
This focused manner of communication is beneficial to her when working with voice
users.
Open Interpretation
Singing Teacher 4 expressed being open and responsive to the language choices
of her students. “No matter what they say, you have to really hear what they’re saying,
and then kind of empathize with them and respond in such a way that can keep the
communication flow open,” because, according to this participant, singing is so personal.
She also tells students that “there’s never a wrong answer.” She allows them to describe
their singing in their own words since everyone “interprets things differently.” In this
way, she learns the student’s language, benefitting both the student and her as the teacher.
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Starting with Positive Feedback
Singing Teacher 4 uses the student’s perspective to engage with them, but also to
help them be reflective. This plays a large role in how she provides feedback. As she
said, “I always start with positive comments, always, and then after that, go into the
criticism, because then at least they are receiving the criticism in a good place.” She will
also allow students to first express what they took away from a singing experience, since
students are often more critical of themselves than she is of them. This manner of
feedback is a helpful example of how verbal communication can strengthen interpersonal
skills and correlates with something said by Singing Teacher 1:
I tell new students that they need to be with a teacher that is going to respect their
abilities but challenge them to get better, and I don’t find a lot of benefit in empty
praise…And I think students know when it’s empty or when it’s meaningful. But
on the flipside of that, I try to couch criticism for improvement in a positive light,
you know, “80% of this was great, we need to work on this 20% though,” which I
don’t call praise, but I do call affirmation of what they were able to accomplish.
But then acknowledging that it wasn’t flawless and then, here, we need to fix this.
Singing Teacher 3 uses a similar method, affirming what went well and then giving them
solutions for what went wrong. Singing Teacher 2 shares a similar philosophy. She
focuses on providing suggestions for improvement, rarely uses negative criticism, and is
currently working to be better at providing praise, as she’s not used it much in the past.
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Figure 6.2. A Venn diagram representing “Use” theme 2: Non-verbal communication and
listening skills. Similarities and differences between teachers of singing and speech-
language pathologists.
Non-Verbal Communication and Listening Skills
Similarities in Non-Verbal Communication and Listening Skills Between the Fields
Body Language and Facial Expressions
Non-verbal communication, though found in the literature in the fields of voice
pedagogy and speech-language pathology (Awan, 2001; Dufault, 2013), was less
discussed than verbal communication by these participants. Med Subject 1 did say,
“We’re very careful about body language, we don’t type or look at records during the
exam, we are face forward at the patient, eye-level so we’re not standing up on them or
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down to them, we raise their chair, so they’re eye-level with us during the exam.” She
described the posture she takes when communicating with voice users to ensure they
have her attention, including remaining seated while they ask questions, not having her
hand on the door or acting like she is ready to leave, and providing a written confirmation
of the visit with “any action items” to prevent voice users from being distracted or feeling
like they need to take notes during the session. In her practice, there is a nurse who
transcribes the visit. Additionally, she pays attention to what her clothing communicates
to voice users, as she wants them to feel comfortable with her. Singing Teacher 4 talked
about facial expressions and what they communicate to the singer. She said, “I try to look
encouraging and positive,” and, “I have to keep looking like I am inquisitive” when
listening to students singing, keeping the face and body language free of judgement.
Listening to Content and Delivery
However, listening was mentioned frequently as a necessary interpersonal skill.
Specifically, Med Subject 1 said, “Listening is really key, not only, again, to content, but
for us, delivery.” She listens to word choice and makes sure “they’re receiving
communication in a way that is relating to a goal of shared understanding in the
situation.” Sometimes, this involves allowing space for silence or room for the voice
user’s concerns as they arise, “paying attention to the voids as well as the content,” and
allowing them to express fears and understand expectations. Being an attentive and
responsive listener is how this participant continues to encourage and support the voice
user. This aligns with how speech-language pathologists are trained, as “it is important
for speech-language pathologists to learn to separate out the multiple meanings of

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parents’ (or clients’) messages. That is, factual material gets differentiated from
emotional and affective material” (Geller & Foley, 2009, p. 10).
Med Subject 2 also uses listening skills, and she is methodical in the way she
takes notes. She not only writes down assignments that they are to be working on, but
also subjective factors, such as how they’re feeling and what is going on in their lives.
She knows that personal events can affect the voice, so she listens to patients, reviews
notes taken in each session, and then asks patients questions the following week. This
type of active listening allows her to build interpersonal bonds with her patients.
This theme also came up in the comments from singing teacher participants.
While teachers of singing are required to listen to students’ voices (intonation, tone,
musicality, etc.) and to spend lesson time working on their singing, they also expressed
the importance of listening to what is said and expressed. The comments of Singing
Teacher 1 were quite similar to those of Med Subject 1. Singing Teacher 1 said, “You
have to be able to listen and be able to reflect back to the other person in the
communication loop what you’re hearing.” She strives to cross any boundaries in
communication through listening, empathy, and discerning subtext, “especially with
singers of the collegiate age,” since “what’s being said is not always what’s being
intended.” This often requires diligence on the part of the teacher and intuition was a skill
mentioned by Singing Teachers 1 and 2. The ability to intuit or interpret the subtext
within a conversation allows for deeper conversations, and thus learning, to occur.
Singing Teacher 4 gave four main interpersonal skills: listening, empathy, knowledge,
and curiosity (also mentioned by Singing Teacher 2). It is likely that many teachers of
singing use these four in tandem with one another.

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Figure 6.3. A Venn diagram representing “Use” theme 3: Goal setting and decision-
making. Similarities and differences between teachers of singing and speech-language
pathologists.
Goal Setting and Decision-Making
Similarities in Goal Setting and Decision-Making Between the Fields
Striving Towards the Personal Goals of Each Voice User
Both goal setting and decision-making are part of the everyday interactions
between voice experts and voice users, as mentioned in part throughout some of the other
themes. The ability to discuss goals and make decisions often happens as a result of other
skills, including relationship-building, creating a safe environment, using verbal and non-
verbal types of communication, and listening. Once rapport and trust are built, the
process for setting and achieving goals can begin.

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Many participants indicated that the goals set by students are more important than
the goals set by the voice expert, and thus, success depends on reaching these personal
goals. This is a good thing, according to Frey-Monell (2010), who wrote that if “students’
accomplishments are based on their own goals, retention and success should result” (p.
223). These goals are as unique and multifaceted as the voice users who make them and
should be taken into account with each voice user. “Equal talent does not mean equal
goals” (Cady, 1965, p. 19). Important to Med Subject 1 is this idea of shared decision-
making. This often involves a team of experts, as previously discussed, but always
revolves around the patient. She said, “The goals for treatment are totally dependent on
the patient, tempered with realism about what we as surgeons and otolaryngologists can
reasonably provide with partnership. And that’s patient partnership and then partnership
with speech pathologists.”
Goal Setting with Med Subjects
Customized Short- and Long-Term Goals
In voice medicine, both short-term and long-term goals can be set after
determining patient needs. Med Subject 1 said, “Typically, there’s a short-term goal for
us because people are coming in because they are worried. The short-term goal is the lead
goal typically, it’s the Band-Aid, the crutch, or the triage appointment.” From there, “the
regular visits are unpackaging visits,” giving both the voice user and the expert an
opportunity to analyze what led to this point. Next, each participant continues to make
decisions that reflect career goals and preferred outcomes, reassessing when necessary.
She will ask patients, “Do we still have the right goal? Did we pick the right journey to
get there? It seems like this isn’t feasible, so do we need to switch goals? Or do we need
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to switch gears to get to the goal?” Success and satisfaction are obtainable by keeping the
patient at the center of all outcomes. To summarize, she said, “The success is really
defined by the person we serve, and I think we have a healthy conversation about whether
that’s a reasonable goal or not and what our role in that goal is.” This sentiment was
echoed by Med Subject 3, who said “Goals have to have the filter of what is realistically
possible in the amount of time we have and with the circumstances surrounding the
patient.” He also said, “It’s not a one-size-fits-all plan.”
Med Subject 2 has a similar philosophy, putting the voice user at the middle of the
goal-setting process and giving them the opportunity to first name their own goals, using
prompting questions and then setting short- and long-term goals customized to the voice
user. Much like Med Subject 3, Med Subject 2 said there are no “cookie-cutter” goals,
but gave the following as examples: “A short-term goal would be the patient will use
amplification with correct technique. [A] long-term goal would be this patient will
exhibit a voice quality, effective communication skills, and singing skills, within normal
limits, with no signs or symptoms of a vocal pathology.” These goals are specific,
measurable, and personalized to each voice user in order that voice users buy into the
process, according to Med Subject 2. She audio records voice users before, during, and
after therapy for feedback and to confirm their progress. Thus, she uses the initial
evaluation to determine both the voice user’s goals and the doctor’s goals and then begins
each session with: “How are you today? How is your voice? What’s new? What’s
different? Is your voice better, different, no change, or worse?” and she lets voice users
know it is okay if their voice is worse. Med Subject 3 called the treatment plan “an
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overall construct and general direction that we want to head in, and goals may be more of
ways that we use to get there.”
Following an IEP
Goal setting and decision-making can look different in school settings, as
expressed by Med Subject 4. She sees students who are verified as needing voice therapy
through a formal process. She also does an informal sound inventory with the same 60
words throughout therapy. She keeps track of how sounds are “coming into place or
emerging,” while always writing notes about their level of independence. The students
she sees all have an Individualized Education Plan (IEP), so she uses long-term goals and
objectives to help students progress in accordance with the plan. Then professionally, she
meets the goals set by the district based on what is relevant to her position, giving
something for her to work towards and track during the year. Furthermore, she sees her
own success as related to that of her students. She said, “If they’re not getting it, then I’m
thinking, ‘Well I must try something new or different, talk to someone else and see if
they have any tricks that work.’” She measures their understanding based on “how much
prompting is needed,” whether that is a verbal or a visual prompt, such as a flashcard.
Goal Setting with Singing Teachers
Task-Oriented
The singing teacher participants were equally as interested in setting goals and
measuring success in themselves and students. Singing Teacher 1 has certain goals
written into her syllabus, such as “having a greater understanding of the vocal instrument
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and how to affect change in that instrument,” demonstrating professionalism, and having
“a greater self-awareness” as singers. In fact, she describes developing self-efficacy and
responsibility as a “group effort,” allowing them to “take ownership of their lessons” by
asking them to schedule a plan for each lesson to meet midterm and final goals. This,
“gives them ownership over the lesson,” and makes the year “a little less demanding
because they’re able to tailor their lesson schedule around other obligations they have,
like major papers and exams. So, it manages some anxiety a little bit.”
This approach is backed by research that supports allowing voice users control
over their own outcomes and fostering independence (Dufault, 2013, p. 38). Frey-Monell
(2013) said, “A fundamental goal of the college applied music instructor is to encourage
students to become independent learners, and ultimately, independent musicians” (p.
222). Furthermore, “students do indeed learn better if they are a part of the process by
which they will be assessed” (Frey-Monell, 2013, p. 226). Singing Teacher 1 believes
this, allowing students to be responsible for their own motivation and practice habits.
Singing Teacher 3 takes steps to help students think reflectively about their
singing without being unreasonably hard on themselves. As a reminder, she and Singing
Teacher 1 both stop students when they apologize unnecessarily. Similarly, Singing
Teacher 3 will often stop students when they make faces or comments that are not
productive. In lessons, she addresses insecurities, self-deprecation, stage fright, and
looking within. She expressed some changes to her students’ “determination and drive”
as a result of COVID-19 and looks for performance opportunities as something towards
which her students could work. Singing Teacher 4 addresses perfectionism and the
dangers of pursuing unrealistic expectations. Despite being a “taskmaster,” as she calls

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herself, she assures students that the goal is not to sing perfectly every time, but to
measure success by more concrete goals, such as completing a performance, maintaining
breath through a song, or simply making progress on a song. However, the idea of being
a “taskmaster” is not necessarily bad, as “warm, demanding academic taskmasters” can
be motivating to students (Gay, 2010, p. 75, as cited in Cannon & Luckner, 2016, p. 96).
Musical Goals
Musical goals are often the primary type of goals addressed in the lesson studio.
Singing Teacher 1 spoke to the importance of personalized goals and including students
in the goal-setting process. She said, “When I meet a student for the first time, I always
ask them what the dream is, you know, ‘What do you want to do when you walk out the
door?’ And that sort of defines the long-term goal for us and then we talk about what
steps we need to take to get there.” This is similar to how Singing Teacher 3 begins with
students, as she uses long-term goals such as singing karaoke or auditioning for musicals,
to know where “to project the lessons to.” Likewise, Singing Teacher 4 takes her goals
from what they tell her they want. Helping students prepare for auditions for musicals,
operas, choirs, and other performing ensembles is part of this participant’s role as a
teacher. After the audition, she also helps them reflect on the experience, asking them
“What did you do well? What did you not do well? What can we work on?” Her process
is slightly different for collegiate students being graded on voice lessons, using more of a
timeline-based method.
Regarding short-term goals, Singing Teacher 1 said, “Short term goals can be as
easy as…you need to observe this thing for the next month and focus on that and reflect
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on that.” However, she also said there are some goals she keeps to herself until after the
goal is achieved because she doesn’t “want them to get wrapped up in the minutia of
trying to achieve that goal.” Singing Teacher 3 also withholds goals or desired outcomes
at times, saying, “I won’t always share that with them because I don’t want to make them
feel like they’re not good enough to try it now,” or think something is wrong with them.
In this way, these teachers of singing are not lying, but rather preventing students from
being overwhelmed by the breadth and variety of different vocal goals.
In regard to measuring success, teachers of singing had a variety of responses.
Singing Teacher 2 said, “It’s interesting because I’ve been doing so much work on white
supremacy and just now thinking about how that word is entangled in some ways. I mean
I think success is totally individualized for me at this point in my life and hopefully will
become more so.” In order to be individualized, she sets goals based on “the next step for
that person and their path or their goals.” As an example, she spoke about a student who
made it to the semi-final round of national NATS, to whom she said, “You could just
walk in there and stand there and not sing for eight minutes, and I would be so proud of
you still.” Singing Teacher 2 went on to say, “To me, it’s never about the competition
stuff, it’s about what is that person’s goal and how can I help them get to it? And same
for me, what really is my goal and why, and then how am I getting there?”
Singing Teacher 3 measures success by students’ progress, saying it is “reassuring
and affirming” to see where a student used to be and where they are now. She strives for
that feeling of accomplishment in her students, as well as herself, by tracking these
changes. She gave the following as examples: “Have we expanded their range at all? Do
they have better ear training than they used to? Are they able to read the music off of the
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sheet music? Are they able to understand the language that I’m using – legato, staccato,
you know, eighth note rest? Can they get a grasp on the language and use it to their
advantage?” She expresses pride when a student “levels up” in an aspect of their singing.
This pride is another interpersonal aspect of singing lessons that may be prevalent
throughout the field.
Finally, just as Med Subject 2 explained the success of having a patient return to
their doctor after resolving their medical concern, Singer Teacher 4 also finds other
professionals’ feedback beneficial, specifically choir directors. As she gives lessons to
singers who belong to choirs, she said, “I really measure my success from the choir
directors telling me how much better their choirs sound.” As previously discussed,
corroboration and collaboration are often a result of teamwork.

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Figure 6.4. A Venn diagram representing “Use” theme 4: Teaching techniques.

pathologists.
Teaching Techniques
Similarities in Teaching Techniques Between the Fields
Visual, Aural, and Kinesthetic Modes
One prominent way in which both teachers of singing and those in the fields of
speech-language pathology, voice therapy, and otolaryngology tailor their interactions
with voice users is through a knowledge of teaching and learning techniques. A common
technique is the use of three modes: visual, aural, and kinesthetic. There are some
different approaches to determining which mode or modes works best for a voice user.
For example, Med Subject 1 will simply ask patients how they prefer to learn and will
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often help them switch into their preferred mode. For instance, if a kinesthetic learner is
too fixated on a visual, she’ll have them get up and do “body work type stuff,” to show
that the voice is not just “a picture of the voice box,” but that it’s “the whole body.” She
said, “It’s the lungs, the voice box, and the sinuses, and if they can feel different
movements that inform them that that’s their truth, then they can stop looking at the
picture.”
Med Subject 2 said she uses auditory, visual, and kinesthetic techniques, and is
careful not to let her own preferred learning style influence how she approaches diverse
voice users. She said, “ideally you would combine all three [modes], but you also need to
know how that patient learns.” She asks them about ear training or keyboard skills and
then uses techniques such as having them record on their phones, giving them handouts,
and being “aware of what they’re feeling and where they’re feeling it.” Through this,
Med Subject 2 gives multiple approaches to learning, while Med Subject 4, as previously
discussed, does not ask young voice users what approach they prefer, but gives them
ample opportunity to try all three.
Similar to Med Subject 4, Singing Teacher 1 finds that sometimes voice users do
not know which mode(s) they prefer. She said, “I pretty quickly identify if my students
are auditory, visual, or kinesthetic, and most of the time they don’t know that about
themselves. And so, when we start approaching singing in that modality…all the
lightbulbs go on, so it’s really satisfying for the students.” When the students cannot
identify a preferred learning mode, she uses a problem-solving approach and has students
try an exercise in different forms to see if one or two learning modes resonate with most
of them. Examples include discussions of harmonic function for auditory learners,

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playing the passage on the piano for kinesthetic learners, and “marking beats or marking
scale passages” for visual learners. She labels these as tools for her students.
Scaffolding Instruction
Crossover between the fields exists in the use of scaffolding instruction, which
entails starting with the basics and growing from there. Med Subject 4 uses multiple
techniques when beginning therapy with a student, and takes “bits and pieces” from
different models based on what she likes and what elicits a response from students. She
described her scaffolding process for new sounds:
I start with just an activity to work on them producing the sound in isolation, and
then I’ve got a little activity where we pair that sound with vowels. And once we
can pair that sound with vowels, then [we’ll] jump into words, and once we get it
pretty consistent and accurate at the word level, then we move up to the phrase
level and then to the sentence level. So, I’ve got steps that I kind of follow with
all kids. That’s the continuum that I follow with all kids, it just differs based on
the sounds that those kiddos need.
This is a systematic and helpful approach to ensure that students advance in a logical way
and can tackle one concept before moving on to another. Med Subject 1 also draws from
a number of different technique “toolboxes” to decide what is best for voice users. She
does not want to be limited by a “one size fits all” approach, but rather says, “There’s
really no right or wrong, as long as I get the answer to my question, which is ‘how can
this person get better?’ And do we have the right diagnosis?” This flexibility is based on
understanding what the voice user needs and what steps will lead them there.
Singing Teacher 2 uses Bloom’s Taxonomy, an educational pyramid that takes
learners from basic to complex ways of thinking, to scaffold learning. The original levels
of Bloom’s Taxonomy, though they have since been revised, are: (1) knowledge, (2)
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comprehension, (3) application, (4) analysis, (5) synthesis, and (6) evaluation (Bloom et
al., 1956). These original levels are the ones referenced by this participant when she said,
“One way I get them higher on the Bloom’s Taxonomy pyramid is to say, ‘Can you tell
me back in your own words…?’ That’s a synthesis exercise, right? Or evaluation, at the
top, you know, ‘Can you write about it in your weekly reflection, [about] the specific
thing you discovered?’” Utilization of Bloom’s Taxonomy is her way of sequencing
instruction so that students can process information through different cognitive
processes.
Teaching Techniques in Med Subjects
Practice Page and Game for Younger Voice Users
Med Subject 4 uses a practice page and a game to “motivate the kids to work
through the practice,” which aligns with what Braden et al. (2018) found in their study:
“Many participants stated that voice therapy was generally fun, that the SLP made
activities fun for the child, and that therapy exercises were fun. Participants also
discussed the role of games and play in therapy, stating that using games helped children
to learn and to enjoy learning at the same time.” (p. 1388). Med Subject 4 engages
students and makes therapy fun, while also accessing different learning modes, whether
the students are aware of it or not. Additionally, Med Subject 4 helps students assign
meaning to minimal pairs, or words that sound the same other than one differing sound,
to make sense of what they’re saying. To use her previous example, if students mix up
“dough” and “go,” showing them a picture of playdough helps cue them verbally and
visually to their mistake.

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Teaching Techniques in Singing Teachers
Teaching from Experience
Teachers of singing often use their own singing experiences to teach students.
Singing Teacher 1 said, “If you subscribe to the theory that the more problems you have,
the better teacher you are in addressing those problems and being aware of those issues in
your students, I am right at the top of the list.” This helps her develop a “kinship” with
students as she is honest about what they can and cannot control in their singing. Singing
Teacher 4 said, “Singers who are amazing singers naturally usually are not good teachers,
because they haven’t ever really had to try or struggle through stuff. Whether that was a
technique thing, a health thing, both, they just kind of don’t know that much.” In this
way, the struggles, trials, and triumphs in one’s personal singing can have a positive
effect on their knowledge of teaching techniques.

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Figure 6.5. A Venn diagram representing “Use” theme 5: Research-based practices.

pathologists.
Research-Based Practices
Research-Based Practices by Med Subjects
Incorporating Research
The use of research-based practices was more prevalent among speech-language
pathologists and voice doctors. Med Subject 1 oversees research for her department, talks
with patients about their treatment options from articles she has read, and conducts her
own research. Med Subject 2 expressed a similar passion for incorporating research from
the ASHA journal and the Special Interest Group 3 daily blog of voice and voice
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disorders on ASHA’s website, where she is able to consult with speech-language
pathologists of all levels to ask and answer questions.
Exclusively Research-Based Practices
Med Subject 4, as someone who works in the public schools, is encouraged to do
exclusively research-based practice from journals, books, and other therapists. The desire
to improve and provide voice users with reliable, evidence-based techniques is important,
as is maintaining “a certain level of professionalism,” staying “up-to-date on different
things,” and maintaining a “current level of knowledge and practice.”
Research-Based Practices by Singing Teachers
Reading
Teachers of singing mentioned using textbooks to learn more about their craft and
a few mentioned reading the Journal of Singing, but perhaps not as consistently as they
would like. For example, Singing Teacher 2 pointed to many influential texts, including
The Diagnosis and Correction of Vocal Faults: A Manual for Teachers of Singing and for
Choir Directors by James C. McKinney (2005), saying, “That whole idea of diagnosing
students or diagnosing voices, I think that’s a really helpful concept that has certainly
been influential to my practice.” This is interesting, especially in light of this research, as
it is similar to approaches taken by speech-language pathologists and voice doctors.

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Referencing Experiences of Other Singers
To widen her knowledge base and incorporate different techniques into her skill
set, Singing Teacher 4 likes to reference videos, especially performances and interviews
with professional singers. Singing Teacher 1 also uses the experiences of singers in her
teaching, as she said, “I love hearing singers talk about singing and hearing the things
that they find were influential and formative experiences for them. It helps me to reflect,
it also gives me things to pass along to my students as they’re reflecting on their own
development.” This participant also does her own research and uses backward design
when working with students. She starts with a goal in mind and then figures out how to
get students there.
Struggle to Find Reliable Resources
The Singing Teacher participants gave fewer examples of research-based
practices. This could be due to lack of availability, as Singing Teacher 3 mentioned
struggling to find reliable resources. She expressed frustration with the way voice
textbooks are marketed and has found that continued education opportunities or
workshops in her area are lacking. Since she does not hold any professional
memberships, she also does not have access to publications or journals. This is not
uncommon for many private voice teachers, so these barriers must be addressed.
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Figure 6.6. A Venn diagram representing “Use” theme 6: Professional demands.

pathologists.
Professional Demands
Similarities in Professional Demands Between the Fields
Preparation and Reflection
Despite these differences, a similar disposition displayed amongst the participants
was preparation and reflection. Med Subject 3 reads as many pertinent notes as possible
before meeting with a patient, as he said the most important thing is “the experience that
the patient has had.” Med Subject 2, likewise, prepares for every session with a “lesson
plan” that allows her to reflect on the current session and prepare for the next. This is
similar to a method used by Singing Teacher 4, who uses a chart to track repertoire,
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exercises done, memorization checks, and performance checks. Med Subject 4 prepares
based on the previous session by looking at how they did and then gathering materials
based on that.
Using Technology
Singing Teacher 3 uses an app called Trello1 to encourage organization between
herself and students. By working alongside students, she said, “I try to model a lot of that
behavior of how students should communicate or how we should record-keep and
organize.” Med Subject 2 also uses technology to reach voice users, including email and
voice applications, as mentioned in Chapter 4. As a result of the COVID-19 pandemic,
many of the voice experts had to learn new types of technology, such as telehealth
procedures for Med Subject 1, HIPAA-protected Zoom for Med Subject 2, and audio and
video equipment for all the Singing Teachers providing virtual lessons. This is a
professional demand that is likely to remain part of the voice care landscape.
Scheduling and Finding Balance
A concern related to professional demands exists in scheduling and how this
influences practices. Med Subject 3 said, “I don’t see patients at a very quick pace, so it
allows me to deflate, I have enough space to deflate, if that makes sense. If I were going
at a very rapid pace, I don’t think I’d be happy and that would come out on the patients as
well, as well as my staff, and I don’t want that to happen.” This statement agrees with
1
An organizational teamwork management application used to create boards, lists, and cards. Find more at
www.trello.com
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something said by Singing Teacher 3: “Reflecting on lessons is difficult when they’re one
right after the other.” While back-to-back lessons are often the most convenient, she said
“I wonder if there was just even like 10 minutes in between each one, how much more
present I could be, instead of just switching person to person to person.” She asks, “What
could I shift or what could be shifted in this practice to better assist the teacher in terms
of preparing and reflecting?” Time to prepare or reflect, and the influence it has on
interpersonal relations with voice users, must be considered by both fields, as it is
apparent that though these two participants agree, differences in scheduling affect their
practice.
Scheduling demands often oppose productivity, depending on the demands of the
situation. Med Subject 2 said, “If I can’t get outcomes, I’m not a good therapist. I have to
have time, I have to actually work with that patient to get outcomes,” and “I don’t look at
the clock, that’ll get you in trouble in just about any productivity driven job.” Med
Subject 4 sets aside days to complete her paperwork because she uses the 15 minutes in
between students to clean up the area, reflect and take notes, and prepare. The space to
think allows her to be more mentally present with students, something other voice experts
expressed.
Singing Teacher 1 has a self-imposed limit for back-to-back lessons because, she
says, “I don’t want to do a disservice to my student by being distracted or exhausted
emotionally or intellectually, because being a voice teacher is being constantly problem-
solving, not unlike a medical professional. So, you need to be on your game, and you
need to be aware of so many different blocks of sensory information coming in.” Singing
Teacher 3 says this “multi-tasking” for hours on end is a lot to be asking of the body and
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mind and can negatively affect students. Not only that, but she is also constantly
receiving communication from students and often needs to respond to emails, texts, and
phone calls in between students.
It is necessary to mention that voice experts are not infallible, nor are they full of
limitless energy. In both fields, participants mentioned the emotional and physical toll of
their work. It is possible for interpersonal encounters, specifically, to be very draining.
Singing Teacher 3 expressed the toll of multitasking sensory information, and she has had
to work to find balance, since she is often “being everything” for students in the lesson.
Med Subject 1 illustrated the multi-faceted demands of her work, especially with the
addition of telehealth during the COVID-19 pandemic. Work within both fields is taxing
and it would be helpful for both fields to prepare pre-service voice experts and support
current voice experts when it comes to emotional, mental, and physical health.
Professional Demands in Med Subjects
Meeting Professional Verification Criteria
Speech-language pathologists and otolaryngologists are often striving to meet
standards set by the field as a whole. Med Subject 4 said, “ASHA gives lots of standards,
kind of global standards that kind of encompass medical voice therapy, as well as school-
based voice therapy,” but she also follows a state mandated rule that decides standards
“regarding the verification criteria.” The field of voice pedagogy has strived to create
certain standards, as demonstrated by the NATS policies discussed in Appendix A, but
the difference exists in how regularly trained and enforced these standards
are. Furthermore, since the intended outcome of therapy is different than preparing for a
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sung performance, the Med Subjects have different professional demands. Med Subject 2
said, “What’s different for me versus a singing teacher is I’m not getting them ready for
competition.” While she does get them ready for performances, her main goals are for
them “to heal, stay healed, and go back to what they love to do, or send them back to
their singing teacher.” She went on, saying she understands “the importance of being the
best you can be,” but does not “have to be the disciplinarian the poor singing teacher has
to be.” The skills required to prepare singers for performance outcomes, or to earn a
certain grade in a collegiate applied voice class, results in differences between the fields,
as further discussed next.
Professional Demands in Singing Teachers
Musical Genre and Performance Concerns
The demands on teachers of singing and their students is different than those
placed on speech-language pathologists and voice doctors, due to the nature of the
encounter. Experts in the field of voice pedagogy may be influenced by art and aesthetics,
which could have interpersonal consequences. Singing Teacher 2 said, “There’s so much
revealed about a person in the way that they present themselves for an audition, you
know, it’s really astounding. I find myself oftentimes being charmed by someone, you
know, or just intrigued by someone.” The ways in which singers perform, not just use
their voice, creates a different dynamic than that found in the therapy setting. Singing
teachers also make students aware of a musical knowledge base that is not necessary in
speech-language pathology, voice therapy, and voice medicine. For example, Singing
Teacher 1 said, “My role is to help them understand the classical style as a genre and
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what are the expectations of this style. Whether or not you choose to do that
professionally, you need to understand what the expectations are. Just like there are
expectations for jazz and expectations for spirituals…Singing spirituals is different than
singing lieder and you have to respect that and honor that and recognize that as you’re
teaching that repertoire.” The repertoire, music history, music theory, and overall music
knowledge is unique to singing teaching.
Phase 1 Use Conclusions
The six important themes related to used interpersonal skills that emerged in
Phase 1 were verbal communication and feedback, non-verbal communication and
listening skills, goal setting and decision-making, teaching techniques, research-based
practices, and professional demands. These themes address the “nuts and bolts” of what it
means to be a voice practitioner and many of the interview questions (see Appendix D.1)
were designed to ascertain such practices. Important similarities between the fields were
found regarding giving feedback in a concise manner, listening, allowing voice users to
make decisions, setting realistic goals, flexibility in instructional techniques, and
scaffolding instruction. Similarities were also found regarding professional demands,
such as preparedness, reflecting on encounters with voice users, pursuing personal
growth, and using technology. There were also skills that emerged in this phase that
represented differences between the fields, such as using intuition, which was only
mentioned by Singing Teachers, and types of research-based practices, such as attending
conferences, workshops, and/or clinics, contributing research to one’s field, and reading
publications. Also, the Med Subjects talked more about using prompting questions.
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In conclusion, the qualitative results of Phase 1 provided important findings
regarding the value, training, and use of interpersonal skills in teachers of singing,
speech-language pathologists, and otolaryngologists. Similarities and differences
emerged and provided topics to include in Phases 2 and 3. The quantitative survey
distributed in Phase 2, which will be presented in the next chapter, was designed around
these results to determine the generalizability of the major themes.

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CHAPTER 7: QUANTITATIVE SURVEY RESULTS
As a continuation of the mixed-method results, this chapter will present the
findings of the quantitative survey sent to members of ASHA and NATS in Phase 2. It
will focus on the quantitative data results in relation to shared and disparate value,
training, and use of 33 skills previously identified by teachers of singing and speech-
language pathologists in Phase 1. These skills were included in this phase if they were
frequently discussed by multiple participants or represented differences between the
fields, as shown in Table 7.1 below. Table 7.1 organizes these 33 surveyed skills in
relation to the qualitative themes and provides an explanation for each skill as either a
shared skill (S) or a difference between the speech-language pathologists (SLP) and
teachers of singing (ToS) in Phase 1. When a difference exists, the group that values,
received training, or uses this skill is identified (SLP or ToS). The data analysis measures
used in this phase will help corroborate or contradict these similarities and differences
between the fields on a larger scale.

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TABLE 7.1 – SURVEYED SKILLS CATEGORIZED BY THEME

Group (Shared,
Theme Skill
SLP, or ToS)
being a friend to the voice users with whom I work ToS
being a life coach to the voice users with whom I work SLP
community outreach ToS
empathy Shared
RELATIONSHIP-BUILDING
humility Shared
humor Shared
respectful relationships with voice users Shared
trust Shared
giving voice users a space to vent and/or be vulnerable ToS
SAFE ENVIRONMENTS
making voice users feel safe Shared
VOICE-USER-LED interacting with diverse voice users Shared
PRACTICES knowledge of the anatomy and physiology of the human voice Shared
specializing in one or two specific discipline areas and/or techniques SLP
being versed in a number (3+) of different discipline areas and/or ToS
techniques
TYPES OF TRAINING
continuing my education Shared
developing pedagogical content knowledge, either through research or ToS
experience
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163
Theme Skill Group

TEAMWORK collaborating with others in voice related fields Shared
VERBAL COMMUNICATION giving feedback in a concise manner Shared
AND FEEDBACK using prompting questions SLP
NON-VERBAL listening Shared
COMMUNICATION AND using my intuition ToS
LISTENING SKILLS
GOAL SETTING AND allowing voice users to make decisions Shared
DECISION-MAKING setting realistic goals and/or expectations with voice users Shared
flexibility in instructional techniques Shared
TEACHING TECHNIQUES
starting with fundamentals and building from there Shared
attending and/or presenting at conferences SLP
RESEARCH-BASED attending and/or presenting at workshops and/or clinics SLP
PRACTICES contributing research to my field SLP
reading publications in my field ToS
preparedness Shared
reflecting on my encounters with voice users after a lesson, session, or Shared
PROFESSIONAL DEMANDS
appointment
pursuing personal growth in my field Shared
using technology Shared
163
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The quantitative data findings will now be presented in four sections, beginning
with the demographic results below. The results of the 33 skills will follow, in the theme-
sorted order given in Table 7.1. For each skill, results regarding value, training, and use
will be given. Third, the results of implemented interpersonal techniques will be
presented, then the quantitative data analysis will conclude with the results of common
types of pedagogical motivation. Appendix D.2 provides the survey in its entirety.
Demographics
There were 146 participants who interacted with this survey, with a completion
rate of 93%. No significant difference was found in the number of participants within the
three groups: teachers of singing, speech-language pathologists, and professionals who
work evenly in both fields, labeled as “ToS,” “SLP,” and “Both” in the upcoming tables.
There was also no significant difference in the number of participants in each gender
category. Two significant differences were found in response to the question, “The
majority of my time is spent with voice users who are of the following ages (check all
that apply),” in the categories “Voice Users:18-65 years” and “Voice Users: 65+ years,”
with a higher percentage of teachers of singing working with voice users 18 and above.
Additionally, there were significant differences in two of the work settings of the
participants, with fewer teachers of singing working in high schools, but more teachers of
singing working in private studios. These four demographic findings are shown in Table
7.2, with the number of respondents given in each group and the percentage within each
group shown in parenthesis. For example, 29 teachers of singing, or 58%, indicated they
work with voice users 18-65 years old. For the full results of the demographic questions,
see Appendix F.1.

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Table 7.2 – Quantitative Survey Demographics

Variable* N ToS SLP BOTH p-
N = 501 N = 631 N = 331 value2
Voice Users: 18 - 65 146 29 (58%) 18 (29%) 13 (39%) 0.007
years
Voice Users: 65+ years 146 29 (58%) 18 (29%) 13 (39%) 0.007
High School 146 9 (18%) 19 (30%) 19 (58%) <0.001
Private Studio 146 20 (40%) 0 (0%) 1 (3.0%) <0.001
*Answers not mutually exclusive
1
n (%)
2
Fisher's exact test; Pearson's Chi-squared test
Results of the 33 Skills in Relation to Value, Training, and Use
After answering demographic questions, participants rated 33 skills on a sliding
scale of 0-100 in regard to their value of that skill. Some of the participants did not
answer every question, which is why N is sometimes different in the results. In the
following tables, median value of the skill for each group is given, as well as the
interquartile range in parenthesis and a descriptive qualifier as an interpretation of the
data. The lowest median score was 62, the highest was 100. To codify the results, scores
0-20 were labeled “Not Valued, scores 20-40 were labeled “Less Valued,” scores 40-60
were labeled “Somewhat Valued,” scores 60-80 were labeled “Valued,” and scores 80-
100 were labeled “Highly Valued.” These labels were not included on the survey, but
were used to categorize responses after data collection. They carry no statistical meaning,
but are purely interpretive on the part of the researcher.
For example, responses for certain skills carry statistical significance, despite the
median of all three groups being labeled “Highly Valued,” while other skills will show no
significance, despite having different labels. This is a result of using both the median (the
center) and the interquartile range (the spread) for each of the three groups to determine
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statistical significance for each skill by testing the null hypothesis of all medians being
equal. For the full results of the “Value” section of the survey, as well as box plots for all
33 of the skills, see Appendix F.2.
Participants then selected all options that applied to their own training from four
types: Formal Education, Supplementary Education, Self-taught, and No Training. As
described in the methodology, these four options were treated as if they were their own
questions using a Yes/No answer. Pearson’s Chi-squared test indicated significant
differences in the types of training for each skill. In short, there were four tests run for
each skill and four opportunities for differences among the fields. The options are not
mutually exclusive, so for each response, the number of participants who selected that
answer and the percentage of the group (Sing, Speech, or Both) are given as N (%). For
the full results of the “Training” section of the survey, see Appendix F.3.
The “Use” section of the survey was analyzed in a similar way to the “Training”
section, but used Fisher’s exact test, which determines meaningful differences between
smaller numbers, rather than Pearson’s Chi-Square. Participants chose one frequency
option for each of the 33 skills. The five categories used in data analysis were “Daily,”
“Weekly,” “Every other week,” “Monthly,” and “Less than once a month,” for any of the
options less than “Monthly.” These options are mutually exclusive. For each response,
the number of participants that selected that answer and the percentage of the group
(Sing, Speech, or Both) are given as N (%). For the full results of the “Use” section of the
survey, see Appendix F.4. In data analysis, these skills were categorized based on the
themes given in Table 7.1 and will be presented in that order, to allow for a clearer
interpretation of the data. However, each table provides the original item number for that
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skill, labeled “Interpersonal Skill N,” to align with Table 3.1 and the box plots presented
in Appendix F.2.
Being a Friend to the Voice Users with Whom I Work
In the qualitative interviews in Phase 1, only Singing Teacher 3 used the term
“friend” in describing her relationship with voice users, while others used mentor,
nurturer, and coach, the term discussed next. To determine the overall opinion of this
skill, the quantitative survey participants were asked to provide their value, training, and
use of “being a friend to the voice users with whom I work,” as shown in Table 7.3. This
skill was highly valued or valued by all groups with no statistical differences, and high
percentages of participants in each group indicating using this skill on a daily or weekly
basis. Based on this alone, more conversations in the fields should revolve around if and
how a friendship can exist between voice experts and voice users, and if there is a
difference between being friends and being friendly. Voice experts need to decide where
personal boundaries lie for them and their practice. Furthermore, this skill had significant
differences regarding no training, as well as a smaller percentage of teachers of singing
having supplementary training in this skill. This could indicate that more conference or
workshop presentations in voice pedagogy could focus on the friendship aspect in voice
lessons.
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Table 7.3 – Interpersonal Skill 27: Being a Friend to the Voice Users with Whom I Work
ToS SLP BOTH p-value

N = 50 N = 63 N = 33
†
Value1 (N = 141) Median (Interquartile Range )
Descriptive Qualifier
Being a Friend to the 84 (66, 92) 75 (63, 86) 80 (69, 88) 0.3
Voice Users with Whom I Highly Valued Valued Highly
Work Valued
Training2* (N = 119) Number of Participants (Percentage of Group)*
Formal 13 (32%) 18 (34%) 14 (54%) 0.2

Supplementary 3 (7.5%) 12 (23%) 8 (31%) 0.046
Self-taught 15 (38%) 21 (40%) 4 (15%) 0.082
No Training 10 (25%) 5 (9.4%) 1 (3.8%) 0.034
Use3 (N = 116) Number of Participants (Percentage of Group)
0.082
Daily 22 (61%) 20 (39%) 13 (45%)
Weekly 3 (8.3%) 19 (37%) 9 (31%)
Every other week 6 (17%) 7 (14%) 5 (17%)
Monthly 5 (14%) 5 (9.8%) 2 (6.9%)
Less than once a month 0 (0%) 0 (0%) 0 (0%)
1
Kruskal-Wallis rank sum test
2
Pearson's Chi-squared test; Fisher's exact test
3
Fisher's exact test‡
†
The interquartile range (IQR) is the middle 50% of the data. For example, if the median is 84 and the
interquartile range is (66, 92), 25% of the data falls between 0 and 66, 25% falls between 66 and 84, 25%
falls between 84 and 92, and 25% falls between 92 and 100. This is used to describe the spread of the data
and, in addition to the center (median), is used in determining significance.
‡
Chi-square tests differ from correlations in that they are looking for independence between the two
variables being tested, and there is no directionality. Fisher’s exact test indicates when there is a
meaningful difference between the two values. In this example, there is no relationship between profession
and the use of “being a friend to the voice users with whom I work.”
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Being a Life Coach to the Voice Users with Whom I Work
Due to the variety of roles that voice experts take, and the importance of
relationship-building that emerged in Phase 1, the quantitative participants were asked to
indicate value, training, and use of the skill “being a life coach to the voice users with
whom I work,” as shown in Table 7.4. This resulted in significant differences in value,
formal training, self-taught training, and no training. Teachers of singing indicated a
higher value of this skill and higher self-taught training. A higher percentage of
participants in the “Both” group indicated having formal training, while a lower
percentage (only one participant) in this group indicated having no training. Thus, if a
large percentage is receiving formal training, a smaller percentage will have no training.
Since teachers of singing value this skill at a higher median value and a large percentage
relies on self-taught training, perhaps voice pedagogy courses could account for the
relationship dynamics present in voice lessons by preparing pre-service teachers of
singing to act in life-coaching situations with voice users. This high value could also be
reflective of the investment many teachers of singing make in the lives of singers outside
their voice, something that was expressed by the Singing Teacher participants in the
qualitative interviews.
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Table 7.4 – Interpersonal Skill 15: Being a Life Coach to the Voice Users with Whom I
Work
N = 50 N = 63 N = 33
1
Value (N = 142) Median (Interquartile Range)
Being a Life Coach to the 80 (66, 88) 67 (44, 77) 66 (55, 84) 0.005
Voice Users with Whom I Highly Valued Valued Valued
Work
Training2* (N = 121) Number of Participants (Percentage of Group)
Formal 11 (27%) 17 (31%) 17 (65%) 0.003

Supplementary 12 (29%) 20 (37%) 3 (12%) 0.062
Self-taught 18 (44%) 4 (7.4%) 5 (19%) <0.001
No Training 7 (17%) 15 (28%) 1 (3.8%) 0.027
0.07
Daily 17 (46%) 18 (40%) 16 (57%)
Weekly 13 (35%) 10 (22%) 9 (32%)
Every other week 5 (14%) 10 (22%) 0 (0%)
Monthly 2 (5.4%) 7 (16%) 3 (11%)
1
2
3
Fisher's exact test
Community Outreach
In Phase 1, building community was a difference between participants, as
indicated by the frequent comments about community made by the Singing Teachers.
However, some of the Med Subjects did give examples of contributing community
service, such as making voice care more accessible and plausible to members of the
community (Med Subject 1), audio describing for the blind (Med Subject 2), and aiding
families of past voice students, even once they have left the program (Med Subject 4).
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Thus, this skill, “community outreach,” was intended to incapsulate all these different
viewpoints on the role of a voice expert within different communities.
The median value of “community outreach” from participants across all three
groups was similar and categorized as “Valued” by all three groups. There was also no
significant difference in frequency of use, as shown in Table 7.5, nor were there
differences in supplementary, self-taught, or no types of training. A significant difference
did arise regarding formal training, with a lower percentage of teachers of singing
selecting this choice. Higher percentages of teachers of singing selected supplementary
education and self-taught training. “Community outreach” is more prevalently trained in
workshops and personal development from individuals in this group, rather than formal
training from institutions. A high percentage of participants in the “Both” group received
formal training in this skill, which may be reflective of multidisciplinary training for
those who function evenly in both fields. “Service to community” was also presented
later in the survey as a motivating factor, rather than a skill. There was no significant
difference among the 23 teachers of singing (46%), 27 speech-language pathologists
(43%), and 18 professionals who function evenly in both fields (55%) who indicated
being motivated by service to community.

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Table 7.5 – Interpersonal Skill 5: Community Outreach

N = 50 N = 63 N = 33
1
Community Outreach 72 (54, 87) 65 (52, 84) 72 (63, 89) 0.2
Valued Valued Valued
2
Training * (N = 119) Number of Participants (Percentage of Group)*
Formal 9 (23%) 22 (41%) 16 (62%) 0.008

Supplementary 12 (31%) 15 (28%) 6 (23%) 0.8
Self-taught 13 (33%) 18 (33%) 4 (15%) 0.2
No Training 9 (23%) 7 (13%) 1 (3.8%) 0.081
0.2
Daily 10 (28%) 12 (32%) 17 (57%)
Weekly 8 (22%) 10 (27%) 5 (17%)
Every other week 5 (14%) 5 (14%) 4 (13%)
Monthly 13 (36%) 10 (27%) 4 (13%)
1
2
3
Fisher's exact test
Empathy
“Empathy,” an aspect of relationship-building in the literature (Dufault, 2013;
Foster et al., 2017; Frey-Monell, 2010), as well as the qualitative interviews, was a
surveyed skill with significantly different medians of value. The median value for the
“SLP” group was the highest of the three groups and at 91, was the second-highest rated
median of all 33 skills by speech-language pathologists, second only to “Trust” at 92 (see
Table 7.10). Trust and empathy may take precedence over other interpersonal skills used
by speech-language pathologists because the voice user is in a vulnerable position. There
was also a significant difference in self-taught training for this skill, with 56% of teachers
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of singing, 38% of speech-language pathologists, and only 8% of the “Both” group
having self-taught training in this skill.
Table 7.6 – Interpersonal Skill 24: Empathy

N = 50 N = 63 N = 33
1
Empathy 83 (77, 99) 91 (79, 100) 80 (72, 88) 0.011
Highly Valued Highly Valued Highly
Valued
2
Formal 15 (37%) 21 (40%) 16 (64%) 0.068

Supplementary 6 (15%) 10 (19%) 7 (28%) 0.4
Self-taught 23 (56%) 20 (38%) 2 (8.0%) <0.001
No Training 5 (12%) 6 (11%) 1 (4.0%) 0.6
0.6
Daily 26 (65%) 37 (64%) 16 (59%)
Weekly 8 (20%) 8 (14%) 8 (30%)
Every other week 4 (10%) 8 (14%) 3 (11%)
Monthly 2 (5.0%) 5 (8.6%) 0 (0%)
1
2
3
Fisher's exact test
Humility
“Humility” was equally valued and similarly used across all three groups. As a
“highly valued” skill, it is used quite frequently on a daily basis. A significantly lower
percentage of the “Both” group indicated having self-taught training in this skill, while
for teachers of singing, self-taught training had the highest percentage of all training
types. See Table 7.7 for the full results of this skill.
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Table 7.7 – Interpersonal Skill 3: Humility

N = 50 N = 63 N = 33
Value1 (N = 142) Median (Interquartile Range)
80 (70, 92) 80 (67, 93) 80 (66, 87) 0.6
Humility Highly Valued Highly Valued Highly
Valued
Formal 11 (26%) 21 (38%) 14 (50%) 0.12

Supplementary 12 (29%) 14 (25%) 9 (32%) 0.8
Self-taught 18 (43%) 20 (36%) 4 (14%) 0.039
No Training 4 (9.5%) 5 (9.1%) 1 (3.6%) 0.8
0.2
Daily 21 (50%) 28 (55%) 10 (32%)
Weekly 7 (17%) 14 (27%) 11 (35%)
Every other week 7 (17%) 4 (7.8%) 7 (23%)
Monthly 7 (17%) 5 (9.8%) 3 (9.7%)
1
2
3
Fisher's exact test
Humor
“Humor” was an interpersonal skill used by participants in both fields in the
qualitative interviews in Phase 1. Participants mentioned using it to build rapport and
couch criticism when relationship-building with voice users. While both teachers of
singing and speech-language pathologists who participated in the quantitative survey
indicating valuing this skill, participants in the “Both” group had a lower median value of
this skill, with statistical significance for this section of the survey. Table 7.8 also shows
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significant differences in training, with fewer teachers of singing having formal training
in this skill and fewer “Both” participants having self-taught training. “Humor” could be
incorporated into more formal and supplementary training as an interpersonal skill for
teachers of singing. Not to say that teachers of singing need to be comedians, by any
means, but providing pre-service teachers of singing with approaches to using humor and
levity in voice lessons could help them relate to voice users, while also giving them tools
to better align their value of this skill with higher usage of it. Use of this skill was similar
across groups, with many participants in all three groups indicating daily use of this skill.
Table 7.8 – Interpersonal Skill 17: Humor

N = 50 N = 63 N = 33
Value1 (N = 142) Median (Interquartile Range)
Humor 90 (74, 100) 84 (69, 96) 73 (62, 82) 0.004
Highly Valued Highly Valued Valued
2
Formal 7 (18%) 24 (44%) 16 (62%) 0.001

Supplementary 7 (18%) 6 (11%) 8 (31%) 0.091
Self-taught 23 (59%) 22 (40%) 1 (3.8%) <0.001
No Training 6 (15%) 5 (9.1%) 1 (3.8%) 0.4
>0.9
Daily 25 (58%) 35 (64%) 18 (67%)
Weekly 11 (26%) 9 (16%) 5 (19%)
Every other week 5 (12%) 8 (15%) 3 (11%)
Monthly 2 (4.7%) 3 (5.5%) 1 (3.7%)
1
2
3
Fisher's exact test
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Respectful Relationships with Voice Users
The “ToS” group had a significantly higher value of the skill “respectful
relationships with voice users,” shown in Table 7.9, despite having the smallest
percentage of formal training in this skill and the highest percentage of supplementary
training, at statistically significant amounts. The “Both” group, again, had the lowest
percentage of self-taught training, but it had the highest percentage of formal training.
Due to the fact that this skill was highly valued and used daily by a large percentage of
teachers of singing, more formal training could address how to develop respectful
relationships with voice users.
Table 7.9 – Interpersonal Skill 30: Respectful Relationships with Voice Users
N = 50 N = 63 N = 33
1
Respectful Relationships 92 (68, 100) 74 (65, 95) 75 (65, 84) 0.048
with Voice Users Highly Valued Valued Valued
Formal 13 (33%) 23 (45%) 16 (67%) 0.036

Supplementary 18 (46%) 13 (25%) 5 (21%) 0.05
Self-taught 19 (49%) 21 (41%) 3 (12%) 0.012
No Training 1 (2.6%) 3 (5.9%) 1 (4.2%) 0.8
0.15
Daily 26 (67%) 27 (52%) 14 (50%)
Weekly 6 (15%) 11 (21%) 8 (29%)
Every other week 3 (7.7%) 13 (25%) 5 (18%)
Monthly 4 (10%) 1 (1.9%) 1 (3.6%)
1
2
3
Fisher's exact test
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Trust
As previously stated, “trust” was the highest valued skill on the survey by speech-
language pathologists at 92, but was also valued by teachers of singing at a median of 91.
Value of this skill represented a statistically significant difference with members in the
“Both” group valuing it at 84, as shown in Table 7.29. Use of this skill was similar across
the three groups and over 50% of participants in each indicated daily use of this skill. A
smaller percentage of members from the “Both” group had self-taught training in this
skill, at a statistically significant difference. This is one of many skills for which this is
true. It could be that fewer participants from this group use self-taught training in general,
as compared to the other two groups.

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Table 7.10 – Interpersonal Skill 28: Trust

N = 50 N = 63 N = 33
1
Trust 91 (80, 100) 92 (82, 100) 84 (71, 93) 0.037
Highly Valued Highly Valued Highly
Valued
2
Formal 12 (31%) 19 (37%) 12 (46%) 0.5

Supplementary 7 (18%) 13 (25%) 10 (38%) 0.2
Self-taught 22 (56%) 23 (44%) 4 (15%) 0.004
No Training 4 (10%) 3 (5.8%) 1 (3.8%) 0.6
0.4
Daily 25 (58%) 37 (64%) 15 (52%)
Weekly 7 (16%) 13 (22%) 4 (14%)
Every other week 7 (16%) 6 (10%) 6 (21%)
Monthly 4 (9.3%) 2 (3.4%) 4 (14%)
1
2
3
Fisher's exact test
Safe Environments
Giving Voice Users a Space to Vent and/or be Vulnerable
In the qualitative interviews, many of the Singing Teacher participants indicated
the importance of “giving voice users a space to vent and/or be vulnerable,” thus, it is not
surprising that teachers of singing in this phase indicated a significantly higher median
value of this skill, as shown in Table 7.11. Use of this skill was not significantly different
among the groups, but one significant difference in training emerged, with zero members
of the “Both” group indicating self-taught training in this skill. This skill is highly valued
179
by teachers of singing, so more formal or supplementary education could be implemented
in that field to better align with the participant’s value.
Table 7.11 – Interpersonal Skill 9: Giving Voice Users a Space to Vent and/or be
Vulnerable
N = 50 N = 63 N = 33
1
Giving Voice Users a 92 (74, 100) 76 (57, 93) 62 (57, 76) <0.001
Space to Vent and/or be Highly Valued Valued Valued
Vulnerable
Formal 13 (32%) 24 (44%) 13 (46%) 0.4

Supplementary 13 (32%) 16 (29%) 13 (46%) 0.3
Self-taught 13 (32%) 19 (35%) 0 (0%) 0.002
No Training 8 (20%) 3 (5.5%) 2 (7.1%) 0.076
0.3
Daily 21 (50%) 18 (35%) 18 (62%)
Weekly 12 (29%) 16 (31%) 5 (17%)
Every other week 6 (14%) 9 (18%) 2 (6.9%)
Monthly 3 (7.1%) 8 (16%) 4 (14%)
1
2
3
Fisher's exact test
Making Voice Users Feel Safe
Creating a safe environment was a significant finding of the qualitative interviews
in Phase 1, with members of both fields commenting on its importance. In Phase 2,
“making voice users feel safe,” was valued by teachers of singing at a significantly higher
level than the other two groups and a significantly larger percentage of teachers of
singing had self-taught training in this skill. Perhaps these participants pursued more self-
180
training in this skill because of the high value in which it is regarded. A large percentage
of teachers of singing also use this skill on a daily basis, though no statistically significant
differences among groups occurred in relation to frequency of use, as shown in Table
7.12
Table 7.12 – Interpersonal Skill 6: Making Voice Users Feel Safe

N = 50 N = 63 N = 33
1
Making Voice Users Feel 90 (76, 100) 79 (70, 96) 78 (59, 88) 0.019
Safe Highly Valued Valued Valued
2
Formal 13 (32%) 27 (50%) 14 (52%) 0.2

Supplementary 8 (20%) 18 (33%) 6 (22%) 0.3
Self-taught 19 (48%) 14 (26%) 6 (22%) 0.039
No Training 6 (15%) 5 (9.3%) 1 (3.7%) 0.4
0.071
Daily 26 (63%) 23 (43%) 8 (30%)
Weekly 7 (17%) 14 (26%) 12 (44%)
Every other week 4 (9.8%) 10 (19%) 2 (7.4%)
Monthly 4 (9.8%) 7 (13%) 5 (19%)
1
2
3
Fisher's exact test
Interacting with Diverse Voice Users
Table 7.13 shows the results for the skill “interacting with diverse voice users,”
which was part of the qualitative interview findings regarding voice-user-led practices.
There were no significant differences in value or use of this skill, which is encouraging
181
for the fields. The only significant difference emerged in self-taught training with a
smaller percentage of members in the “Both” group having self-taught training.
Table 7.13 – Interpersonal Skill 26: Interacting with Diverse Voice Users
N = 50 N = 63 N = 33
1
Interacting with Diverse 84 (73, 94) 82 (64, 94) 68 (60, 90) 0.091
Voice Users Highly Valued Highly Valued Valued
2
Formal 21 (52%) 20 (38%) 10 (40%) 0.4

Supplementary 17 (42%) 18 (35%) 11 (44%) 0.6
Self-taught 19 (48%) 17 (33%) 4 (16%) 0.032
No Training 2 (5.0%) 7 (13%) 0 (0%) 0.1
0.9
Daily 18 (49%) 21 (45%) 15 (54%)
Weekly 10 (27%) 18 (38%) 7 (25%)
Every other week 5 (14%) 4 (8.5%) 4 (14%)
Monthly 4 (11%) 4 (8.5%) 2 (7.1%)
1
2
3
Fisher's exact test
Knowledge of the Anatomy and Physiology of the Human Voice
Table 7.14 shows the results of the skill “knowledge of the anatomy and
physiology of the human voice.” While there were no significant differences in types of
training and frequency of use for this skill, teachers of singing indicated a significantly
higher value. This could be indicative of the amount of value placed on this topic in vocal
pedagogy coursework. In the next chapter, this skill will be further discussed in light of
the focus group results.

182
Table 7.14 – Interpersonal Skill 2: Knowledge of the Anatomy and Physiology of the
Human Voice
N = 50 N = 63 N = 33
1
Knowledge of the 83 (64, 97) 71 (58, 92) 66 (52, 83) 0.044
Anatomy and Physiology Highly Valued Valued Valued
of the Human Voice
Formal 24 (55%) 31 (55%) 12 (38%) 0.2

Supplementary 21 (48%) 25 (45%) 14 (44%) >0.9
Self-taught 13 (30%) 8 (14%) 5 (16%) 0.13
No Training 0 (0%) 0 (0%) 1 (3.1%) 0.2
0.7
Daily 22 (54%) 20 (38%) 15 (48%)
Weekly 9 (22%) 19 (37%) 7 (23%)
Every other week 5 (12%) 7 (13%) 6 (19%)
Monthly 5 (12%) 6 (12%) 3 (9.7%)
1
2
3
Fisher's exact test
Types of Training
Specializing in One or Two Specific Discipline Areas and/or Techniques
The Med Subjects in Phase 1, though they recognized the diversity of their
training, spoke more about focusing on the one or two specific techniques needed to treat
voice users in their care. This interpersonal skill, “specializing in one or two specific
discipline areas and/or techniques” (Table 7.15), was written in contrast with “being
versed in a number (3+) of different discipline areas and/or techniques” (discussed next),
to see if there were any differences between groups regarding types of knowledge and
183
specialization. While there were no significant differences in value, training, or use of
this skill, the medians for this skill were slightly lower than “being versed in a number
(3+) of different discipline areas and/or techniques” in all three groups, as were
percentages of daily use in all three groups. This could mean that voice experts, no matter
the field, have a higher value and a higher usage of more than one or two disciplines or
techniques.
Table 7.15 – Interpersonal Skill 19: Specializing in One or Two Specific Discipline Areas
and/or Techniques
N = 50 N = 63 N = 33
1
Specializing in One or 75 (50, 88) 75 (54, 85) 68 (64, 80) 0.9
Two Specific Discipline Valued Valued Valued
Areas and/or Techniques
Formal 25 (61%) 26 (48%) 14 (56%) 0.5

Supplementary 12 (29%) 27 (50%) 9 (36%) 0.11
Self-taught 12 (29%) 9 (17%) 2 (8.0%) 0.1
No Training 4 (9.8%) 3 (5.6%) 0 (0%) 0.3
0.8
Daily 13 (36%) 18 (37%) 11 (38%)
Weekly 16 (44%) 16 (33%) 11 (38%)
Every other week 4 (11%) 7 (14%) 5 (17%)
Monthly 3 (8.3%) 8 (16%) 2 (6.9%)
1
2
3
Fisher's exact test
184
Being Versed in a Number (3+) of Different Discipline Areas and/or Techniques
The Singing Teachers in Phase 1 gave examples of how many different types of
techniques and vocal disciplines are needed to teach singers. Table 7.16 shows the results
for the skill “being versed in a number (3+) of different discipline areas and/or
techniques.” The one statistically significant difference for this skill was that a higher
percentage of teachers of singing indicated self-taught training in this skill, though
moderately large percentages of teachers of singing indicated formal and supplementary
training as well. With a number of teaching philosophies and styles available, especially
in terms of different genres of music, teachers of singing may pursue self-taught training
to familiarize themselves with these discipline areas.

185
Table 7.16 – Interpersonal Skill 29: Being Versed in a Number (3+) of Different
Discipline Areas and/or Techniques
N = 50 N = 63 N = 33
1
Being Versed in a Number 78 (70, 90) 76 (63, 86) 82 (71, 91) 0.2
(3+) of Different Valued Valued Highly
Discipline Areas and/or Valued
Techniques
Formal 17 (44%) 31 (61%) 14 (56%) 0.3

Supplementary 15 (38%) 24 (47%) 8 (32%) 0.4
Self-taught 18 (46%) 9 (18%) 5 (20%) 0.007
No Training 3 (7.7%) 1 (2.0%) 0 (0%) 0.3
0.2
Daily 24 (60%) 23 (44%) 14 (48%)
Weekly 6 (15%) 15 (29%) 5 (17%)
Every other week 3 (7.5%) 7 (13%) 8 (28%)
Monthly 7 (18%) 7 (13%) 2 (6.9%)
1
2
3
Fisher's exact test
Continuing My Education
In the qualitative interviews, participants indicated pursuing continuing education
through formal degree programs, supplementary workshops and clinics, and personal
methods, such as reading and researching. Therefore, it is not surprising that there were
no significant differences in the formal, supplementary, or self-taught categories of
training in regard to “continuing my education,” as it is expected that voice experts will
approach this skill in a number of different ways. However, three teachers of singing
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(7.7%) received no training in this skill (a significant finding), and frequency of use of
this skill was significantly different among the groups. Since this skill was “Valued” or
“Somewhat Valued” by all groups, more attention could be given to how to train and
implement this skill. See Table 7.17 below.
Table 7.17 – Interpersonal Skill 8: Continuing My Education

N = 50 N = 63 N = 33
1
Continuing My Education 84 (72, 97) 79 (69, 86) 81 (68, 86) 0.12
Highly Valued Valued Highly
Valued
2
Formal 17 (44%) 35 (64%) 19 (70%) 0.057

Supplementary 19 (49%) 17 (31%) 6 (22%) 0.061
Self-taught 12 (31%) 14 (25%) 2 (7.4%) 0.074
No Training 3 (7.7%) 0 (0%) 0 (0%) 0.042
0.015
Daily 13 (34%) 14 (34%) 15 (52%)
Weekly 14 (37%) 6 (15%) 7 (24%)
Every other week 7 (18%) 10 (24%) 7 (24%)
Monthly 4 (11%) 11 (27%) 0 (0%)
1
2
3
Fisher's exact test
Developing Pedagogical Content Knowledge, Either Through Research or Experience
Statistically significant differences arose in regard to value of and self-taught
training in “developing pedagogical content knowledge, either through research or
experience,” with teachers of singing indicating a higher value and a higher percentage of
187
self-taught participants. In fact, teachers of singing indicated higher percentages of
training in formal, supplementary, and self-taught training, suggesting that, overall, they
have more training in this skill. Seven speech-language pathologists (13%) indicated
having no training in this skill. These results could be reflective of how the fields as a
whole view pedagogical content knowledge. Teachers of singing may be more concerned
with pedagogical content knowledge because of the need to know not only how to sing,
but how to teach others to sing. The groups use this skill in similar ways, as shown in
Table 7.18.
Table 7.18 – Interpersonal Skill 14: Developing Pedagogical Content Knowledge, Either
Through Research or Experience
N = 50 N = 63 N = 33
1
Developing Pedagogical 86 (75, 95) 75 (60, 89) 80 (66, 92) 0.017
Content Knowledge, Highly Valued Valued Highly
Either Through Research
Valued
or Experience
Formal 24 (59%) 27 (50%) 14 (54%) 0.7

Supplementary 17 (41%) 16 (30%) 9 (35%) 0.5
Self-taught 15 (37%) 7 (13%) 3 (12%) 0.008
No Training 3 (7.3%) 7 (13%) 0 (0%) 0.12
>0.9
Daily 10 (29%) 12 (30%) 11 (42%)
Weekly 15 (43%) 14 (35%) 8 (31%)
Every other week 7 (20%) 10 (25%) 5 (19%)
Monthly 3 (8.6%) 4 (10%) 2 (7.7%)
1
2
3
Fisher's exact test
188
Teamwork
Collaborating with Others in Voice Related Fields
The importance of multidisciplinary teamwork was an important outcome of the
qualitative interviews. In order to determine the generalizability of this, the survey
participants were asked about their value, training, and use of “collaborating with others
in voice related fields.” There was a significant difference in value, as shown in Table
7.19, with teachers of singing valuing this skill at a higher median. A statistically
significant difference was also seen in the use of this skill among the three groups, with
68% of participants in the “Both” group indicating daily use of this skill. This makes
sense for voice experts who function evenly in both fields. High percentages of
participants in all of the groups indicated daily or weekly use of this skill.
189
Table 7.19 – Interpersonal Skill 23: Collaborating with Others in Voice Related Fields
N = 50 N = 63 N = 33
1
Collaborating with Others 88 (68, 96) 71 (59, 86) 74 (60, 89) 0.028
in Voice Related Fields Highly Valued Valued Valued
2
Formal 15 (37%) 27 (50%) 12 (48%) 0.4

Supplementary 13 (32%) 21 (39%) 7 (28%) 0.6
Self-taught 14 (34%) 8 (15%) 6 (24%) 0.087
No Training 7 (17%) 4 (7.4%) 0 (0%) 0.054
0.002
Daily 7 (19%) 14 (30%) 19 (68%)
Weekly 11 (30%) 15 (32%) 5 (18%)
Every other week 7 (19%) 11 (23%) 3 (11%)
Monthly 12 (32%) 7 (15%) 1 (3.6%)
1
2
3
Fisher's exact test
Giving Feedback in a Concise Manner
Feedback was a theme that emerged in Phase 1, as was the need to be clear and
concise when communicating with voice users in both fields. The quantitative results
corroborated this finding, as shown in Table 7.20, with no significant differences in
value, training, or use of “giving feedback in a concise manner,” with all groups valuing
this skill, large percentages of participants having training in this skill, and large
190
percentages using this skill on a daily and weekly basis. This is a skill in which the fields
align.
Table 7.20 – Interpersonal Skill 18: Giving Feedback in a Concise Manner

N = 50 N = 63 N = 33
1
Giving Feedback in a 91 (78, 99) 84 (68, 96) 88 (78, 92) 0.1
Concise Manner Valued Valued Valued
2
Formal 20 (50%) 27 (51%) 9 (36%) 0.4

Supplementary 12 (30%) 21 (40%) 11 (44%) 0.5
Self-taught 14 (35%) 13 (25%) 4 (16%) 0.2
No Training 3 (7.5%) 1 (1.9%) 1 (4.0%) 0.4
0.4
Daily 24 (60%) 27 (47%) 11 (41%)
Weekly 7 (18%) 19 (33%) 9 (33%)
Every other week 6 (15%) 8 (14%) 3 (11%)
Monthly 3 (7.5%) 3 (5.3%) 4 (15%)
1
2
3
Fisher's exact test
Using Prompting Questions
The “ToS” group valued the skill of “using prompting questions” at a
significantly higher amount than the other two groups, which is interesting as more Med
Subjects in Phase 1 talked about their types of questioning with voice users. Table 7.21
shows this as well as two other differences in training. A higher percentage of the “SLP”
group indicated supplementary training in this skill, so perhaps it is a common topic or
technique taught at workshops or clinics. A higher percentage of members in the “ToS”

191
group indicated self-taught training in this. Perhaps the field of voice pedagogy could
implement more supplementary training in this skill, especially since a high percentage of
teachers of singing use this skill on a daily basis. Use of this skill was significantly
different among the three groups.
Table 7.21 – Interpersonal Skill 32: Using Prompting Questions

N = 50 N = 63 N = 33
1
Using Prompting 87 (72, 98) 77 (62, 88) 76 (62, 87) 0.021
Questions Highly Valued Valued Valued
2
Formal 17 (44%) 30 (59%) 15 (62%) 0.2

Supplementary 10 (26%) 26 (51%) 6 (25%) 0.019
Self-taught 21 (54%) 8 (16%) 3 (12%) <0.001
No Training 4 (10%) 1 (2.0%) 0 (0%) 0.14
0.035
Daily 29 (69%) 34 (60%) 13 (46%)
Weekly 3 (7.1%) 13 (23%) 11 (39%)
Every other week 8 (19%) 5 (8.8%) 2 (7.1%)
Monthly 2 (4.8%) 5 (8.8%) 2 (7.1%)
1
2
3
Fisher's exact test
Listening
“Listening,” a theme that emerged from the qualitative interviews in Phase 1, was
a skill valued by teachers of singing at a significantly higher amount, as shown in Table

192
7.22. Also, a significantly higher percentage of teachers of singing indicated using more
self-taught training in this skill, while formal and supplementary education was similar
across groups. Use of this skill was, likewise, consistent across all three groups, with
large percentages of participants using it either daily or weekly.
Table 7.22 – Interpersonal Skill 1: Listening

N = 50 N = 63 N = 33
1
Listening 90 (66, 100) 75 (65, 100) 68 (60, 72) 0.005
Highly Valued Valued Valued
2
Formal 23 (50%) 35 (57%) 17 (55%) 0.7

Supplementary 17 (37%) 21 (34%) 13 (42%) 0.8
Self-taught 17 (37%) 14 (23%) 4 (13%) 0.05
No Training 1 (2.2%) 1 (1.6%) 0 (0%) >0.9
0.4
Daily 21 (48%) 34 (58%) 9 (32%)
Weekly 12 (27%) 13 (22%) 10 (36%)
Every other week 8 (18%) 8 (14%) 5 (18%)
Monthly 3 (6.8%) 4 (6.8%) 4 (14%)
1
2
3
Fisher's exact test
Using My Intuition
In the qualitative interviews, Singing Teachers 1 and 2 indicated using their
intuition when working with voice users, which was the inspiration for including this skill
on the quantitative survey in order to determine if more voice experts valued, were
trained in, and/or used this skill. Teachers of singing indicated valuing this skill at a
193
higher median amount, as shown in Table 7.23. There was also a statistically significant
difference in value among the groups, as well as a significant difference in self-taught
training, with a smaller percentage of participants in the “Both” group selecting this
answer. Intuition was similarly used among the groups, and while it can vary among
individuals, it may be a skill that should be further discussed by voice experts.
Table 7.23 – Interpersonal Skill 21: Using My Intuition

N = 50 N = 63 N = 33
1
Using My Intuition 88 (81, 96) 80 (69, 91) 75 (66, 86) <0.001
2
Formal 15 (37%) 13 (25%) 11 (42%) 0.2

Supplementary 11 (27%) 18 (34%) 11 (42%) 0.4
Self-taught 19 (46%) 23 (43%) 3 (12%) 0.008
No Training 4 (9.8%) 2 (3.8%) 1 (3.8%) 0.5
0.7
Daily 23 (56%) 36 (63%) 12 (44%)
Weekly 11 (27%) 15 (26%) 10 (37%)
Every other week 5 (12%) 4 (7.0%) 4 (15%)
Monthly 2 (4.9%) 2 (3.5%) 1 (3.7%)
1
2
3
Fisher's exact test
Allowing Voice Users to Make Decisions
All three groups valued “allowing voice users to make decisions,” shown in Table
7.24, and many participants use this skill on a daily basis. The only statistically
194
significant difference emerged in regard to self-taught training, with 56% of teachers of
singing selecting this answer, as compared to 35% of speech-language pathologists and
21% of voice experts who operate evenly in both fields.
Table 7.24 – Interpersonal Skill 31: Allowing Voice Users to Make Decisions
N = 50 N = 63 N = 33
1
Allowing Voice Users to 87 (79, 95) 86 (77, 97) 84 (74, 91) 0.3
Make Decisions Valued Valued Valued
2
Formal 16 (41%) 23 (45%) 14 (58%) 0.4

Supplementary 8 (21%) 17 (33%) 5 (21%) 0.3
Self-taught 22 (56%) 18 (35%) 5 (21%) 0.014
No Training 4 (10%) 3 (5.9%) 0 (0%) 0.3
0.8
Daily 20 (48%) 29 (53%) 12 (43%)
Weekly 10 (24%) 10 (18%) 9 (32%)
Every other week 7 (17%) 8 (15%) 5 (18%)
Monthly 5 (12%) 8 (15%) 2 (7.1%)
1
2
3
Fisher's exact test
Setting Realistic Goals and/or Expectations with Voice Users
“Setting realistic goals and/or expectations with voice users” was similarly valued
and used among the groups, while higher percentages of teachers of singing indicated
having self-taught training or no training in this skill, with statistical significance shown
in Table 7.25. The “ToS” group valued this skill with 62% indicating use of it on a daily
basis, possibly why many of them have self-taught themselves this skill. For teachers of
195
singing, including the four who indicated having no training in this skill, perhaps more
supplementary training could bolster their goal-setting abilities.
Table 7.25 – Interpersonal Skill 22: Setting Realistic Goals and/or Expectations with
Voice Users
N = 50 N = 63 N = 33
1
Setting Realistic Goals 84 (70, 97) 78 (66, 90) 74 (63, 86) 0.052
and/or Expectations with Highly Valued Valued Valued
Voice Users
Formal 23 (56%) 39 (72%) 12 (48%) 0.08

Supplementary 12 (29%) 20 (37%) 10 (40%) 0.6
Self-taught 18 (44%) 8 (15%) 3 (12%) 0.001
No Training 4 (9.8%) 0 (0%) 0 (0%) 0.025
0.2
Daily 23 (62%) 19 (37%) 12 (43%)
Weekly 7 (19%) 20 (39%) 11 (39%)
Every other week 3 (8.1%) 6 (12%) 4 (14%)
Monthly 4 (11%) 6 (12%) 1 (3.6%)
1
2
3
Fisher's exact test
Teaching Techniques
Flexibility in Instructional Techniques
“Flexibility in instructional techniques,” the skill shown in Table 7.26, resulted in
only one statistically significant difference, in the percentages of self-taught training.
There were 18 teachers of singing (44%), 15 speech-language pathologists (29%), and

196
only 4 participants who work evenly in both fields (15%) that indicated self-taught
training. Similar to other skills, perhaps more teachers of singing are pursuing self-taught
training because of their high value of this skill. The interview participants in Phase 1
expressed the need for flexibility and adaptation when working with voice users, which
was affirmed by the reported use of this skill on the survey, with 50% or more of
participants in all groups using this skill on a daily basis.
Table 7.26 – Interpersonal Skill 20: Flexibility in Instructional Techniques

N = 50 N = 63 N = 33
1
Flexibility in Instructional 92 (70, 100) 82 (72, 91) 84 (68, 93) 0.14
Techniques Highly Valued Highly Valued Highly
Valued
2
Formal 23 (56%) 26 (50%) 15 (58%) 0.8

Supplementary 18 (44%) 25 (48%) 7 (27%) 0.2
Self-taught 18 (44%) 15 (29%) 4 (15%) 0.044
No Training 1 (2.4%) 1 (1.9%) 0 (0%) >0.9
>0.9
Daily 26 (62%) 33 (57%) 14 (50%)
Weekly 10 (24%) 15 (26%) 10 (36%)
Every other week 4 (9.5%) 7 (12%) 3 (11%)
Monthly 2 (4.8%) 3 (5.2%) 1 (3.6%)
1
2
3
Fisher's exact test
197
Starting with Fundamentals and Building from There
There were no significant differences in value, training, or use of the skill
“starting with fundamentals and building from there.” This suggests that this is a skill in
which the fields are aligned. Furthermore, this was the only skill for which zero percent
of the participants answered, “No training”, meaning every participant had some type of
training in this skill. This emphasizes the importance of training in this skill to work with
voice users across fields.
Table 7.27 – Interpersonal Skill 4: Starting with Fundamentals and Building from There
N = 50 N = 63 N = 33
1
Starting with 89 (71, 100) 85 (70, 94) 78 (66, 88) 0.056
Fundamentals and Highly Valued Highly Valued Valued
Building from There
Formal 25 (61%) 33 (62%) 13 (52%) 0.7

Supplementary 20 (49%) 18 (34%) 11 (44%) 0.3
Self-taught 11 (27%) 11 (21%) 1 (4.0%) 0.056
No Training 0 (0%) 0 (0%) 0 (0%)
0.6
Daily 19 (49%) 29 (55%) 14 (52%)
Weekly 12 (31%) 10 (19%) 8 (30%)
Every other week 2 (5.1%) 8 (15%) 2 (7.4%)
Monthly 6 (15%) 6 (11%) 3 (11%)
1
2
3
Fisher's exact test
198
Attending and/or Presenting at Conferences
The results for “attending and/or presenting at conferences” are shown in Table
7.28. A conference is different than a workshop or clinic (discussed next) in terms of
attendance size and scope of information. The results of this item were surprising with
large percentages indicating daily or weekly use of this skill, which is unexplainable.
Value of this skill was similar across the groups, as was formal, supplementary, and self-
taught training. A difference occurred in relation to no training, since zero participants in
the “Both” group indicated no training. In other words, all respondents in the “Both”
group had some type of training, while 21% of the “ToS” respondents and 12% of the
“SLP” respondents had no training in this skill.

199
Table 7.28 – Interpersonal Skill 33: Attending and/or Presenting at Conferences

N = 50 N = 63 N = 33
1
Attending and/or 83 (67, 93) 80 (58, 89) 85 (76, 90) 0.11
Presenting at Conferences Highly Valued Highly Valued Highly
Valued
2
Formal 16 (41%) 23 (46%) 13 (54%) 0.6

Supplementary 9 (23%) 17 (34%) 9 (38%) 0.4
Self-taught 13 (33%) 10 (20%) 2 (8.3%) 0.06
No Training 8 (21%) 6 (12%) 0 (0%) 0.048
0.064
Daily 9 (41%) 17 (47%) 18 (67%)
Weekly 7 (32%) 11 (31%) 3 (11%)
Every other week 1 (4.5%) 6 (17%) 5 (19%)
Monthly 5 (23%) 2 (5.6%) 1 (3.7%)
1
2
3
Fisher's exact test
Attending and/or Presenting at Workshops and/or Clinics
Table 7.29 shows the results for the skill “attending and/or presenting at
workshops and/or clinics.” There were no significant differences found in value, formal
training, supplementary training, or self-taught training. A larger percentage of teachers
of singing indicated having no training in this skill (a significant difference). For this
reason and more, it is surprising that so many participants indicated either daily or
weekly use of this skill. Looking at the table below, there is a statistically significant
difference among the groups in regard to use of this skill, but it seems infeasible that
200
voice experts are attending workshops and/or clinics daily. Possibly participants
misunderstood the question, or perhaps, similar to the skill “contributing research to my
field” (discussed next) considered preparing for presentations part of their daily and
weekly work. This question was also answered by the smallest number of participants in
the “Use” section (N=81). Nonetheless, the findings for this skill raise questions about
the role of workshops and clinics in the careers of voice experts. If it is valued as much
and used as frequently as the participants indicated, then training in this skill may need
more standardization.
Table 7.29 – Interpersonal Skill 13: Attending and/or Presenting at Workshops and/or
Clinics
N = 50 N = 63 N = 33
1
Attending and/or 84 (62, 92) 76 (52, 87) 80 (65, 86) 0.13
Presenting at Workshops Highly Valued Valued Highly
and/or Clinics Valued
2
Formal 14 (34%) 23 (42%) 14 (54%) 0.3

Supplementary 15 (37%) 21 (38%) 9 (35%) >0.9
Self-taught 12 (29%) 12 (22%) 2 (7.7%) 0.11
No Training 8 (20%) 3 (5.5%) 1 (3.8%) 0.047
0.03
Daily 7 (35%) 9 (26%) 12 (46%)
Weekly 6 (30%) 10 (29%) 9 (35%)
Every other week 1 (5.0%) 10 (29%) 5 (19%)
Monthly 6 (30%) 6 (17%) 0 (0%)
1
2
3
Fisher's exact test
201
Contributing Research to My Field
“Contributing research to my field” was “Valued” by all three groups and use of
this skill was not statistically different among the groups. However, it was surprising that
so many participants indicated daily use of this skill, as it was predicted that this would
likely be a monthly, or even a yearly occurrence for most participants. Two questions
arise from this. The first: Why isn’t this valued at a higher level if it is frequently used?
The second: How does one contribute research daily, in practice, with all of the ins and
outs of research procedure in mind? Perhaps these participants have research projects on
which they work daily, or perhaps they have different definitions of what “contributing
research” means, possibly participating in surveys such as this one. Also, there was a
statistically significant difference in responses to the no training option, as shown in
Table 7.30. If this skill is really used on a frequent basis, then more training, especially
from formal institutions, should be provided to teachers of singing and speech-language
pathologists.
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Table 7.30 – Interpersonal Skill 11: Contributing Research to My Field

N = 50 N = 63 N = 33
1
Contributing Research to 76 (60, 90) 74 (57, 89) 73 (66, 87) 0.8
My Field Valued Valued Valued
2
Formal 22 (54%) 25 (45%) 13 (50%) 0.7

Supplementary 10 (24%) 14 (25%) 10 (38%) 0.4
Self-taught 8 (20%) 9 (16%) 3 (12%) 0.7
No Training 6 (15%) 11 (20%) 0 (0%) 0.033
0.8
Daily 9 (41%) 15 (43%) 13 (43%)
Weekly 6 (27%) 8 (23%) 6 (20%)
Every other week 1 (4.5%) 6 (17%) 6 (20%)
Monthly 6 (27%) 6 (17%) 5 (17%)
1
2
3
Fisher's exact test
Reading Publications in My Field
The only significant difference that emerged in regard to the skill “reading
publications in my field” was that only one participant in the “Both” category indicated
having self-taught training in this skill, as compared to higher percentages in the “ToS”
and “SLP” categories. High percentages of participants in the “Both” category indicated
formal and supplementary training, as shown in Table 7.31, so perhaps they felt that self-
taught training was not necessary.

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Table 7.31 – Interpersonal Skill 10: Reading Publications in My Field

N = 50 N = 63 N = 33
1
Reading Publications in 86 (74, 95) 76 (61, 90) 84 (74, 90) 0.061
My Field Highly Valued Valued Highly
Valued
2
Formal 19 (48%) 30 (55%) 15 (56%) 0.7

Supplementary 9 (22%) 15 (27%) 10 (37%) 0.4
Self-taught 15 (38%) 17 (31%) 1 (3.7%) 0.006
No Training 5 (12%) 4 (7.3%) 2 (7.4%) 0.7
0.8
Daily 12 (31%) 15 (35%) 13 (48%)
Weekly 14 (36%) 14 (33%) 9 (33%)
Every other week 6 (15%) 8 (19%) 3 (11%)
Monthly 7 (18%) 6 (14%) 2 (7.4%)
1
2
3
Fisher's exact test
Preparedness
“Preparedness,” as shown in Table 7.32 was largely similar among the groups,
with the only statistically significant difference occurring in relation to self-taught
training. A smaller percentage of members who operate evenly in both fields indicated
self-taught training in “preparedness” at 17%, as compared to 49% of teachers of singing
and 34% of speech-language pathologists.

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Table 7.32 – Interpersonal Skill 25: Preparedness

N = 50 N = 63 N = 33
1
Preparedness 88 (71, 99) 80 (70, 90) 78 (66, 91) 0.2
2
Formal 26 (63%) 28 (53%) 9 (39%) 0.2

Supplementary 14 (34%) 15 (28%) 10 (43%) 0.4
Self-taught 20 (49%) 18 (34%) 4 (17%) 0.039
No Training 1 (2.4%) 2 (3.8%) 0 (0%) >0.9
0.2
Daily 25 (61%) 29 (49%) 15 (52%)
Weekly 6 (15%) 20 (34%) 5 (17%)
Every other week 6 (15%) 6 (10%) 7 (24%)
Monthly 4 (9.8%) 4 (6.8%) 2 (6.9%)
1
2
3
Fisher's exact test
Reflecting on My Encounters with Voice Users After a Lesson, Session, or Appointment
Teachers of singing indicated a higher value of “reflecting on my encounters with
voice users after a lesson, session, or appointment,” with a statistically significant
difference, as well as had a significantly lower percentage of formal training and a
significantly higher percentage of self-taught training. Perhaps teachers of singing rely
more on self-taught training because they value this skill. It could be beneficial to provide
teachers of singing with more formal education on how to reflect on their encounters.
Table 7.33 shows the results for this skill.

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Table 7.33 – Interpersonal Skill 12: Reflecting on My Encounters with Voice Users After
a Lesson, Session, or Appointment
N = 50 N = 63 N = 33
1
Reflecting on My 83 (71, 94) 69 (59, 83) 78 (68, 92) 0.014
Encounters with Voice Highly Valued Valued Valued
Users After a Lesson,
Session, or Appointment
Formal 12 (29%) 30 (57%) 17 (63%) 0.008

Supplementary 9 (22%) 17 (32%) 8 (30%) 0.5
Self-taught 21 (51%) 11 (21%) 3 (11%) <0.001
No Training 5 (12%) 4 (7.5%) 0 (0%) 0.2
0.4
Daily 25 (64%) 22 (44%) 12 (40%)
Weekly 11 (28%) 18 (36%) 12 (40%)
Every other week 2 (5.1%) 5 (10%) 4 (13%)
Monthly 1 (2.6%) 5 (10%) 2 (6.7%)
1
2
3
Fisher's exact test
Pursuing Personal Growth in My Field
Table 7.34 shows the results for the skill “pursuing personal growth in my field,”
for which there were no significant differences among the groups. This is a skill in which
the fields are in alignment, and value, training, and use of this skill are consistent.
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Table 7.34 – Interpersonal Skill 16: Pursuing Personal Growth in My Field

N = 50 N = 63 N = 33
1
Pursuing Personal Growth 84 (72, 99) 79 (58, 92) 79 (72, 88) 0.064
in My Field Highly Valued Valued Valued
2
Formal 11 (27%) 23 (42%) 12 (46%) 0.2

Supplementary 17 (41%) 19 (35%) 8 (31%) 0.6
Self-taught 18 (44%) 18 (33%) 6 (23%) 0.2
No Training 4 (9.8%) 1 (1.8%) 0 (0%) 0.11
0.8
Daily 13 (34%) 16 (33%) 11 (41%)
Weekly 12 (32%) 18 (37%) 5 (19%)
Every other week 7 (18%) 8 (16%) 7 (26%)
Monthly 6 (16%) 7 (14%) 4 (15%)
1
2
3
Fisher's exact test
Using Technology
A few suggestions for incorporating technology were provided by participants in
the qualitative interviews, including applications for organization and management, as
well as for teaching content. In the qualitative survey, there were no significant
differences in value or usage of this skill, but five teachers of singing (12%) did indicate
having no training in this skill, reflecting a significant difference among the groups.
Technology is increasingly becoming a part of the voice studio and can be another tool in
teachers’ toolboxes, according to Moss Erickson (2021, p. 435). Training, especially
through formal education, should continue to be used to alleviate gaps in knowledge

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regarding technology and how to incorporate it with singers, especially as it is valued at a
median of 84 by teachers of singing participants. Table 7.35 displays these findings.
Table 7.35 – Interpersonal Skill 7: Using Technology

N = 50 N = 63 N = 33
1
Using Technology 84 (55, 92) 77 (66, 90) 77 (68, 90) >0.9
Valued Somewhat Somewhat
Valued Valued
2
Formal 17 (42%) 25 (47%) 13 (50%) 0.8

Supplementary 14 (35%) 25 (47%) 8 (31%) 0.3
Self-taught 14 (35%) 13 (25%) 5 (19%) 0.3
No Training 5 (12%) 0 (0%) 0 (0%) 0.007
0.3
Daily 21 (51%) 27 (48%) 12 (40%)
Weekly 11 (27%) 17 (30%) 6 (20%)
Every other week 8 (20%) 6 (11%) 8 (27%)
Monthly 1 (2.4%) 6 (11%) 4 (13%)
1
2
3
Fisher's exact test
Interpersonal Techniques
In addition to the 33 skills, participants indicated their use of certain techniques,
which were discovered in the qualitative interviews and included in the survey as a
“check all that apply” question. Table 7.36 displays responses with significant differences
between the fields. From this data set, there are fewer participants who operate evenly in
both fields who hold professional memberships and use small talk, while a higher
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percentage of teachers of singing take voice lessons for their own development, offer
voice users a sample lesson, and attend performances of their students and performances
in general.
Table 7.36 – Interpersonal Techniques

Variable N ToS SLP BOTH p-value2
N = 501 N = 631 N = 331
I hold a professional 146 23 (46%) 18 (29%) 3 (9.1%) 0.002
membership(s)
I attend performances of any 146 29 (58%) 18 (29%) 17 (52%) 0.004
voice users, not just ones I
know
I attend performances of 146 36 (72%) 28 (44%) 25 (76%) 0.002
voice users with whom I
currently working
I use small talk with voice 146 20 (40%) 27 (43%) 3 (9.1%) 0.002
users
I offer voice users a sample
146 14 (28%) 6 (9.5%) 2 (6.1%) 0.01
lesson and/or session
I take voice lessons for my
146 17 (34%) 9 (14%) 3 (9.1%) 0.007
own vocal development
1n (%) – Items not mutually exclusive
2Pearson's Chi-squared test; Fisher's exact test
Motivation
Finally, participants indicated types of pedagogical motivation in their own
practice. Results from this “check all that apply” question show significant differences
between the fields in Table 7.37. See Appendix F.5 for the full results of the “check all
that apply” questions about techniques and Appendix F.6 for results about types of
motivation.
For “service to individuals” and “using creativity,” a lower percentage of
professionals who operate evenly in both fields indicated being motivated by these. The
group with the highest percentage of individuals who were motivated by “service to
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individuals” was speech-language pathologists at 65%. However, for all of the other
statements in Table 7.37, teachers of singing had the highest percentage of agreement.
Many of these findings align with statements made in the qualitative interviews and focus
group, as will be discussed in the results of the next chapter, especially in terms of
teachers of singing being motivated by mentoring others and building relationships. This
reflects research done in pedagogical content knowledge, musical mentorship, and
musical apprenticeship. Motivation is highly individualized, but these results could be
used to question generalizations made about voice experts.
Table 7.37 – Pedagogical Motivation

Variable N ToS SLP BOTH p-value2
N = 501 N = 631 N = 331
Positive feedback from voice 146 20 (40%) 13 (21%) 4 (12%) 0.009
users and/or their family
members
Building relationships with 146 20 (40%) 12 (19%) 2 (6.1%) <0.001
voice users
I was/am inspired by 146 17 (34%) 9 (14%) 2 (6.1%) 0.003
personal mentors
Mentoring others 146 20 (40%) 11 (17%) 4 (12%) 0.004
Using creativity 146 24 (48%) 25 (40%) 4 (12%) 0.003
Service to individuals 146 32 (64%) 41 (65%) 11 (33%) 0.006
1n (%) – Items not mutually exclusive
Phase 2 Conclusions
There were many significant findings regarding the value of certain skills
discussed in this chapter. There were significantly high medians from the “ToS” group
regarding the value of 12 skills, listed in Table 7.38 below, and the “SLP” group
regarding the value of two skills, listed in Table 7.39. There were no skills in which
significance was found and the “Both” group had the highest median.
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TABLE 7.38 – STATISTICALLY SIGNIFICANT VALUED SKILLS FOR TEACHERS OF SINGING

ToS SLP BOTH p-
Theme Item N
N = 501 N = 631 N = 331 value2
being a life coach to the voice users with 142 80 (66, 88) 67 (44, 77) 66 (55, 84) 0.005
whom I work Highly Valued Valued Valued
humor 142 90 (74, 100) 84 (69, 96) 73 (62, 82) 0.004
RELATIONSHIP-BUILDING
respectful relationships with voice users 141 92 (68, 100) 74 (65, 95) 75 (65, 84) 0.048
making voice users feel safe 143 90 (76, 100) 79 (70, 96) 78 (59, 88) 0.019
SAFE ENVIRONMENTS
knowledge of the anatomy and physiology 143 83 (64, 97) 71 (58, 92) 66 (52, 83) 0.044
of the human voice Highly Valued Valued Valued
VOICE-USER-LED PRACTICES
giving voice users a space to vent and/or be 141 92 (74, 100) 76 (57, 93) 62 (57, 76) <0.001
vulnerable Highly Valued Valued Valued
developing pedagogical content knowledge, 141 86 (75, 95) 75 (60, 89) 80 (66, 92) 0.017
TYPES OF TRAINING either through research or experience Highly Valued Valued Highly Valued
collaborating with others in voice related 141 88 (68, 96) 71 (59, 86) 74 (60, 89) 0.028
TEAMWORK fields Highly Valued Valued Valued
VERBAL COMMUNICATION AND using prompting questions 141 87 (72, 98) 77 (62, 88) 76 (62, 87) 0.021
FEEDBACK Highly Valued Valued Valued
listening 143 90 (66, 100) 75 (65, 100) 68 (60, 72) 0.005
NON-VERBAL COMMUNICATION
AND LISTENING SKILLS using my intuition 142 88 (81, 96) 80 (69, 91) 75 (66, 86) <0.001
reflecting on my encounters with voice 141 83 (71, 94) 69 (59, 83) 78 (68, 92) 0.014
PROFESSIONAL DEMANDS users after a lesson, session, or appointment Highly Valued Valued Valued
1
Median (IQR), 2Kruskal-Wallis rank sum test
210
211
TABLE 7.39 – STATISTICALLY SIGNIFICANT VALUED SKILLS FOR SPEECH-LANGUAGE PATHOLOGISTS

ToS SLP BOTH p-
Theme Item N 1 1 1
N = 50 N = 63 N = 33 value2
91 (80, 100) 92 (82, 100) 84 (71, 93)
trust 138 0.037
RELATIONSHIP- Highly Valued Highly Valued Highly Valued
BUILDING 83 (77, 99) 91 (79, 100) 80 (72, 88)
empathy 141 0.011
Highly Valued Highly Valued Highly Valued
1
Median (IQR)
2
211
212
TABLE 7.40 – SIGNIFICANT DIFFERENCES IN USE

ToS SLP BOTH
Theme Item N p-value2
N = 501 N = 631 N = 331
continuing my education 108 0.015
Daily 13 (34%) 14 (34%) 15 (52%)
Weekly 14 (37%) 6 (15%) 7 (24%)
TYPES OF TRAINING
Every other week 7 (18%) 10 (24%) 7 (24%)
Monthly 4 (11%) 11 (27%) 0 (0%)
collaborating with others in voice related fields 112 0.002
Daily 7 (19%) 14 (30%) 19 (68%)

TEAMWORK Weekly 11 (30%) 15 (32%) 5 (18%)
Every other week 7 (19%) 11 (23%) 3 (11%)
Monthly 12 (32%) 7 (15%) 1 (3.6%)
using prompting questions 127 0.035
Daily 29 (69%) 34 (60%) 13 (46%)
VERBAL Weekly 3 (7.1%) 13 (23%) 11 (39%)
COMMUNICATION
AND FEEDBACK Every other week 8 (19%) 5 (8.8%) 2 (7.1%)
Monthly 2 (4.8%) 5 (8.8%) 2 (7.1%)
attending and/or presenting at workshops and/or clinics 81 0.03
Daily 7 (35%) 9 (26%) 12 (46%)
RESEARCH-BASED Weekly 6 (30%) 10 (29%) 9 (35%)
PRACTICES Every other week 1 (5.0%) 10 (29%) 5 (19%)
Monthly 6 (30%) 6 (17%) 0 (0%)
212
213
There were not as many significant findings regarding the use of interpersonal
skills, which suggests that the fields are in more alignment when it comes to using these
skills than valuing or receiving training in them. There were four skills in which
significant differences in use were found between all three groups (“ToS,” “SLP,” and
“Both”), shown in Table 7.40 above.
However, the most startling finding was the number of statements for which
teachers of singing had the highest percentage of self-taught training for statistically
significant statements. Table 7.41 shows the 19 interpersonal skills for which statistical
significance was found and a higher percentage of teachers of singing indicated self-
taught training. For five of these skills (marked with * in Table 7.41), a significant
difference was also found in either formal or supplementary training with teachers of
singing having the lowest percentages when compared to the “SLP” and “Both” groups.
The fact that so many teachers of singing are relying on self-taught training and
lack formal or supplementary training implies that as a profession, teachers of singing are
not being trained in these skills and are relying on their own means to develop them. This
is especially startling because the “ToS” group had the highest median score with
statistical significance regarding the value of nine of these skills (marked with V in Table
7.41). This shows that formal and supplementary training in voice pedagogy were not
sufficient for these participants in developing these valued skills. The more teachers of
singing are given formal training in interpersonal skills through degree programs and
supplementary training from workshops and clinics, such as ones hosted by NATS, the
less they would need to rely on self-teaching.

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TABLE 7.41 – SELF-TAUGHT SKILLS IN TEACHERS OF SINGING

ToS SLP BOTH p-
Theme Item (Related to Self-Taught Training) N 1
N = 46 N = 611 N = 311 value2
humility 18 4
125 20 (36%) 0.039
(43%) (14%)
being a life coach to the voice users with whom I 121 18 4 (7.4%) 5 <0.001
V
work* (44%) (19%)
humor*V 120 23 22 (40%) 1 <0.001
RELATIONSHIP-
(59%) (3.8%)
BUILDING
empathy 119 23 20 (38%) 2 <0.001
(56%) (8.0%)
trust 117 22 23 (44%) 4 0.004
(56%) (15%)
V
respectful relationships with voice users* 114 19 21 (41%) 3 0.012
(49%) (12%)
V
SAFE making voice users feel safe 19 6
121 14 (26%) 0.039
ENVIRONMENTS (48%) (22%)
VOICE-USER-LED interacting with diverse voice users 117 19 17 (33%) 4 0.032
PRACTICES (48%) (16%)
developing pedagogical content knowledge, either 121 15 7 (13%) 3 0.008
TYPES OF through research or experience V (37%) (12%)
TRAINING
being versed in a number (3+) of different discipline 115 18 9 (18%) 5 0.007
areas and/or techniques (46%) (20%)
214
215
TABLE 7.41 – SELF-TAUGHT SKILLS IN TEACHERS OF SINGING (continued)

ToS SLP BOTH p-
Theme Item (Related to Self-Taught Training) N
N = 46 N = 611
1
N = 311 value2
VERBAL using prompting questions*V 114 21 8 (16%) 3 <0.001
COMMUNICATION (54%) (12%)
AND FEEDBACK
NON-VERBAL listeningV 138 17 14 (23%) 4 0.05
COMMUNICATION (37%) (13%)
AND LISTENING using my intuition* 120 19 23 (43%) 3 0.008
SKILLS (46%) (12%)
GOAL SETTING setting realistic goals and/or expectations with voice 120 18 8 (15%) 3 0.001
AND DECISION- users (44%) (12%)
MAKING allowing voice users to make decisions 114 22 18 (35%) 5 0.014
(56%) (21%)
TEACHING flexibility in instructional techniques 119 18 15 (29%) 4 0.044
TECHNIQUES (44%) (15%)
RESEARCH-BASED reading publications in my field 15 1
122 17 (31%) 0.006
PRACTICES (38%) (3.7%)
PROFESSIONAL reflecting on my encounters with voice users after a 21 3
121 11 (21%) <0.001
DEMANDS lesson, session, or appointment*V (51%) (11%)
preparedness 117 20 18 (34%) 4 0.039
(49%) (17%)
1n (%)
2Pearson's
Chi-squared test; Fisher's exact test
215
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CHAPTER 8: QUALITATIVE FOCUS GROUP RESULTS
In Phase 3, a qualitative focus group was conducted after both the qualitative
interviews in Phase 1 and the quantitative survey in Phase 2. Those who took the survey
were invited to participate and discuss interpersonal skills. Five participants, all teachers
of singing, attended. For the questions discussed in this semi-structured focus group
interview, see Appendix D.3, and for the full transcript, see Appendix E. The themes that
emerged from this conversation aligned with much of the findings from the qualitative
interviews, so the same themes were used to categorize the data. As all participants were
teachers of singing, their comments were included in the Venn diagrams utilized in
Chapters 4, 5, and 6, and are referenced for each theme below. Additionally, the
participants affirmed many of the quantitative findings, which are referenced when
applicable.
The five focus group members expressed the importance of relationship-building
in the voice lesson, often through trust. Recall that “trust” was a skill valued by teachers
of singing in the quantitative results at a median value of 91 (see Table 7.10). According
to Members 2, 3, and 4, building trust and rapport starts in the very first meeting through
both informal and formal methods of getting to know students. An example of an
informal method was asking questions and allowing a singer to sing a favorite piece in
the first lesson. A formal method example was a singer intake form, not unlike paperwork
for a doctor’s appointment, according to Member 1.
Empathy, a skill valued in the quantitative survey at a median value of 83 by
teachers of singing, was also given as a factor in relationship-building. Member 3 said,

217
“There's research out there that talks about the fact that when a choir sings together, their
hearts actually start beating at the same time together,” perhaps thinking of the findings
of Vickhoff et al. (2013). This participant uses mirroring and encourages a communal
effort when working with singers.
Finally, the focus group made comments about encouraging respectful
relationships between their students in voice class, operas, and audition prep classes. In
working with high school students preparing for musical auditions, Member 2 said,
“Everyone gets a chance to be the encourager and the teacher.” This builds bonds
between students, as well as creates community. This affirms the comments of the
Singing Teacher participants in Phase 1 who saw the value of building community for
voice users. See Figure 4.1 for the qualitative comparisons in regard to this theme.
Safe Environments
Creating a safe environment was important to the focus group participants, which
aligned with the findings of the qualitative interviews, as well as the quantitative results
for teachers of singing who valued “making voice users feel safe” at a median of 90, a
statistically significant difference from the other groups. Plus, 63% of teachers of singing
who took the survey indicated using this skill on a daily basis (see Table 7.12). In the
focus group, Member 3 said “do no harm,” as found in the NATS code of ethics, is more
than just not physically harming students, it means rejecting misinformation and guiding
them not only in a loving and nurturing way, but also in a factual way. Member 3 also
said, “It's not just having the voice in your hands, but having their life in your hands.”
Many agreed that the singing experience is personal and vulnerable. Member 2 said, “We
have the responsibility to keep that beautiful voice healthy and strong and to teach our
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students to do the most with it that we can, but we also have a responsibility to their
hearts as well.” This participant also gave ways to respect personal boundaries and space,
such as not touching students without their permission to demonstrate a certain posture.
See Figure 4.2 for the qualitative results of this theme.
The focus group participants expressed similar sentiments to the interview
participants in regard to voice-user-led practices. They adapt instruction based on age,
experience, goals, fach, personality type, and communicational styles. About voice
lessons, Member 3 said, “Not only do you have to approach it from a cultural point of
view in terms of each student, but also from an individual point of view and their own
needs or wants in terms of expression.” This participant also uses learning styles and
works to understand generational differences in learning.
Member 4 works with students of a variety of linguistic, cultural, and religious
backgrounds, and is purposeful about honoring these things, as well as their interests.
This participant gives students diverse vocal models so they can better understand their
own voices, rather than trying to sound like someone they are not. Member 1 said, “My
job is to help them find something that is good for their ears, but also good for their voice
and good for their soul.” The lesson environment created by these participants is focused
on the individuality of each voice user. “Interacting with diverse voice users” was a skill
valued by teachers of singing in the quantitative survey at a median of 84, trained in a
number of different ways, and used by many on a daily and weekly basis (see Table
7.13). Understanding the individuality of diverse voice users, thus, was an important
finding of all three phases.

219
As teachers of singing, the focus group members also expressed using knowledge
of the anatomy and physiology of the voice in their teaching techniques. This affirms the
statistically significant value of this skill among teachers of singing in Phase 2 (see Table
7.14), as well as the frequent use and formal, supplementary, and self-taught training in
this skill among teachers of singing. In the focus group, for example, Member 1 said,
“How different things affect the thickness of the vocal folds, I use that every single day
because then it helps a student feel like they're more in control of their voice, if they
understand how things actually affect the voice.”
Finally, focus group participants also mentioned encouraging voice users to make
decisions and act with independence. Members 1 and 4 talked about allowing students to
have a say in repertoire selections, but leaving room for conversations about why a piece
would or would not be good for them. Member 5 makes students accountable for weekly
assignments related to their own voice, something similar to Singing Teacher 1 from
Phase 1. Regarding virtual lessons, Member 1 said, “My students really do have to pay
attention more to give me the information, and really have to listen and stop relying on
me playing everything for them,” a comment similar to something expressed by Singing
Teacher 2 in Phase 1. This was, to these participants, a silver lining to virtual lessons due
to the COVID-19 pandemic. Whether teaching virtually or in-person, Member 4 agreed
that teachers must continue to foster independence in singers. This corroborated much of
the qualitative interview findings in Phase 1 (see Figure 4.3), as well as the findings from
the quantitative survey in regard to the skill “allowing voice users to make decisions”
(see Table 7.24)

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Types of Training
Types of training were discussed by the focus group members. Member 1 credited
much of her technique training to the Somatic Voicework of Jeanie LoVetri, as well as a
teacher who “really instilled in us the idea of teaching and how to break it down.” The
role of the voice teacher in training the next generation was discussed in both positive
and negative ways. For example, Member 5 said, “There was a lack of technical teaching
except for when we did take some pedagogical courses, but [teaching] wasn't the focus.
And a lot of my techniques came from the private instructors that I had,” which helped
fill in the gaps from her institutional training. However, Member 3 came from a world in
which teachers taught what was passed on to them from prior teachers and expressed
being glad that this is no longer the paradigm in voice pedagogy. Member 2 wished
training would have focused more on how to teach singers of a different voice type when
she was doing her formal training decades ago.
Many of these participants pursued their own training, including graduate and
terminal degrees, summer courses, webinars, trainings, and conferences. They also
pursued knowledge on different musical styles. In regard to commercial contemporary
styles, Member 4 admits, “A lot of what I accepted as just the way it was, I've had to
reexamine. And I had to do a lot of additional study, and that wasn't part of my training.”
Member 1 said being aware of different styles of music and being an “eclectic listener”
were essential to her training and development as a musician and teacher. All of these
comments confirmed the findings of many of the quantitative skills, including “attending
and/or presenting at workshops and/or clinics” (see Table 7.29), “attending and/or
presenting at conferences” (see Table 7.28), “continuing my education” (see Table 7.17),
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and “being versed in a number (3+) of different discipline areas and/or techniques” (see
Table 7.16).
Finally, these participants expressed a strong desire to see voice pedagogy
incorporated earlier and more frequently in collegiate voice training. Member 1 said,
“The sooner you learn your instrument, the sooner you can accomplish more things.” See
Figure 5.1 for the qualitative results of types of training.
Pedagogical Motivation
Like the interview participants, the focus group participants were highly
motivated, and Member 1 described this as a hunger for knowledge. Many participants
gave examples of doing extra work and going the extra mile to find appropriate music for
students. They take their responsibility to students seriously and are motivated by student
successes. Recall that in the quantitative survey results, teachers of singing had high
percentages of motivation, at statistically significant amounts, in regard to “positive
feedback from voice users and/or their family members,” “building relationships with
voice users,” and “mentoring others” (see Table 7.37). Members 2 and 3 also expressed
being motivated by the desire to fill gaps in their knowledge, as discussed above. See
Figure 5.2 for the qualitative results for pedagogical motivation.
Teamwork
Collaborating with others in voice related fields was important to the focus group
participants, corroborating the findings of the interviews in Phase 1 (see Figure 5.3) and
the survey in Phase 2 (see Table 7.19). Member 1 relies on Facebook groups for teachers
of singing, while Member 2 finds NATS chats invaluable. Getting to ask questions and
share insights with other teachers is helpful to these participants. Member 3 said, “There's
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a kind of cooperation and collective contribution that didn't exist in years gone by.” A
“cooperative venture” is possible when voice experts keep an open mind when discussing
differences of opinions, according to this participant, who thinks collaborating with other
voices allow us to see the “whole picture” of the voice through different perspectives.
Member 1, who underwent speech therapy, sees the importance of forging relationships
with scientists and speech-language pathologists. Member 4 enjoys “keeping the
conversation going,” with people met at conferences, classes, and workshops.
When working with the students of other private voice teachers in an opera
workshop, for example, Member 3 refers students back to their teacher with technical
concerns and shows respect for the expertise of colleagues. Member 5 expressed the
importance of being able to ask colleagues for a second opinion, and them being able to
approach each other for advice. Other members mentioned meeting as a voice area at
their institution, something that contributes to the overall value of teamwork.
One type of verbal communication utilized by the focus group participants is
asking prompting questions, which was also valued, trained, and used by participants in
the “ToS” group in the quantitative results (see Table 7.21). Members 3 and 4 of the
focus group discussed checking in with a student’s sensations to ensure what is heard
aligns with what the student is experiencing. Member 2 is passionate about giving
positive feedback and encouragement, whether it is a big or a small skill that is
accomplished. Overall, however, this theme was not as frequently discussed by the focus
group members as it was by the interview participants, but see Figure 6.1 for the
qualitative results of this theme.

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Listening, a skill valued by teachers of singing in the quantitative survey (see
Table 7.22) and in the Phase 1 interviews (see Figure 6.2), was also briefly discussed in
the focus group. When working with students, Members 2 and 3 expressed that a
purposeful pause can give students a chance to process and come to their own
conclusions. Member 3 said, “Don't say anything for three to four seconds, just don't
respond. You're engaged and you’re listening and you're just letting the singer process
what they've just done.” Member 2 also said a visual cue, such as resting a hand on her
chin, shows she is listening in a nonverbal way.
Both Members 1 and 3 mentioned being aware of body language and what it
communicates about the emotional and mental state of the singer. Member 3 expanded
this to include feeling electromagnetic energy as a way to feel emotions from students,
even in virtual formats.
The focus group participants discussed both the types of goals they set and how
they set them. Member 3 first and foremost sets the goal of repeatable success in the style
of the work, as well as vocal health and freedom. Member 1, like many of the Phase 1
interview participants, sets short- and long-term goals with students and all the
participants make goal-setting part of their interactions with students (see Figure 6.3). By
simply asking what singers want to accomplish, the teachers put students’ goals at the
forefront. In a private studio setting, Member 2 also asks how much time students want to
spend taking lessons and sets realistic goals from there. Compare these results to the
quantitative survey, in which teachers of singing valued “setting realistic goals and/or
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expectations with voice users” at a median of 84, 56% were formally trained in this skill,
and 62% use it on a daily basis (see Table 7.25).
Teaching Techniques
Many of the members use semi-occluded vocal tract (SOVT) exercises frequently,
as well as body awareness techniques. Member 3 relates teaching back to emotion,
expression and meaning, saying, “The voice is innervated by the vagus nerve, which
innervates our emotional center of the body, so everything we feel is going to be reflected
in the voice.” Other types of teaching techniques have been mentioned in previous
themes, including training in the LoVetri method, adapting techniques to student needs,
and using approaches based on the goals of students.
All five members agreed that there is not just one way to train singers, but they
enjoy the specificity of technique work and the amount that can be accomplished when
working with students one-on-one. This aligns with the survey results, for which teachers
of singing had a median value of 92 for “flexibility in interpersonal techniques,” and high
percentages of different training types, as well as daily use of this skill (see Table 7.26).
See Figure 6.4 for the qualitative summary of teaching techniques.
Many of the focus group participants expressed the change in voice pedagogy
throughout their career, crediting voice research for this change. Member 1 appreciates
the “continued idea of how science keeps changing,” and thinks it’s important to stay on
the front end of “all of the new information that's coming out.” Reading vocal pedagogy
literature, including the NATS Journal of Singing, was important to Members 1 and
3. Compare this with other voice experts from Phase 1 in Figure 6.5, who also read the
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Journal of Singing and other textbooks, but had fewer examples of research-based
practices than the Med Subjects. See also the quantitative results of “reading publications
in my field” (Table 7.31), which teachers of singing valued at a median of 86 and 31%
used it on a daily basis, and “contributing research to my field” (Table 7.30), which 41%
of teachers of singing indicated using on a daily basis, despite a lower median value of
76.
There is a multitude of information that voice teachers are expected to understand
and the focus group participants briefly mentioned some of these demands. When
meeting new students, Member 4 said understanding singers’ backgrounds are multi-
faceted, including musical and vocal training, movement background (sports, dance, etc.),
linguistic backgrounds, and favorite musical artists. She leverages her own experience in
these facets to help students progress. Member 1 said it is important to help students
bring down the “vastness” of music, as trying to find music can often be
overwhelming. This is comparable to the results of Phase 1, since the Singing Teacher
participants also indicated the need to understand musical genre and performance
concerns, as well as other demands shown in Figure 6.6, such as preparing singers for
competitions and the challenges of seeing students back-to-back.
Technology was another topic discussed in relation to professional demands,
especially in light of the COVID-19 pandemic. Tonara4 and Collabra5 were two music
education software systems given as a tool for communicating with students, giving
4
A music education platform. See more at www.tonara.com
5
A collaborative music education and practice platform. See more at www.collabramusic.com
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assignments, tracking practice, and providing feedback on recorded performances.
Through the learning management system Canvas 6, multiple members have created a
course to deliver pedagogical knowledge alongside voice lessons to undergraduate
students, in addition to using online practice journals. Member 4 says this has helped her
retain students, as the “technology embraces their experience and provides structure.”
These participants have also found that technology allows more communication and
feedback to happen throughout the week, rather than just at weekly lessons. A YouTube
series called “What the fach?” and a website, Last.fm, were given as resources for finding
repertoire for CCM singers.
In regard to teaching over Zoom effectively, Member 4 requires certain
“production values,” including good lighting, quality microphones and sound, and
standing an appropriate distance from the camera. Member 2 uses online lessons as an
option to maintain practice habits and consistency. Member 5 said teachers can practice
communicating online, just like we would any other teaching skill. Additionally, Member
4 has used sung recordings of students throughout this year to track progress and gave
recommendations differentiating live performance techniques from recorded
performances. Members expressed a desire for more resources that address how to make
effective recorded performances. This is similar to the 5 “ToS” participants in Phase 2
who indicated no training in “using technology,” though it was a valued skill among
teachers of singing (see Table 7.35). Member 1 directed her institution’s musical using a
6
A learning management system utilized by institutions, especially ones of higher education. See more at
www.instructure.com/canvas
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green screen this semester and had to adapt teaching techniques based on this technology
and student needs.
Phase 3 Conclusions
The five focus group members in Phase 3 bolstered many of the findings of
Phases 1 and 2, while providing new insights into voice pedagogy specifically. Regarding
relationship-building, these members value the skills of trust, empathy, and building
respectful relationships, as well as creating a safe environment by taking care of singers’
voices and hearts. They use knowledge of vocal anatomy and physiology, as well as an
understanding of diverse groups of people, to serve singers through voice-user-led means.
They expressed types of training they found valuable and types of training they wish they
had received, which included a desire to incorporate voice pedagogy training into early
collegiate experiences for more singers. These focus group members shared ways in
which they are motivated by a hunger for knowledge, collaborating with others, and
incorporating verbal communication and feedback, non-verbal communication and
listening skills, and goal setting and decision-making with voice users. Finally, the focus
group members discussed a variety of teaching techniques and agreed there is no one way
to teach singers, but thought it was important to stay up to date on voice science and meet
professional demands, which includes using technology effectively.
With all these findings in mind, the next chapter will synthesize the qualitative
data from Phases 1 and 3 and the quantitative data from Phase 2 to better understand
similarities and differences between teachers of singing and speech-language
pathologists. References will be made to information in Chapters 4-8 when necessary,
and significant discussion topics will be addressed.

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CHAPTER 9: DISCUSSION
This chapter discusses the results of the qualitative and quantitative data analysis
in conjunction with one another to best identify similarities and differences in
interpersonal practices of teachers of singing and speech-language pathologists. The
results of the quantitative survey will be compared with the qualitative themes to see
what generalizations, if any, can be made for the fields. When the qualitative research is
referenced, “Med Subject participants” and “Singing Teacher participants” will be used
to describe the interview findings, with specific individuals referenced when necessary,
and “focus group participants” will be used to describe the findings from the focus group.
When the quantitative research is referenced, it will predominantly focus on teachers of
singing (“ToS”) and speech-language pathologists (“SLP”), rather than the respondents
who indicated operating evenly in both fields (“Both”). This discussion will cover the
following topics: getting started and setting goals, techniques for building relationships,
creating safe environments, communication, multidisciplinary practices, motivation, the
nature of voice pedagogy, and pedagogical content knowledge.
Getting Started and Setting Goals
In the summer of 2020, I attended a course as part of the CCM Vocal Pedagogy
Institute at Shenandoah University taught by Marci Rosenberg, co-author of The Vocal
Athlete (2nd ed., 2019). She encouraged teachers of singing to create an intake form for
new students to better understand their health, habits, and personal goals. At the same
time, I was taking a course on voice disorders with the speech-language pathology
department at the University of Nebraska-Lincoln (UNL), through which I learned about
forms such as the Voice Handicap Index, the Voice-Related Quality of Life
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questionnaire, the Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V), which
measures “(a) Overall Severity; (b) Roughness; (c) Breathiness; (d) Strain; (e) Pitch; and
(f) Loudness” (ASHA, 2009), and other measures typically used to assess voice users at
initial appointments.
This similarity between the fields intrigued me and was further corroborated by
the qualitative measures of this study. Med Subjects 2 and 4 discussed using formal
measures to assess and set goals with voice users, especially to align with IEPs in the
case of Med Subject 4. Med Subject 3 said the desired outcomes of the voice user were
more important than any goals he set. All the Singing Teachers mentioned being guided
by the goals of the singer.
Taking into consideration these examples from the fields and the experiences of
the interview participants, I wanted to know how common it was to (1) follow a formal
evaluation and (2) set goals with voice users. First, 22% of speech-language pathologist
participants from the quantitative survey indicated they follow a formal evaluation or
screening test with voice users, compared to 18% of participants who identified as
teachers of singing (see Appendix F.5). These smaller percentages were not what I
expected based on what I had read and observed from voice experts, but perhaps these
participants find informal methods of starting with voice users more effective.
Second, while 72% of the “SLP” participants indicated having formal training in
“setting realistic goals and/or expectations with voice users,” as compared to 56% of
those in the “ToS” group, a larger percentage (62%) of teachers of singing indicated
using this skill on a daily basis compared to speech-language pathologists (37%). Perhaps
speech-language pathologists set goals in more infrequent ways, as shown by the 39% of
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“SLP” participants who use this on a weekly basis, since goals are set in the first or
second session to determine how many sessions are required to address the voice user’s
needs and then adjusted as necessary. This could also be reflective of a difference
between short- and long-term goals. Many of the Med Subject participants in Phase 1
mentioned using short-term goals to address emergency situations or pressing concerns in
those seeking voice services, such as the “triage” goals mentioned by Med Subject 1.
These short-term goals often take precedence, allowing long-term goals to be set after
treatment and when preparing voice users to take care of their voices moving forward.
The Singing Teacher participants in Phase 1 also use short-term goals for immediate
concerns or interests, but set more long-term goals with students, especially in regard to
musical and career outcomes.
Therefore, the frequency in which experts in these fields set goals and
expectations could be different. Both groups in the quantitative survey valued this skill,
as shown in Table 7.25, but teachers of singing had a wide variety of training, including 4
participants who had no training in this skill. If teachers of singing use this skill more
frequently, and 44% indicated self-taught training in this skill, perhaps formal education
could better equip teachers of singing to set goals with voice users.
Finally, in Phase 3, three of the five focus group members discussed using formal
and informal measures to establish goals in the first meeting with a student. This
reinforced the initial analysis that setting goals was an important first step to getting
started with voice users. Due to the prevalence of goal-setting methods in the literature
(Clemmons, 2010; Hayley et al., 2019; Walker & Commander, 2017) and the qualitative
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measures of Phases 1 and 3, as well as the value placed on this skill in Phase 2, voice
experts should be trained in goal-setting techniques.
Techniques for Building Relationships
After setting goals, many of the qualitative participants mentioned ways in which
relationships can be established with voice users: Med Subject 2 and Singing Teacher 4
use humor to establish bonds; other participants discussed the importance of empathy;
Med Subject 3 discussed the importance of respecting the journey each voice user has
taken. However, the participants had slightly different views on what role they should
play in the lives of voice users, including mentor, friend, life coach, and nurturer.
Shown in Table 7.8, humor was highly valued by teachers of singing and many of
them relied on self-taught training in this skill, especially compared to speech-language
pathologists. Formal education could better provide techniques for humor in interpersonal
interactions, especially to assist the 58% of teachers of singing and 64% of speech-
language pathologists who indicated using it on a daily basis. Humor, such as laughing
and fun, may be a way to keep students engaged, just as Med Subject 4 uses a practice
page and a game in her practice with young voice users and Singing Teacher 3 ensures
that voice lessons are fun in addition to helpful.
Empathy was another important factor of relationship-building discussed by the
participants in Phase 1. Many of the participants exposed how deeply the voice is
intertwined with emotion and, thus, felt that understanding needed to be shown to all
voice users. This included being empathetic to those with stage fright, to sexual abuse
survivors, to those who have voice disorders, and to a plethora of other individuals. In
light of this, as well as the quantitative results of Phase 2, as shown in Table 7.6, more of
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these soft skills need to be trained. Over 60% of both teachers of singing and speech-
language pathologists indicated using “empathy” on a daily basis, but training
percentages were sporadic, as 56% in the “ToS” group and 38% in the “SLP” group
indicated self-taught training, and 12% and 11%, respectfully, indicated no training.
Trust is another way to develop relationships with voice users and, ultimately,
improve voice outcomes. Med Subject 1 said health outcomes are better in voice users
who trust their doctors and feel empowered in the encounter, while Med Subject 4 finds a
trusting relationship in which she invests in her students to be more productive than a
“sterile” working relationship. Med Subject 2, who works with a variety of different
personalities, finds trust necessary in working with each of them. The Singing Teacher
participants also use trust-building approaches, such as advising students academically,
building rapport, and even having “come to Jesus” sessions, something that can only
happen when trust exists.
In the quantitative results, trust was highly valued by both teachers of singing and
speech-language pathologists and frequently used on a daily basis, as shown in Table
7.10. However, similar to empathy, training was varied. There may be some concrete
ways to encourage the interpersonal skill of trust to be trained and used by voice experts,
such as giving priority to the needs and choices of voice users (Dufault, 2013; O’Grady,
2014), showing interest in voice users (Skirbekk, 2011, as cited in O’Grady et al., 2014),
building rapport (Clemmons, 2010), and providing individualized, unique instruction for
all voice users (Frey-Monell, 2010; Jellison, 2015).
“Respectful relationships with voice users” was a skill highly valued and
frequently used on a daily basis by teachers of singing, as shown in Table 7.9. The
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difference in value between teachers of singing (92) and speech-language pathologists
(74) was statistically significant, despite usage being similar between the groups. This
difference in value is surprising, especially in light of the qualitative results because
many of the Phase 1 participants in both groups mentioned respect. This included being
respectful of a voice user’s time (Med Subject 3), respecting adult clients as equals (Med
Subject 2), being respectful of one’s cultural musical heritage (Singing Teacher 1, Focus
Group), communicating honestly and respectfully (Singing Teacher 2), and teaching
students to be respectful of one another (Focus Group). Perhaps respect is an assumed
aspect of the interaction between speech-language pathologists and voice users, or
perhaps they do not value it as much as other interpersonal skills. Based on the literature
in both fields, voice experts need to treat each person as a unique individual worthy of an
appropriate path to voice care and learning (Awan, 2001; Boone et al., 2020; Dayme,
2005). Therefore, a higher value and more frequent usage of this skill was expected from
“SLP” participants in Phase 2, so practitioners in this group should give more thought
and consideration to this skill.
Finally, “being a friend to the voice users with whom I work” was valued higher
than “being a life coach to the voice users with whom I work” by both the “ToS” and the
“SLP” groups in Phase 2, as shown in Table 9.1. This was unanticipated, as only one of
the qualitative participants, Singing Teacher 3, used the term “friend” to describe her
relationships with students. 61% of teachers of singing indicated use of this skill on a
daily basis, as compared to 39% of speech-language pathologists (see Table 7.3). Voice
experts in both fields should consider what role, if any, friendship plays in interactions
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with voice users and what boundaries need be set in place to protect both parties
(Clemmons, 2010; Helding, 2010; Rosen et al., 1993).
Additionally, the disparity in responses between the “ToS” and the “SLP” groups
could be reflective of how voice experts operate differently within the two fields. It is
probable that speech-language pathologists do not value being a friend or a life coach as
highly because the goals for voice users are often related to functionality or a medical
outcome. In many cases, when these goals are achieved, the voice user no longer needs
services, and the relationship is ended in one way or another. For example, Med Subject 2
said she sometimes only sees patients once and Med Subject 1 sees traveling vocalists
who need immediate care before moving on to another city on a tour. There is neither the
time nor the necessity to develop a friendship in these settings and trust may be given
quickly because of the medical nature of the visit. While Med Subjects 1 and 3 did
mention being aware of this power dynamic and trying to respect the vulnerability of
patients, their relationship with patients does look different than the teacher-student
relationship in voice pedagogy.
For example, in voice pedagogy, short-term instruction is not the usual paradigm,
though it does exist at times. More often, it is expected that singers take lessons long-
term and have a plethora of goals, goals that lack the clarity often found in speech-
language pathology. For example, a teacher of singing cannot guarantee students that
they will sing on Broadway, no matter how talented they are, as it often depends on
variables outside of anyone’s control such as opportunity, psychology, personality, work
approaches, and more. Teachers of singing help students pursue any number of personal
and professional goals, but the outcomes might not be as tangible as those addressed in
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speech-language pathology. It is likely that teachers of singing rely on personal means,
such as friendship and coaching, to retain students, maintain financial security, and guide
students through the challenges of pursuing a performing art. If this is the case, more
formalized training could prepare teachers of singing to balance friendship and
professionalism. Or, if friendship is not a desired outcome of voice training, then formal
training needs to be designed to move voice pedagogy to a more outcome-based
profession, rather than a personality-based profession.
Table 9.1 – Value of Friend vs. Life Coach

ToS SLP BOTH p-value2
N = 501 N = 831 N = 331
Value – “being a friend 84 (66, 92) 75 (63, 86) 80 (69, 88) 0.3
to the voice users with Highly Valued Highly
whom I work” Valued Valued
Value – “being a life 80 (66, 88) 67 (44, 77) 66 (55, 84) 0.005
coach to the voice users Highly Valued Valued
with whom I work” Valued
1
Median (IQR)
2
Creating Safe Environments
The importance of creating a safe environment was a significant theme in the
qualitative findings. This included talk of physical safety measures, especially in the
cases of Med Subject 2 and Singing Teacher 3, and social-emotional safety measures,
such as acceptance of diverse voice users and their needs. In the quantitative results,
“making voice users feel safe” was a skill highly valued by teachers of singing and used
on a daily basis by 63% of teachers of singing (see Table 7.12). While speech-language
pathologists value this skill and a higher percentage received formal training in it, a
smaller percentage uses it on a daily basis in comparison to teachers of singing. Due to

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standards set by the field, including HIPAA regulations, the use of IEPs, and the need for
confidentiality, I predicted this skill to be of higher value and used more frequently by
speech-language pathologists. Perhaps speech-language pathologists could learn from
teachers of singing how to make voice users feel safe on a more regular basis. In turn,
speech-language pathologists could share some of the formal training they received in
this skill to assist teachers of singing who, again, indicated more self-training in this skill.
One of the ways in which voice experts can create a safe environment is through
“giving voice users a space to vent and/or be vulnerable,” one of the skills tested via the
quantitative survey. Teachers of singing valued this skill and a higher percentage
indicated using it on a daily basis than did speech-language pathologists, which aligns
with the qualitative results. All of the Singing Teacher participants in Phase 1 indicated
they leave room for whatever each voice user brings into the lesson on any given day,
even if that “hijacks” the lesson, according to Singing Teacher 4. Allowing students to
vent appeared to be more important to the teachers of singing in both the qualitative and
quantitative measures of this research, as shown in Table 7.11. If this is a common
occurrence in the voice studio, as suggested by the research, then voice users should be
trained to react to voice users in such situations. This could include training in
interviewing and crisis-intervention techniques, something mentioned by Med Subject 3.
Based on this sample, it appears that training in this skill is wide-ranging.
Communication
Communication is key in many educational fields, but especially in voice
pedagogy and speech-language pathology because the voice is an instrument of
communication. Verbal communication was an element of the qualitative findings,

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especially in regard to giving feedback, asking questions, and using small talk (often to
accomplish many of the previously discussed topics, such as trust and empathy). The
results of two of the skills on the quantitative survey, “giving feedback in a concise
manner” and “using prompting questions” aligned with the qualitative findings about the
value of this skill, while also raising concerns about types of training.
In Table 7.20, teachers of singing had a high median value of “giving feedback in
a concise manner,” as well as a higher percentage of participants who indicated using this
skill on a daily basis than speech-language pathologists. This could be a result of the
sheer number of elements in singing that warrants feedback, including technique,
musicality, performance decisions, practice habits, overall tone quality, and more.
Speech-language pathologists also had a high median value of this skill, and both fields
indicated a plethora of different training experiences. There are different ways to give
feedback, such as in seven words or less, as suggested by Singing Teacher 2, through
cheerleading, as suggested by Med Subject 2, or balancing encouragement and critique. It
is important that while communicating, voice experts keep in mind not only the desired
outcomes or goals of voice users, but also their emotional and mental wellbeing, which
aligns with Walker and Commander (2017).
A high percentage of both teachers of singing and speech-language pathologists
indicated “using prompting questions” on a daily basis, with similar median values
between the groups, as shown in Table 7.21. However, teachers of singing indicated a
higher percentage of self-training in this skill, which could be in response to historical
models of teaching voice. One focus group member discussed the “old way” of teaching
voice, where a master teacher would impart wisdom on the next generation and so on,
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rather than giving singers a voice in the process. “Sage on the stage” and “guide on the
side” are two terms that have been used to discuss this difference in voice pedagogy, and
as teachers of singing make more of a transition to the latter, they may be independently
seeking more training in how to ask students non-leading and prompting questions.
This training could be modeled after training in speech-language pathology, as
“person-centered rehabilitation,” accomplished through “collaborative goal setting”
(Haley at. al, 2019, p. 1), is used by practitioners to guide voice users towards having
more say in their own therapy. Asking questions is one way to give voice users a voice
and is an aspect of motivational interviewing (Carr & Smith, 2014). Members of the
focus group stated the importance of asking questions, especially in virtual teaching
formats, to ensure what is being heard aligns with what the singer is experiencing, which
was also a finding of Carr and Smith (2014, p. 87). If more training can prepare voice
experts to ask questions that elicit helpful information for the learner, then all members of
the interaction will benefit.
Types of non-verbal communication and listening were interpersonal skills that
emerged in the qualitative and quantitative findings. Some of the Med Subject
participants indicated the importance of listening for content as well as intent, the Singing
Teachers listed curiosity as an important listening skill, and the focus group members
encouraged leaving space for voice users to process, rather than immediately responding
with verbal feedback. In the qualitative survey, listening was highly valued by teachers of
singing, which could be reflective of the amount of information being communicated by a
singer. Teachers of singing may value this skill higher than speech-language pathologists
for many of the same reasons they value giving feedback. There are a number of different
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musical, technical, and emotional elements to which a teacher of singing needs to listen.
With this in mind, however, it was curious that only 48% of teachers of singing indicated
using this skill on a daily basis, as shown in Table 7.22. More training may be needed not
only in what to listen for in singers, but how to listen and how often.
Another aspect of non-verbal communication that was only discussed by two of
the qualitative participants (Singing Teachers 1 and 2), but that was of fairly high value
and used in the quantitative survey results, was “using my intuition.” Table 7.23 showed
the value, training, and use of this skill in both groups, with high percentages of self-
taught training. This seems appropriate, as intuition is highly individualized and
personalized, but there could be ways that it can be trained, harnessed, or focused in order
to be more effective.
Multidisciplinary Practices
A significant finding of the qualitative measures was the importance of teamwork
and collaboration among voice professionals. Med Subject 2 said that teachers of singing
and speech-language pathologists “complement each other,” while the Singing Teacher
participants detailed the importance of working with other singing teachers and those
who work in medical fields. Additionally, the focus group members discussed developing
relationships with voice experts nationwide through resources such as Facebook groups
and NATS. Furthermore, multidisciplinary training was important to the qualitative
participants. Three out of the four Med Subject participants had musical training, while
two out of the four Singing Teacher participants and two of the five focus group members
had voice medicine experience. PAVA and PAMA were given as resources for
developing multidisciplinary knowledge.

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Collaboration was important to the qualitative participants, and it was present in
current literature in both fields as well (Boone et al., 2020; Culp & Roberts, 2015;
Dayme, 2005; Heuer et al., 1993; Stemple, 2020). Collaboration was, thus, expected in
the quantitative participants and was present to an extent. Both 44% of teachers of
singing and 44% of speech-language pathologists gave “collaborating with other voice
professionals” as an aspect of their pedagogical motivation (see Appendix F.6). Then, as
one of the 33 skills on which they were asked to indicate value, training, and use,
“collaborating with others in voice related fields” was highly valued by teachers of
singing, as shown in Table 7.19, but training and usage in both fields was more varied.
This is not a bad thing, as it is unreasonable to expect experts to be collaborating on a
daily basis. However, if experts in both fields see collaboration as an interpersonal value,
more types of training should be provided in this skill, as well as opportunities to use it.
Motivation
The voice experts in the qualitative portion of this research were highly
motivated. This may be a result of the “type” of participant that was attracted to the
research questions of this survey, but nonetheless, many of the participants indicated
being motivated by interpersonal aspects of their work. This included helping voice users
and their families, problem solving alongside voice users, and enjoying the individualized
nature of each voice. In Phase 2, many of these skills were motivational to a larger
percentage of teachers of singing than speech-language pathologists, as shown in Table
7.37 in the previous chapter. This was a surprising difference, but perhaps speech-
language pathologists are motivated by other facets not listed. More research should be
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conducted on types of pedagogical motivation and how this influences voice care. See
Appendix F.6 for the results of each motivational statement tested in Phase 2.
What is Voice Pedagogy?
One of the 33 skills on the quantitative survey that may have seemed out of place
was “knowledge of the anatomy and physiology of the human voice,” since this is not
necessarily an interpersonal skill. However, voice experts often use their understanding
of vocal function when working with voice users, especially in determining how to teach
and adapt to individuals. Members of the focus group mentioned frequent use of anatomy
and physiology, including teaching singers about the voice to give them more control
over their voices, discussing body awareness techniques, and using techniques based in
science. In accordance with this qualitative finding, the quantitative results revealed a
greater value of “knowledge of the anatomy and physiology of the human voice” by
teachers of singing than speech-language pathologists, as well as a higher percentage of
teachers of singing who use this skill on a daily basis. Training in these fields did not
reveal significant differences, as shown in Table 7.14, which is reflective of current
training programs for voice experts.
Based on personal experience, these results from the quantitative survey, and
research in the field, such as Vetter’s (2016) dissertation, “Recommendations for Vocal
Pedagogy Curriculum Based on a Survey of Singers’ Knowledge and Research in Vocal
Hygiene,” anatomy and physiology are often main focuses of vocal pedagogy curriculum.
However, some teachers of singing are lacking training in teaching techniques. For
example, Singing Teacher 3, who has a bachelor’s degree in vocal performance, had less
training in teaching techniques than some of the other participants, and all of the Singing
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Teacher participants had slightly different educational degrees. While this variety can
lead to positive outcomes, such as specialization and unique skills suited to student needs
and interests, it can also create education gaps for those whose programs do not address
teaching techniques.
In answering the question “what is voice pedagogy?” the field is striving to find a
balance between content knowledge, or what needs to be learned about the voice, and
pedagogical content knowledge, or how to teach voice. It is encouraging that many of the
teachers of singing who participated in the quantitative survey recognized this focus on
pedagogical content knowledge. Table 7.18 showed the value, training, and use of the
skill “developing pedagogical content knowledge, either through research or experience.”
Teachers of singing indicated having high value of and multiple types of training in this
skill, and 43% of teachers of singing participants indicated weekly use of this skill. These
teachers of singing from Phase 2 are seeking pedagogical content knowledge, which
corroborates developments in the field, as fewer current teachers of singing rely solely on
their own singing experiences, according to Angell (2019).
Pedagogical Content Knowledge
The skills discussed next will be used to better understand what types of teaching
techniques could be encouraged or formally trained in voice experts in both fields. A
positive similarity was found in the surveyed skill “starting with fundamentals and
building from there.” In education, this is often referred to as spiraling or scaffolding
instruction, where necessary skills are learned before moving on to more difficult or
complex skills. For example, Med Subject 4, who works with younger students, teaches
them an isolated sound, followed by that sound with vowels, followed by words,
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followed by sentences. Singing Teacher 2 uses Bloom’s Taxonomy to move students
from knowledge of a skill to application of it. In the quantitative results, both groups
indicated similar medians of value, similar types of training, and similar frequency of use.
Recall that this was the one skill in which none of the participants answered, “No
training.” It is encouraging that all the voice experts who participated in the survey had
some sort of training in this skill, as shown in Table 7.27.
Next, a slightly higher percentage of teachers of singing (26%) record and watch
lessons with voice users as compared to speech-language pathologists (24%) (see
Appendix F.5). For speech-language pathologists, the choice not to record sessions might
be to protect clients, but this is a teaching practice that could lead to more reflection in
both fields by giving voice experts concrete examples through which to view their
interpersonal interactions with voice users. Recording “video and/or audio of a student in
one of the first meetings to reference or evaluate,” a technique used by 20% of the “ToS”
participants and 37% of “SLP” participants (see Appendix F.5), is also a way to track
progress and provide patients with something to reference at home (Boone et al., 2020, p.
185). However, since recording was a technique less frequently used, voice experts
should consider different methods of reflection that are accessible and practical, such as
the written reflections used by Med Subject 2 and the four Singing Teacher participants.
Table 7.33 shows results for the skill “reflecting on my encounters with voice
users after a lesson, session, or appointment.” This is a skill in which teachers of singing
displayed a higher median for value, a higher percentage of daily use, and a higher
percentage of self-taught training, whereas a higher percentage of speech-language
pathologists had formal training in this skill. The Med Subject participants in the
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qualitative interviews used different methods of reflecting, such as writing physical notes,
sending follow up emails to clients, or providing written confirmation of the visit, and
pulling out materials for the next session immediately after a session. Furthermore, Med
Subject 3 mentioned the importance of “deflating” in-between patients. Based on the
qualitative comments and the high percentage of speech-language pathologists who
indicated formal training in this skill in the quantitative survey, one would expect a
higher percentage of daily use than 44% from this group, but 36% indicated a weekly use
of this skill, which might be a more realistic use of this skill based on schedule demands.
Med Subject 4 discussed changes to her methods created by the COVID-19 pandemic,
one of them was to set aside specific days in the week for reflection and paperwork.
A sister skill to “reflecting” is “preparedness,” since reflecting on what was
accomplished in a session with a voice user can be instrumental in helping prepare for the
next encounter. Preparation often requires a lot of extra time and energy, as commented
on by members of the focus group who spend extra time selecting repertoire and learning
new teaching techniques to better serve singers. Singing Teacher participants in Phase 1
also indicated preparing for lessons by practicing necessary repertoire and warming up in
order to be vocally and mentally prepared, while Med Subject participants review lesson
plans or medical notes before meeting with patients. “Preparedness” was a skill highly
valued by both groups, with similar training and use, as shown in Table 7.32. This is
good, but experts in both fields could benefit from more reflection and preparation in
both fields.
One way in which voice experts prepare for their interactions with voice users is
by continuing their education. Most of the interview participants indicated spending time
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and personal money at clinics, workshops, conferences, and trainings to stay relevant in
the field. Med Subject 4 does 30 hours of required continuing education every year to
maintain her certification with ASHA. Members of the focus groups participate in NATS
chats, read books and articles on voice, and learn new technologies to use with students,
as will be discussed next. In the quantitative results, there were slight differences between
teachers of singing and speech-language pathologist in regard to the skill “continuing my
education,” as shown in Table 7.17. The median value for both groups was similar, but a
higher percentage of speech-language pathologists indicated having formal training in
this skill, perhaps because it is required by ASHA. If there was a certification process for
teachers of singing, a required amount of continuing education hours could ensure
pedagogic relevancy in teachers of singing. However, more teachers of singing (46%)
indicated holding a professional membership that speech-language pathologists (29%), a
surprising finding as the survey participants were obtained from NATS and ASHA
mailing lists so the expected answer was 100% across the board. Perhaps the question
was confusing or perhaps participants did not consider NATS and ASHA memberships,
but rather governing bodies or groups.
Many of the qualitative interview and focus group participants mentioned learning
new types of technology as part of their continued education, especially in light of the
COVID-19 pandemic. In addition to online conference technology, participants use
management applications like Canvas, Trello, Collabra, and Tonara with students, as well
as websites like YouTube, Last.fm, and social media sites to find and share vocal
repertoire and technique. Additionally, the focus group members saw a need for more
education in video and audio recording since more singers and theatre companies are
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making recorded performances. In the quantitative results, teachers of singing and
speech-language pathologists indicated similar median value and use of this skill, as
shown in Table 7.35. In terms of types of training, the fields were similar except for five
teachers of singing participants who had no training in “using technology.”
Finally, “flexibility in instructional techniques” is a pedagogical tenet that
emerged in both the qualitative and quantitative measures. The interview participants
stated the importance of shaping methods based on what is realistic and attainable for
each voice user, while also encouraging growth. Table 7.26 shows the quantitative results
for this skill, while Table 7.16 shows the results for “being versed in a number (3+) of
different discipline areas and/or techniques,” and Table 7.15 shows the results for
“specializing in one or two specific discipline areas and/or techniques.” Just as the
qualitative participants indicated relying on a lot of different techniques, sometimes
referred to as a bag or toolbox of options, the quantitative participants indicated valuing
these skills and using them on a frequent basis. Voice experts in both fields would benefit
from increased flexibility through the understanding and use of different instructional
techniques.
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CHAPTER 10: RECOMMENDATIONS
Recommendations follow for teachers of singing, speech-language pathologists,
and voice experts in both fields based on the similarities and differences between the
fields of voice pedagogy and speech-language pathology. Training in, and use of
interpersonal skills, will be the main focus, though members of these fields are
encouraged to sincerely reflect upon what skills they value in their line of work and why.
Following are recommendations to bring training and use of certain skills into alignment
with the value placed on these skills. These recommendations are primarily based on the
qualitative and quantitative results of this study, and literature in both fields will be cited
when relevant.
Recommendations for Teachers of Singing
As previously stated, the old way of teaching as a “sage on the stage” often led to
different schools of thought. Students were trained based on the opinions and techniques
of their own teachers, having been exposed solely to the beliefs of those teachers.
However, in light of this research, it is encouraging how many similarities emerged
among teachers of singing in both the qualitative and quantitative phases. As a
generalization, current teachers of singing have a hunger for knowledge and
physiological truth, a desire to help students, and an interest in exploring vocal genres
that require a plethora of different vocal styles. This is a positive shift that will serve
voice users better in the years to come. Nonetheless, institutions that teach voice, as a
whole, need to adapt to meet the current needs of teachers of singing. The following three
recommendations for teachers of singing, and the institutions that train them, will lead to
more consistency throughout this field, and thus, more consistent training for singers.
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Recommendation 1
Require vocal pedagogy courses for all voice majors, whether they are majoring in
music education, performance, or both.
In Phase 1, Singing Teacher 3 remarked on the lack of teacher training she
received as a vocal performance major, while in Phase 3, focus group members
commented on the lack of training in a variety of skills. However, in Phase 2, teachers of
singing who took the quantitative survey indicated a value of many skills covered in
voice pedagogy coursework, as well as frequent use of these skills. These skills included
“knowledge of the anatomy and physiology of the human voice,” “starting with
fundamentals and building from there,” “developing pedagogical content knowledge,
either through research or experience,” and “flexibility in instructional techniques.” In
Vetter’s 2016 dissertation, “Recommendations for Vocal Pedagogy Curriculum Based on
a Survey of Singers’ Knowledge and Research in Vocal Hygiene,” she proved that many
singers at the undergraduate and graduate level lack basic knowledge about the anatomy
and physiology of their own voice, which can lead to misunderstandings about vocal
hygiene, not to mention imprecise instruction, when these singers begin to teach. Vetter
also stated that there are many institutions in which voice pedagogy is not required of
undergraduate students and that there is no standard curriculum. Based on this
information, it is difficult to determine what voice pedagogues know, how they know it,
how they retain it, and how they implement it.
Vetter provides a recommended sequence of voice pedagogy courses for
undergraduate and graduate students that includes course objectives, assessment methods,
and textbooks for five different leveled courses. This is an excellent resource that could
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serve as a guide for more universities to design courses in voice instruction. Many of
Vetter’s course objectives focus on knowledge of the anatomy and physiology of the
human voice, which, again, was a significant skill to teacher of singing participants who
took the quantitative survey.
However, Vetter also provides some interpersonal teaching outcomes in her plan,
intended mainly for the graduate student courses. These include “students will learn to
distinguish the role of the voice teacher in fostering vocal care, referring students to a
voice center or otolaryngologist, and serving as a contributing member of a voice care
team” (p. 41); “students will acquire pedagogical strategies for working with voices of
various age levels, abilities, and prior learning experiences” (p. 42); and “students will
develop an understanding of various matters of teaching voice such as membership and
professional organizations, professional ethics, opportunities for ongoing professional
development, and the business dimensions of setting up and maintaining a private studio”
(p. 44).
In addition, more elements of interpersonal communication techniques and
teaching strategies should be incorporated into vocal pedagogy courses at the collegiate
level. Singing Teacher 3, who specifically attributed much of her insecurity in her early
career to a lack of training in teaching, said that even if performers do not foresee
themselves teaching, pedagogical methods should be required. Not only would this give
singers a better understanding of their own singing and learning, but it would also prepare
them for future endeavors in teaching, if necessary. In voice pedagogy courses, content
knowledge, such as how to sing at varying dynamic intensity, and pedagogical content
knowledge, such as how to teach others to sing at varying dynamic intensity, should be
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taught in conjunction with one another. A resource that could be beneficial in
accomplishing this is Davids and LaTour’s book Vocal Technique: A Guide to Classical
and Contemporary Styles for Conductors, Teachers, and Singers (2nd ed, 2021). This
guide pairs science, research, and historically-used methods with exercises to help singers
and teachers apply the concepts. While LaTour’s book strives to put singers at the center
of all learning techniques, it is still lacking on interpersonal methods. It would be
beneficial if voice pedagogues had a resource that balanced voice science, teaching
methodologies, and interpersonal techniques to use with students.
Based on the comments of Singing Teacher 2, whose institution requires a weekly
voice class for freshman voice majors, more institutions or independent studios should
utilize corporate training when possible. By teaching fundamentals of voice pedagogy to
a larger group, time is saved, comprehensive knowledge is more equally shared with all
singers, and community is created. Voice classes can reinforce needed skills and give
students access to different instructors, providing all voice faculty are present or, in the
case of independent teachers, guest teachers or lecturers are occasionally brought in. This
would affirm the statistically significant value of “collaborating with others in voice
related fields” by the teachers of singing in Phase 2. This, as well as weekly studio
classes, can be done with students of all ages and will continue to bolster community
among singers.
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Recommendation 2
The field of voice pedagogy should design a certification process for teachers of
singing.
The qualitative measures of this research revealed the precarious nature of the
voice and how carefully all voice experts need to tread when working with voice users.
Med Subject 2 illuminated the issue of teachers of singing who claim to be able to treat
medical voice concerns without any type of training, while the focus group members
highlighted the importance of training singers through factual and interpersonal methods.
Therefore, a certification process for teachers of singing could be implemented to ensure
consistently safe practices among teachers of singing and their students. This would
protect both teacher and student, as teachers would be better prepared to teach and would
have more professional legitimacy, and singers would be protected from ill-prepared or
ill-informed instruction.
The certification process could be designed around existing standards or
programs, as well as some actionable steps. As an example, the New York Singing
Teachers' Association has a Professional Development Program 7 (originally guided by
Oren Brown), that pairs evidence-based content with practical voice teaching. The end
result of this program is a Distinguished Voice Professional Certificate (DVP). This type
of program could provide a format for teachers of singing nationwide.
As previously discussed, NATS requires members meet certain qualifications and
follow a code of ethics. PAVA, likewise, has bylaws and a code of ethics for its
7
(See more at https://nyst.org/professional-development-program/
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members. A nationwide certification process could require teachers of singing to meet
such qualifications, as well as complete certain training tasks. These tasks could include a
voice teaching internship (in which pre-service teachers of singing observe current
teachers of singing), a public teaching demonstration or masterclass, submitting a
teaching portfolio and curriculum vitae, and submitting a studio policy or statement of
teaching. However, this would entail work from a governing body, such as NATS, to
approve certification applications.
According to Allen Henderson, the current Executive Director of NATS, an older
requirement for NATS membership was one or two letters of recommendation from a
current NATS member. However, as no one had ever been denied membership based on
a letter of recommendation, this was deemed not necessary in the determination of an
applicant’s eligibility and was, thus, eliminated. He also said, “Before the internet,
providing a CV or resume helped the membership VP [vice president] determine whether
an applicant met the qualifications of membership. More recently a CV/resume was
submitted by those without a traditional degree path who sought membership to assist the
VP for membership in determining eligibility for the membership category they were
requesting.” The effort to make membership more accessible is understandable, but in
doing so, membership is less meaningful.
For many teachers of singing, a NATS membership is their only “credential,” in
addition to any degrees held. Certification, although a barrier, would make membership
more meaningful and would not only add significance to the title of teacher of singing,
but the process could be designed to address many of the skills shown in Table 7.41.
Current and preservice teachers of singing would not need to teach themselves all of
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these interpersonal skills, but could trust NATS and the certification process to advance
such skills. Teachers of singing would be better equipped, and their voice students would
benefit from the standardized training.
Thus, the aim of certification should be to protect teachers and students by
ensuring a level of objectivity during training. Based on past discussions had by NATS
members, it is possible that certification could become a barrier to current teachers of
singing and those in areas of the country with fewer opportunities to complete the
recommended tasks. Also, as will be discussed next, funding may be a concern, as the
certification process could present a financial barrier to many. With all of this in mind,
voice pedagogy needs to seriously consider certification as a future step in their field,
while also keeping it equitable and accessible.
Recommendation 3
Teachers of singing should have more opportunities for continuing education and
should continue to pursue more types of research-based practice or evidence-based
teaching.
If a certification process for teachers of singing is developed based on
Recommendation 2, then continuing education could be a part of maintaining
certification. However, even without a certification process, continuing education
opportunities should be more readily available for teachers of singing, preferably at a
lower cost. Singing Teacher 3 discussed the lack of available and affordable workshops
and training, while Singing Teachers 2 and 4 discussed the problematic nature of college
voice professors going into debt to fund their own tenure process. Purchasing
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professional memberships, attending and traveling for national and international
conferences, and funding research projects all place a heavy financial burden on teachers
who pursue tenure, or even just those who need to stay professionally relevant.
With more virtual conference offerings, thanks to technological advances
encouraged in part by necessity with the COVID-19 pandemic, voice experts now have
the opportunity to attend conferences or trainings without paying for the cost of travel
and lodging. Virtual attendance should remain a viable option, even when travel is no
longer restrictive, and more voice experts should take advantage of virtual opportunities
for continuing education. Nonetheless, funding is still a concern, as it is for the arts in
general. In talking with Med Subject 4, she said that some school districts conduct a
lottery to send members to the ASHA national conference each year. Perhaps NATS
could consider something similar for members who cannot afford to attend certain
conferences or trainings.
Another type of training recommended by Singing Teacher 3 was a career booth
event to prepare teachers of singers and students for career options in voice. She felt like
her performance degree did not adequately prepare her for the life of a working singer.
Music entrepreneurship along with business degrees are offered at some institutions, but
perhaps these skills could be more frequently incorporated into all voice training. This
could be an opportunity to highlight types of interpersonal skills necessary to be a teacher
of singing. Just as career fairs in other fields list necessary qualifications for certain jobs,
business and career training for prospective teachers of singing could also suggest certain
qualifications. This could lead to more formal training for teachers of singing who
indicated using self-taught training at significantly higher percentages for skills such as
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“making voice users feel safe” (see Table 7.12), “being a life coach to the voice users
with whom I work” (see Table 7.4), “setting realistic goals and/or expectations with
voice users” (see Table 7.25) and “using prompting questions” (see Table 7.21).
To proceed, a pamphlet could be made describing the expectations of being a
voice teacher. Zippia: The Career Expert is a website with information about different
career options. The page on voice teachers lists a number of different skills based on
voice teacher resumes. Communication was listed as a skill, with example outcomes from
resumes given:
Establish and maintain positive relationships with children, parents and

colleagues; Developing an environment of open communication and support;
Drafted and distributed various written communication pieces to parents and
students about upcoming recitals and events; Modeled appropriate social
behaviors and encourage concern for others to cultivate development of
interpersonal relationships and communication skills; Improved communication
efficiency; Primary liaison between departments, clients and vendors; Developed
strong communication skills by working with clients; Learned how to sell my
skills; Sharpened my communication capabilities. (Top 13 Voice Teacher Skills,
2021)
However, there are more interpersonal skills expected of teachers of singing and utilized
by them that need to be addressed as a part of educating voice experts, as well as
continuing education opportunities.
Continuing education should revolve around research-based practices. The
qualitative interviews revealed the differences between the fields regarding these
practices. The Med Subject participants discussed more reading, writing, and conducting
of research, especially in relation to the practices they use with voice users. For example,
Med Subject 2 uses recommendations directly from ASHA and the SIG 3 group to which
she belongs, and Med Subject 4 said everything she does in the classroom is based on
research. The Singing Teacher participants talked more about their own singing
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experiences and the influences of past teachers. It was not surprising, therefore, that a
significantly higher percentage of “ToS” participants indicated in Phase 2 being inspired
by personal mentors (see Appendix F.6).
While there is nothing wrong with this inspiration, it needs to be tempered with
physiological truth about the voice and proof of what works with the students. Research
in voice pedagogy is progressively incorporating more evidence-based teaching, but it
may take time for this to become the norm for current teachers of singing. Thus, to better
understand how singers learn, voice pedagogy programs and teacher training programs
should continue to encourage methodologies that align with research concerning the
voice and the brain. Furthermore, resources such as textbooks and journals should
incorporate more research-based methodology to aid teachers of singing.
Many of the Singing Teacher participants in Phase 1 indicated reading the Journal
of Singing, and in Phase 2, “reading publications in my field” was valued by teachers of
singing and used daily by 31% (see Table 7.31). In pursuing this research, other available
resources for teachers of singing emerged, such as social media sites that are committed
to sharing evidence-based practices. Online resources are often free and accessible and
can provide ways to learn more about the voice and teaching methods. Many voice
experts have been hosting free virtual workshops in the past year. One way to be aware of
these learning opportunities is to subscribe to the platforms of these other voice experts.
Suggested Instagram accounts are given in Appendix G, with the understanding that
opinions in voice pedagogy are varied and teachers of singing naturally pick and choose
which techniques appeal to them and their students. Therefore, this list is neither
exhaustive nor all-inclusive and these accounts are merely suggestions to get voice
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experts started. As suggested by Member 1 in Phase 3, there are Facebook groups tailored
towards teachers of singing that may provide helpful information.
Other research resources can be found in journals unrelated to singing. Of the
teachers of singing in Phase 2, 34% said yes to “I read academic publications outside of
my field” as compared to 14% of speech-language pathologists. This quest for knowledge
in other disciplines is a positive, as teaching voice often requires understanding
psychology, counseling, neurology, medicine, education, and performing arts science.
More teachers of singing should interact with research outside their field, perhaps
through the following publications: American Journal of Speech-Language Pathology,
The Choral Journal, The Journal of Voice Journal of Research in Music Education,
Journal of Teacher Education, Frontiers in Psychology.
With this in mind, it would benefit collegiate institutions to give teachers of
singing and students access to a wide array of academic publications. Independent
teachers of singing who are members of NATS have access to the Journal of Singing, but
NATS should consider making other journals available to teachers of singers, perhaps at
a free or discounted price. Similar to how inter-library loans function among institutions,
perhaps inter-journal loans could exist among voice- and education-related publications
and associations.
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Recommendations for Speech-Language Pathologists
Recommendation 4
Speech-language pathologists should develop ways to build community among voice
users.
A difference that emerged between Med Subjects and Singing Teachers in the
qualitative interviews was the importance of community among singers. The Singing
Teacher participants and the focus group participants took different approaches to
encouraging respectful relationships among singers. Helping singers foster relationships
was an important skill, as was having healthy relationships with other teachers. There
was no significant difference in Phase 2 for value or use of the skill “community
outreach,” but significantly higher percentages of participants in the “SLP” and “Both”
groups had formal training in this skill (see Table 7.5). Since the speech-language
pathologists in Phase 2 received more formal training in this skill than the teachers of
singing, it is surprising that they do not use it more frequently. Patients of speech-
language pathologists who have similar voice care needs may benefit from being in
community with one another.
For example, Everard and Howell (2018) conducted two group modification
therapy courses in 2016 with eight adults in the UK who stuttered. Participants took
group courses for seven days and were also “encouraged to keep in regular contact with
each other as a means of support” (p. 1276). In analysis of qualitative interviews with the
participants, the researchers reported, “All participants commented on the value of being
part of a group, citing various reasons for this: sharing experiences open and honestly,
being understood, reassurance…providing motivating feedback, and the opportunity to

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practice speech techniques in a safe space” (p. 1279). This support system could be
revolutionary in other speech-language pathology, voice therapy, and voice medicine
settings as a way of deconstructing shame, which was an important outcome of voice
therapy to Med Subject 1.
Similarly, as I recommended that voice pedagogy programs make use of a weekly
voice class, as inspired by Singing Teacher 2, I recommend that speech-language
pathologists consider ways in which their clients might interact with one another for
support. This could function as a weekly online group or an in-person class, an online
support group using a social media platform, or monthly or yearly events to encourage
bonds among voice users. Med Subject 4 commented on the importance of providing
support for the parents of her young voice users. Events such as these would allow
families to make connections and feel less isolated as they help their children through
voice therapy.
However, there are many challenges related to HIPAA guidelines and group
intervention, not to mention the complexity of individual vocal concerns. For example,
the needs of people who stutter will not align with those who have Parkinson’s Disease.
There are patient privacy and safety matters that need to be considered if voice care
communities are established.

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Recommendation 5
Speech-language pathologists could incorporate interpersonal relationship-building
techniques into initial meetings with voice users.
According to the Phase 2 measures, a larger percentage of teachers of singing
(28%) provide voice users with a sample lesson/session as compared to speech-language
pathologists (9.5%) and survey participants who indicated working evenly in both fields
(6.1%) (see Appendix F.5). While a free sample session is not possible in speech-
language pathology, as billing for some sessions and not for others could result in
insurance fraud, building interpersonal outcomes into the initial meeting is one way to
form bonds with voice users. Based on the qualitative interviews and literature in the
field, many voice users feel embarrassed or ashamed about needing voice services, and
many do not continue with therapy or treatment (Behrman, 2006; Boone et al., 2020;
Everard & Howell, 2018). In addition to questioning voice users about their vocal health
and needs, as well as documenting any types of pathology through auditory and visual
means, the first session could also be used to make voice users feel more comfortable and
help them acclimate to the therapy process with little to no pressure.
In addition to the formal intake methods recommended in Recommendation 9,
informal methods should be included in the first session, such as small talk, a technique
that 43% of speech-language pathologists (and 40% of teachers of singing) indicated
using in Phase 2. The first session should allow time for small talk and some of the
relationship-building groundwork, as well as give voice experts the opportunity to
become aware of any Individualized Education Program (IEP) requirements or learning
accommodations needed, as discussed next in Recommendation 6.

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Recommendations for Both Fields
Recommendation 6
Voice experts should be trained in adaptive techniques to meet voice user needs, as well
as in diversity, equity, and inclusion.
Voice experts in both fields work with students who have diverse learning needs.
It does a disservice to both teacher and student when the teacher is not trained in adaptive
learning techniques. In Phase 2, only 32% in the “ToS” group and 38% in the “SLP”
group indicated being aware of IEP requirements and/or other learning accommodations,
while 36% and 30%, respectively, ask voice users about their learning styles and
preferences (see Appendix F.5). These percentages were lower than expected, especially
based on the responses from participants in Phases 1 and 3 who incorporate different
learning adaptations, especially to suit different learning modes (visual, aural, and
kinesthetic) and personality types. The results of Phase 2 were also in conflict with the
literature about understanding the learning styles of voice users, which leads me to
believe that such practice techniques are wide-ranging (Hurst-Wajszczuk, 2010; Jellison,
2015; Swanson, 2005).
Thus, voice experts should be required to take a course in learning styles and
needs, with a special focus on atypical learners. An example syllabus from a course
offered at UNL, “Individual Difference in Music Learning,” is provided in Appendix H.
Universal Design for Learning (UDL) techniques should be incorporated by voice experts
to serve students in the least restrictive environment possible. Those trained in UDL have
flexible strategies and utilize a variety of methods to teach and motivate students, as well
as provide multiple ways in which students can present ideas and abilities (Jellison,
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2015). “Universal strategies are designed based not on group membership (disability,
learning needs, or other characteristics such as gender, race, ethnicity, culture, or
language spoken) but on students’ individual strengths and needs and the requirements of
activities and tasks” (Jellison, 2015, p. 96). This could supplement coursework in special
education already being required by some institutions, while standardizing adaptive
methods in all voice experts.
Learning needs are not the only diverse elements of voice users. The qualitative
participants in Phase 1 gave a number of ways in which voice users are diverse, including
culture, ethnicity, gender, religion, first language, and more. To address the needs of all
students, these voice experts pursued additional training. Singing Teachers 1 and 2 both
illuminated ways in which they attained further training in order to best serve diverse
students, such as studying with African American singers to better understand the genre
of spirituals and taking a diversity, equity, and inclusion workshop. Med Subject 4
mentioned taking a course on interacting with English Language Learners. In Phase 2,
“interacting with diverse voice users” was a skill that was valued, trained, and used by
voice experts (see Table 7.13), but 48% of “ToS” participants indicated self-taught
training in this skill. Members of the focus group in Phase 3 discussed ways in which
they are learning new methods to communicate with students and meet diverse needs,
including additional work to find diverse repertoire. Based on the self-sought experiences
of voice experts in all three phases, more formal training opportunities for such skills
should be offered to all voice experts to better create safe and equitable environments.
While all voice experts would benefit from training in diversity, equity, and
inclusion, an element that separates voice pedagogy from speech-language pathology is

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the selection and teaching of repertoire. The music is naturally often the main conduit for
technique, expression, and musicality. Teachers of singing, therefore, have the unique
opportunity to shape singers through the music being taught. Many of the qualitative
participants indicated the importance of aligning training in repertoire with the needs of
students, as well as using diverse music that draws from composers (both dead and
living) of different genders, nationalities, sexual orientations, cultural groups, time
periods, socioeconomic status, and more.
In addition to training in musical repertoire that represents the breadth of
humanity, teachers of singing should also receive training in more styles of music.
“Being versed in a number (3+) of different discipline areas and/or techniques” was an
important skill to the respondents of the qualitative survey. Vocalists are often asked to
perform or teach a variety of different styles, from classical to commercial contemporary
music (CCM). The focus group members, Singing Teacher 3, and Singing Teacher 2
discussed using more CCM styles in academic settings, while Med Subject 1 mentioned
helping CCM singers find CCM voice teachers whenever they asked for a studio
recommendation. Classical training is no longer the only standard, and the field of voice
pedagogy is seeing a shift towards more acceptance of such styles. The “So You Want to
Sing: Guides for Performers” series, available on the NATS website, is a great example
of the demand for teaching styles that align with different genres of singing. Teachers of
singing need to be given training in a breadth of different genres, while understanding
that this will require more time and resources.
One way in which this could be accomplished is by pairing an example of
classical repertoire with a CCM example that uses the same skill or approach to
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technique. For example, the large leaps across registers in Mozart’s “Come scoglio” from
Così fan tutte is reminiscent of some abrupt register shifts in songs by contemporary
singer Regina Spektor. In a voice pedagogy class, both pieces could be used to describe
register and range, rather than just the classical example. The YouTube series
recommended by a focus group member “What the Fach?” approaches this idea by
taking a classical voice type, such as a coloratura soprano, and providing CCM singers
who use their instruments similarly. In this way, technique and style is demystified and
both teachers and singers are given a larger picture of how vocal technique applies to
different genres.
Another option would be to provide more funding and opportunities for
workshops, which could fill in the gaps in formal training. For example, Singing Teacher
3 said she mainly teaches CCM styles, despite her formal training being purely classical.
Her teacher even discouraged her from pursuing jazz, which may have been a result of
the teacher being uncomfortable with jazz instruction. If teachers of singing had more
learning opportunities in different styles, they could share their knowledge with their
students. This was something important to Singing Teacher 2, who pursues additional
knowledge in different music to better help her students, even if she is only learning one
step ahead of them.
Recommendation 7
Voice experts should be trained in creating safe environments for voice users.
Creating safe environments was a large finding of the qualitative interviews and
there were many helpful suggestions given by voice experts as summarized in Chapter 4
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(Phase 1) and Chapter 8 (Phase 3). In relation to Table 7.12, the results of Phase 2 also
showed the importance of making voice users feel safe, while Table 7.11 shows the
differences between teachers of singing and speech-language pathologists in relation to
“giving voice users a space to vent and/or be vulnerable.” Many voice experts agree that
these skills are necessary, but formal training is lacking.
Therefore, voice experts could benefit from being trained in how to use these
skills more consistently and effectively. Motivational interviewing (MI) is a technique
that puts voice users at ease through open-ended questions, extended pauses (something
that was also valued by focus group members), body language, and vocal inflection
(Behrman, 2006; Carr & Smith; 2013). This type of training in teachers of singing and
speech-language pathologists could revolutionize the way voice experts speak to voice
users. Some of the recommended elements of MI were mentioned by the participants in
Phase 1 and Phase 3, including the use of open-ended questions, body language, and
pauses. For example, interview techniques were important to Med Subject 3, as were
crisis intervention techniques. Perhaps with more training in these techniques, voice
experts can better create safe environments.
While voice experts are not psychological counselors (nor should they try to act
as such without training), additional skills could be learned from the fields of counseling
and psychology since psychological concerns do play out in interpersonal interactions
with voice users (Awan, 2001; Boone et al., 2020; Cooper-Duffy & Eaker, 2017;
LaFrance et al., 2019). Even if it is just to better understand the thoughts, actions, and
beliefs of others, this is another aspect of multidisciplinary care that could be beneficial
to voice experts and voice users. If training in these types of interpersonal skills proves to
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be difficult or expensive, voice experts could form bonds with counselors and crisis-
intervention experts to consult only in certain situations. Or such experts could be a part
of multidisciplinary conferences or invited to speak to pre-service voice experts, for
example, once a semester.
Also, the more voice experts take better care of themselves and are better
equipped to handle their own mental-emotional concerns, the more they are able to help
voice users navigate challenges. Experts in voice related fields often carry many burdens,
but psychological health can be fostered through being intentional with one’s schedule
and making time for personal aspects, such as family, friends, hobbies, and exercise. Med
Subject 1 summarized how working out six days a week, not answering emails during
evenings, setting aside weekday mornings to do paperwork, reserving weekends for
family time, and being in nature are all things she can do to fill herself up in order to
“pour from a full cup.” Many of the Singing Teacher participants have self-imposed
limits on how many hours they teach in a row, while others would like more time for
reflection in between students. These scheduling concerns are something for experts in
both fields to keep in mind, as are mindfulness practices, such as journaling and
meditation, and developing boundaries (Beck & Verticchio, 2018; Butler, 2017).
Recommendation 8
Both teachers of singing and speech-language pathologists should take formal training
steps to better understand other voice experts.
Based on the overwhelming number of comments and suggestions regarding
multidisciplinary teams comprised of teachers of singing, speech-language pathologists,

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otolaryngologists, family members, and more, both teachers of singing and speech-
language pathologists need more resources and opportunities to collaborate across
disciplines.
Singing Teacher 2 pointed to a PAMA certification course as influential in her
practice, as it made her more aware of the other side of voice care and gave her new ways
of thinking regarding her interactions with medical voice experts. It also helped her
visualize how to approach students with voice disorders or medical concerns by
outsourcing and recommending treatment, something that was also important to Singing
Teacher 1. Singing Teacher 4, as well as one of the focus group members, personally
underwent voice therapy, and was influenced by seeing both sides of voice health. She
now incorporates some of the exercises from her past speech-language pathologists in her
singing instruction.
On the other side, recall that Med Subject 1 said a lot of laryngologists have
insufficient knowledge about the practices of teachers of singing. While there are many
demands on the time of voice experts, seeing one another in action can create more bonds
of trust and understanding. It would also help voice users receive more comprehensive
care. It is powerful if teachers of singing, speech-language pathologists, and
otolaryngologists approve of and enforce certain voice care practices. Experts in both
fields could (1) take a formal course (such as the PAMA certification course) to see the
inner workings of other voice related fields, (2) set up times to observe one another,
and/or (3) attend multidisciplinary conferences and workshops to interact with and learn
from a variety of different voice experts.

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Additionally, as someone interested in multidisciplinary care, I was grateful to
have access to ASHA’s journal, American Journal of Speech-Language Pathology, when
conducting this research. This access came from my institution’s library, as previously
discussed. Voice experts could benefit from belonging to more than one professional
association and/or having access to some information across fields. Since many
professional organizations also publish journals, such as NATS (Journal of Singing),
Voice Foundation (Journal of Voice), and ASHA (American Journal of Speech-Language
Pathology and Journal of Speech, Language, and Hearing Research) the organizations
could form a cooperative agreement to give all members access to the digital version of
their journals.
While most teachers of singing do not meet the qualifications to be a member of
ASHA, and vice versa, ASHA and NATS should consider offering a type of “voice
expert” membership to professionals in related fields to further strengthen understanding
between the fields via resources and communication. PAVA, for example, has associate
members who cannot vote nor serve on the board, but are still members (as are student
members). PAVA is one solution for voice experts who want to belong to an association
focused on multidisciplinary care and is an option for current teachers of singing and
speech-language pathologists alike. Either way, voice experts should strive towards
stronger relationships.
While much of this research concerns the interpersonal relationships between
voice experts and the voice users in their care, many of the qualitative participants
commented on the importance of having these strong working relationships with other
voice professionals. This not only serves the voice experts (who can go to one another
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with questions and concerns), but it also serves the voice users who have access to
different voice experts and techniques via the relationships with their teacher of singing
or speech-language pathologist. However, differences in opinion, methodologies, or goals
can often make voice experts combative with one another. Based on personal experience
and the research of Ballard (2001), teachers of singing are protective of the students in
their studio. This is not bad, but it can lead to distrustful relationships with other voice
experts, or it can cause the teacher to feel they have to be everything for every student.
Rather than try to fix problems in a vacuum, teachers of singing and speech-language
pathologists can rely more on other voice experts to relieve some of the pressure from
themselves and to give voice users the best care possible. More so, both Med Subject 1
and Med Subject 2 said that teachers of singing are often embarrassed or feel responsible
for the pathologies exhibited in their students’ voices. These experts said they work to
remove this shame and break down this barrier, which is something all voice experts
should strive to do. If strong relationships and bonds exist among voice experts, there will
be less fear and hesitation in seeking council and advice.
In addition to the recommendations made above, voice experts should pursue
relationships outside of formal approaches. Once formal working relationships are
established, voice experts can pursue relationships with more comradery. One way this
can be done (as suggested by the focus group members), is to belong to online voice
groups (often found on social media), or attend virtual meetings to form bonds with other
voice experts. It would also be transformational for communities if voice experts who
work in the same states, regions, cities, or even institutions have access to one another
and share information. For example, Med Subject 1 works with speech-language
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pathology and voice pedagogy programs at different institutions surrounding her practice,
something that will continue to build bonds with current and up-and-coming voice
experts. All benefit when voice experts share their expertise with one another.
In the qualitative portion of this research, choral directors were excluded in order
to focus on voice experts who work mainly in one-on-one settings. However, some
participants indicated collaborating with choral directors on a regular basis. The choral
director is another important member of the voice care team, especially as choir is a way
for voice users to apply the skills learned in voice lessons or voice therapy. Therefore,
choral directors should also be involved in multidisciplinary conversations, especially to
ensure that voice health is being encouraged in all settings.
As stated previously, I understand that, on top of what is already required of them,
voice experts do not have an excess of free time, resources, or opportunities for additional
training. However, just as multidisciplinary training and bonds between teachers of
singing and the voice medicine field can lead to improved outcomes for both voice
experts and voice users, the pursuit of more training in theater, dance, and body work will
be beneficial to all involved. Singing Teacher 4 identified her theater and dance training
as influential, saying it was something a lot of her colleagues did not have. For singers,
training in movement, emotion, and performance can be directly applied to their sung
endeavors. For those seeking medical treatment or voice therapy, the connection may be
less clear, but it could be another tool to use with voice users, especially those who are
kinesthetic learners. Med Subject 1 uses body work approaches with patients to
encourage them to see their instrument as their whole body, not just their laryngeal
mechanism. If more speech-language pathologists and voice doctors are aware of body
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technique, as a result of multidisciplinary training, they could use these different
approaches in their work.
In terms of training, voice experts could be required to take a course in acting,
dance, or movement. Many voice experts already use Alexander Technique, Feldenkrais
method, yoga, ballet, and other types of movement in their practice. Often, movement
experts will offer trainings or courses in these techniques, specifically for voice users. I
do not think voice experts need to be certified in these methods to incorporate them into
their practice, but they do need some practical application steps.
Recommendation 9
Voice experts should utilize more intake methods with new voice users.
One of the more surprising aspects of the quantitative findings of this research
was the lesser use of a formalized intake process. Only 22% of speech-language
pathologists and 18% of teachers of singing follow a formal evaluation or screening test,
and 37% of speech-language pathologists, compared with 20% of teachers of singing,
record video and/or audio of a student in one of the first meetings to reference or evaluate
(see Appendix F.5). In addition to learning about the voice, voice experts could use more
formal approaches to learn about the voice user and develop relationships. For example,
Med Subjects 2 and 4 check progress before, during, and after treatment using a list of
voice skills assessed in the first meeting. Med Subject 2 uses recordings to accomplish
this, as did one of the focus group members, and Med Subject 4 uses the same 60 sounds
in all three trials to determine progress.

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If voice experts are not already utilizing some of these methods, they should
consider them when starting with new clients. While it may require more paperwork and
work upfront, it could result in stronger relationships and trace the progress towards
outcomes in a clearer way. A singer intake form, co-designed as part of a group project in
a course at the CCM Vocal Pedagogy Institute, is provided in Appendix I and could be
adapted to use with all voice users, not just singers. Of teachers of singing surveyed, 32%
indicated asking voice users to fill out an information survey or intake form, compared to
41% of speech-language pathologists, while 48% and 49%, respectively, fill out an
information survey or intake form themselves.
Another technique less frequently selected on the quantitative survey in Phase 2
was “I provide voice users with a video introducing myself and my practice,” with 16%
of teachers of singing and 4.8% of speech-language pathologists practicing this
technique. This is an opportunity that more voice experts could utilize in order to make
their personalities, methodologies, and beliefs clearer from the beginning, as well as give
voice users a safe space to learn more about their voice expert. This is something Med
Subject 1 provides to prospective clients to highlight her practice and answer initial
questions. If not a video, other methods could be used. For example, Singing Teacher 4
sends an introductory email to new private studio students to cover some of the basics of
her training and to give them a space to learn about her and ask questions.
Formal methods such as these can improve customer service. Med Subject 2 and
Singing Teacher 3 both mentioned having a customer service mindset when working with
voice users. While voice experts are in positions of authority, they often relinquish this
power and put the customer in the driver’s seat, as explained by Med Subject 1, to ensure
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that their needs are being met. In this way, the idea that “the customer is always right” is
not far off. Respecting client desires and interacting with them in professional ways often
looks like providing clear communication, giving upfront policies about expectations and
payment procedures, and adapting methodologies when the voice user requests a change.
For example, Singing Teacher 3 allows her adult students or the parents of younger
students to have a say in repertoire selections, as did members of the focus group in
Phase 3. Med Subjects 1 and 2 both work as a translator between voice user and other
members of the voice care team, advocating for them in different situations.
Recommendation 10
Voice experts should develop a method for reflecting on and preparing for encounters
with voice users.
The sheer number of people that voice experts see in a week can be
overwhelming. Singing Teacher 3, who often gives 30 lessons a week, expressed her
need to keep running notes on each student to keep track of what was accomplished in
each lesson, as does Singing Teacher 4. Singing Teacher 2, who uses a technology called
Trello, tracks progress alongside students, who also have access to Trello. Med Subject 2
makes use of email as well as a written log to ensure that students are progressing
towards goals and that she is selecting appropriate assignments each week. With all of
these note-keeping techniques, voice experts reflect on past sessions and prepare for
future ones.
For both the “ToS” and the “SLP” groups in Phase 2, “reflecting on my
encounters with voice users after a lesson, session, or appointment,” as shown in Table
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7.33, was slightly less valued, but similarly used on a daily basis as compared to
“preparedness” in Table 7.32, an interpersonal skill highly valued, frequently used on a
daily basis, and trained in formal, supplementary, and self-taught ways for both teachers
of singing and speech-language pathologists. Preparation for sessions may look
differently for each voice expert, but Appendix J provides a weekly reflection form that,
when used alongside voice users, can encourage independence and self-efficacy, an
important aspect of voice care according to the participants in Phases 1 and 3 and other
experts in these fields (Angell, 2019; Behrman, 2006).
Logistically, voice experts may keep physical folders with notes about each voice
user, while others use a master task list throughout the week to determine what needs to
be done to prepare for the next week. Med Subject 4 pulls out new materials for a voice
user immediately after a session and places it in that student’s folder, so it is ready to go
for the next session. Med Subject 2 will send a follow up email to voice users with any
paperwork or action steps that need to be taken. As all of these are valuable suggestions,
each voice expert should decide how they best reflect and prepare, make a plan, adapt it
when needed, but then be consistent with the plan.
Recommendation 11
Voice experts should be given training in applicable technologies.
Using technology was an unexpected skill that emerged in Phase 1, since none of
the interview questions explicitly asked about it. Effective technologies can help voice
experts communicate clearly and give voice users multiple means of expression. For
example, Med Subject 2 uses different applications with voice users in her care and gives
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them the opportunity to choose which ones they prefer. Many of the Singing Teacher
participants use management systems, such as Canvas and Trello, to set clear
expectations and deadlines with singers, and then share recordings and other materials.
The focus group members were especially concerned with learning more about recording
equipment, but felt good about how they were able to incorporate technology throughout
the week to improve relationships and encourage students to practice. One of the focus
group members described how she watches videos and provides feedback when a student
tags her in a practice recording on Collabra. While this does require time and energy on
her part, she finds these frequent check-ins and corrections make the weekly lessons more
meaningful.
In Phase 2, Table 7.35 shows that both fields value “using technology,” use it
frequently, and have different types of training in it, but based on the qualitative
comments, voice experts should have more training in using recording equipment
specifically. As a reminder, 40% of teachers of singing and 43% of speech language
pathologists record video and/or audio of a student in one of the first meetings to
reference or evaluate, and 46% of teachers of singing and 29% of speech-language
pathologists record and watch sessions with voice users. Training in recording technology
would help those already using these skills and perhaps encourage more voice experts to
become more comfortable using them. As a result of COVID-19, many voice experts are
using new technologies, such as Med Subject 1 who now offers telehealth, or Singing
Teacher 2 who recorded her institution’s opera using green screen technology.
Many voice experts have had to learn on the job this year. Now that such technologies are
more common, training programs for voice experts could incorporate technological
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training in audio and video recording. Common types of knowledge provided in teacher
training programs should include microphone and headphone usage, and reliable brands
of hardware; recording software, such as GarageBand; camera and video recording
equipment and software; audio analysis software, such as Audacity or PRAAT; and video
editing software. These are skills that may not have been required of voice experts in the
past, but are part of the current landscape of voice education.

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CHAPTER 11: CONCLUSION
Research Questions Answered
The research methods conducted in Phases 1, 2, and 3 all contributed to answer
the five research questions posed in Chapter 1. The use of both qualitative and
quantitative data analysis measures resulted in firm conclusions for the fields of voice
pedagogy and speech-language pathology. These conclusions, given below, will shape
interpersonal practices in voice-related fields and give teachers of singing, speech-
language pathologists, and otolaryngologists necessary insight into how they interact with
voice users.
Research Question 1
Are there interpersonal skills that are (A) valued, (B) trained, and/or (C) used by both
fields?
(A) Similarities in Valued Interpersonal Skills
In Phase 1, skills of empathy, humility, humor, respectful relationships with voice
users, and trust (relationship-building) were identified as similarities between the groups.
In Phase 2, teachers of singing had a significantly higher median value for humor, while
median values for empathy and trust were higher for speech-language pathologists. In
Phase 3, empathy, respectful relationships with voice users, and trust were given as
important to the focus group members, who were all teachers of singing. Safe
environments also emerged as an important value in Phase 1 and Phase 3, but Phase 2
revealed that teachers of singing value making voice users feel safe at a significantly
higher level. Interacting with diverse voice users and knowledge of the anatomy and
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physiology of the human voice (voice-user-led practices) were important in Phase 1, but
the “ToS” group in Phase 2 valued these skills at significantly higher median values.
Teachers of singing in Phase 3 also gave many examples of how they tailor instruction to
meet the needs of students both vocally and emotionally. Thus, the only skills from all
three phases that are conclusively of value to both groups are empathy, humility, humor,
respectful relationships with voice users, and trust.
(B) Similarities in Trained Interpersonal Skills
In Phase 1, the interview participants in both fields pursued types of continued
education as part of their training. In Phase 2, “continuing my education” was a skill in
which only one significant difference emerged, in answer to the option “No Training,”
with 3 (7.7%) teachers of singing selecting this option. This skill was also established as
important by the comments about continued education in Phase 3, so it is a shared type of
training for voice experts. The Phase 1 participants gave a variety of different
pedagogical motivations, the second theme in that phase, which resulted in a list of
pedagogical motivations in Phase 2. The differences between groups are shown in Table
7.37, but statements for which corroboration between the groups was found include
service to community, taking care of others, collaborating with other voice professionals,
working with people, using problem-solving techniques, being challenged, variety in my
line of work, and success in voice users. As these statements align with many of the
comments made in Phases 1 and 3, they should be considered similarities between the
fields. Finally, teamwork was shown to be a similarity in training in all three phases and
should continue to be part of both voice pedagogy and speech-language pathology. This
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finding should encourage experts in both fields to pursue working relationships with
other voice professionals.
(C) Similarities in Used Interpersonal Skills
There were many similarities in Phase 1 related to used interpersonal skills,
including giving feedback in a concise manner (verbal communication and feedback);
listening (non-verbal communication and listening skills); allowing voice users to make
decisions and setting realistic goals (goal setting and decision-making); flexibility in
instructional techniques and starting with fundamentals (teaching techniques); and
preparedness, reflecting on encounters with voice users, pursuing personal growth, and
using technology (professional demands). All these skills were confirmed as used
similarly by all groups in Phase 2 and the focus group members in Phase 3, so these are
skills that experts in both fields should continue to use and discuss with one another.
Research Question 2
Are there interpersonal skills that are (A) valued, (B) trained, and/or (C) used by only
one of the fields?
(A) Differences in Valued Interpersonal Skills
In Phase 1, only one Singing Teacher used the word friend, and two Med Subjects
used the term coach to describe relationships with voice users. In Phase 2, being a friend
to voice users was not valued differently between the groups, but being a life coach was
more valued by teachers of singing with statistical significance and can be considered a
difference between the fields. Giving space for voice users to vent or be vulnerable was
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more important to the Singing Teachers in Phase 1, valued higher by the “ToS” group in
Phase 2 with statistical significance, and commented upon by members in Phase 3, so this
is also a difference in value between the fields.
(B) Differences in Trained Interpersonal Skills
In Phase 1, experience was given by Singing Teachers as a way to develop
pedagogical content knowledge. Phase 2 also showed a significant difference with more
teachers of singing indicating self-taught training in developing pedagogical content
knowledge. Phase 3 participants did not comment on this skill, but it can still be
categorized as a difference between the fields, as can being versed in a number of
different discipline areas, with more teachers of singing in Phase 2 having self-taught
training in this skill as well.
(C) Differences in Used Interpersonal Skills
More Singing Teachers in Phase 1 indicated using intuition (non-verbal
communication and listening skills), while more Med Subjects discussed using prompting
questions (verbal communication and feedback) and attending conferences, workshops,
and/or clinics, contributing research, and reading publications (research-based practices).
Phase 2 confirmed differences in use between the fields for using prompting questions
and attending and/or presenting at workshops and/or clinics, so these two skills can be
confirmed as differences.
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Research Question 3
Are there interpersonal skills that are valued and trained by both fields, but not used,
or only used in one of the fields?
Continuing education was the only skill in Phase 2 for which value aligned with
formal, supplementary, and self-taught training in all groups, but a statistically significant
difference in use emerged. If both skills value this skill and have training in it, they
should use it more often. More opportunities for continued education should be provided
using the recommendations made in Chapter 10.
Research Question 4
Are there interpersonal skills that are valued and used by both fields, but not trained,
or only trained in one of the fields?
Many of the skills analyzed in Phase 2 had similar value and use without
consistent training, due in part to the high percentages of self-taught training among
teachers of singing. As previously stated, voice pedagogy needs to implement ways to
train more of these skills formally and fill this gap. Skills in which value and use aligned
but training did not include being a friend to voice users, community outreach, humility,
interacting with diverse voice users, being versed in a number of different discipline
areas, allowing voice users to make decisions, setting realistic goals, flexibility in
instructional techniques, contributing research, reading publications, and preparedness.

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Research Question 5
Are there interpersonal skills that are trained and used by both fields, but not valued,
or only valued by one of the fields?
Knowledge of the anatomy and physiology of the voice was the only skill in
which training and use aligned between the fields in Phase 2, but value did not, with
teachers of singing having a higher value of this skill with statistical significance.
Speech-language pathologists should examine why this skill is not highly valued, if it is
being trained and used, or if less training and usage should focus on this, if not important.
Summary
The interpersonal teaching practices of teachers of singing and speech-language
pathologists were examined in this mixed-method research study. It showed that while
the relationship between voice pedagogy and speech-language pathology is not a new
one, more multidisciplinary voice care should exist based on similarities between these
fields, while differences between the fields aid in developing new methods of voice
instruction. Areas of overlap and disparity in the fields of voice pedagogy and speech-
language pathology were identified to determine where one field could positively
influence the other. Then, recommendations were made for individuals and institutions
based on both the similarities and differences between these two fields, with the aim of
positively impacting current teachers of singing, speech-language pathologists, and those
in teacher education programs, as well as the broader educational structures already in
place for individualized voice teaching. This inventory of interpersonal practices of
teachers of singing and speech-language pathologists gets at the heart of what voice
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experts do and why they do it. It demystifies much of the habits, beliefs, and
methodologies of voice experts, which will help voice experts and voice users in the
future.
Limitations
Qualitative Phases – Interviews and Focus Group
In the qualitative phases of this study, generalizations were made based on small
sample sizes. Only eight voice experts participated in the qualitative interviews in Phase
1, four teachers of singing and four from the fields of speech-language pathology, voice
therapy, and otolaryngology, despite more being invited to participate. Perhaps this was a
result of the COVID-19 pandemic, which closed universities, schools, and medical
practices one month after I began conducting interviews. This could also be a result of
interest, as it is possible that the participants who responded to the invitation were those
who were equally interested in these themes, topics, and questions. Each of the eight
members displayed a passion for interpersonal work and a hunger for knowledge. Also
due to the COVID-19 pandemic, I was not able to observe these eight participants
working with voice users, an initial element of my research design.
COVID-19 was also the cause of “Zoom Fatigue” in many people and could be a
reason why out of 63 invitees from both fields, only five participants attended the virtual
focus group in Phase 3, and all five of them were teachers of singing and members of
NATS. In this way, I was not able to corroborate my findings through a dialogue with
speech-language pathologists. In future research, as will be discussed, I intend to

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continue discussing interpersonal practices and multidisciplinary training with speech-
language pathologists and otolaryngologists in addition to teachers of singing.
In Phase 1, out of the eight interview participants, only one was male, and only
one male participant attended the online focus group in Phase 3. Gender differences in
these fields were not the main focus of this research, but should be considered.
Historically, according to Med Subject 2, speech-language pathology is female
dominated, while Physical Therapy (PT) is more male dominated. She said that in the
past, PTs were taught in school not to accept less than a certain salary and schools also
controlled how many people were accepted into PT school, causing a shortage that
created a spike in salary. She said that today there are almost as many women in PT as
there are men, and that there are men and women in leadership in ASHA. Med Subject 4
said that out of about 35 speech therapists in her district, only two are male. With this in
mind, it is important to understand how certain professional demographics developed and
how wage gaps can lead to disproportionate numbers of voice experts of different
genders.
Gender also plays a role in the field of voice pedagogy, but may be seen as
secondary to voice type in some cases, according to the participants interviewed. For
example, if a graduate student wants to study with a teacher of the same voice type to
better understand the standard repertoire, this desire has less to do with gender and more
to do with fach, something confirmed by Singing Teachers 1, 2, and 4. Singing Teacher
3, however, had a negative experience in which the parents of one of her students decided
to switch to a male teacher because they thought a male would be more authoritative. The
way that gender negatively impacted her teaching, as well as her income, is something
285
that should be irradicated from voice-related fields as gender equality becomes more of
the norm in the United States. In Phase 2, discussed next, there was no significant
difference in the number of participants from each gender, which is a better
representation of gender diversity in voice fields as a whole than I was able to recruit for
the qualitative phases.
Quantitative Phase – Survey
The largest group of respondents for the quantitative survey were speech-
language pathologists, which could be a result of inviting a larger number of ASHA
members due to their 1000 name minimum when providing mailing lists. However, this
difference did not affect the statistically validity of the results. The 10 people who did not
finish the survey after starting it may have been affected by the length of the survey.
Additionally, this survey was mainly designed by the research team and, though it was
based on a survey used by Austin and Reinhardt (1999), should have undergone more
tests before distributing to ensure the validity and reliability of the measures.
Future Research
All of the research in this mixed-method study relied on the self-reporting of
voice experts. Hearing about their experiences in their own words was invaluable, as was
seeing the types of value, training, and use they have of certain skills. However, future
research needs to consider the other side of the interpersonal interaction, the voice user. I
intend to conduct similar research with voice users, interviewing and surveying singers
and those who receive voice services to determine which interpersonal skills they value
286
the most. By illuminating which types of instruction students find most effective from
their teachers, both members of the interaction can better understand one another and
benefit. I will use the findings of this research to formulate new qualitative and
quantitative measures to use with voice users.
Along these lines, more research could be conducted over personality types and
learning styles to better understand the elements of interpersonal interactions. For
example, Med Subject 2 said voice user personalities were very prevalent in the
interaction, as was her personality as a holistic, natural teacher. Singing Teachers 1 and 2
keep student personalities in mind when considering studio dynamics, while one of the
focus group members uses a personality test based on shapes to better understand the
learning preferences of each student. With personality in mind, we see that students
influence their teachers, in addition to teachers influencing the students. Future research
could study different personality tests in relation to interpersonal interactions, including
the Enneagram test8, Myers-Briggs9, and others.
Future research will also entail observing interactions between voice experts and
voice users. This was an element missing from this research and Med Subject 4 even said
that observation makes the therapy experience “come alive.” I will pursue more
qualitative and ethnographic study by observing voice experts and taking notes. A friend
of mine credited observation as a large portion of her training, calling it a voice
apprenticeship. I did not include this in my recommendations, since it resulted from an
8
A personality test that determines one’s predominant “type” from 9 different numbers, based on strengths
and weaknesses. Learn more at https://www.internationalenneagram.org/
9
A personality test that determines a psychological type based on 16 different combinations of extraversion
(E) or introversion (I), sensing (S) or intuition (N), thinking (T) or feeling (F), and judging (J) or perceiving
(P). Learn more at http://www.myersbriggs.org/
287
informal conversation, but more voice experts should open up their studios and medical
practices to one another for observation and feedback. Future research could focus on the
relationships between voice experts and how voice communities help one another grow.
In light of gender differences in the fields, discussed above, future research could
analyze the data from this survey using the demographic questions to determine if there is
any significant difference between participants’ responses based on gender, the age of
voice users with whom they work, or the work setting. For example, are those who work
with older voice users more likely to use the skill “allowing voice users to make
decisions”? This question and more could be answered by the data already collected, but
as this was not a research question for this study, such statistics were not conducted at
this point.
The difference between working with students in short-term versus long-term
settings was briefly discussed in this research. I discovered that interpersonal dispositions
are necessary, no matter the length of interaction with voice users. For example, Med
Subject 2 has had many instances in which patients come once and then never return. She
is generous with her time and expertise, giving each patient a first visit that can last over
two hours, ensuring that patients are given as much help upfront as possible. She said,
“Every patient is treated the same because in my head I feel that I have to do my best for
that patient assuming I’ll never see them again,” even if she ends up seeing them on a
regular basis. Also, Med Subject 4 and each of the Singing Teacher participants in Phase
1 said they might not spend as much time building rapport with the voice users seen
short-term, as there are often pressing deadlines such as an audition or a performance, but
still find ways to engage with them on a personal level. For example, Singing Teacher 4
288
uses introductory emails to learn about students and shares her singing background ahead
of time so connections can be made, but the lesson time can be spent on singing. Future
research could investigate methods of being effective during short-term, or “triage,” as
Med Subject 1 called them, appointments with voice users.
Finally, based on the changes made to voice care and education in light of the
COVID-19 pandemic, more research could focus on interpersonal relationships in virtual
formats. Med Subject 2 takes relationship-building seriously, as many patients come to
therapy sessions with skepticism and need to build a relationship in order to trust her.
During this COVID-19 pandemic, she uses Zoom, emails containing telehealth handouts,
and encouraging conversation as ways to build bonds with patients in virtual formats.
Med Subject 1 said that telehealth has become a large part of her practice over the past
year. Singing Teacher 3 said she receives more updates from students and insights into
their lives since the pandemic, while Singing Teacher 2 has made herself more available
to students via text and phone call. Singing Teacher 1 said virtual formats are often
“really difficult and in some degrees exhausting because you’re also not able to feed off
that exchange of energy,” but she also said that it helped her make changes to her
teaching that better align with her priorities. Singing Teacher 4, who has been doing
occasional in-person teaching during the pandemic, discussed the improved outlook and
positivity from students after in-person lessons, saying “Even just that once a month kind
of contact makes a huge impact for the student.” This illustrates the importance of the
interpersonal relationship in the voice studio and reiterates the importance of connecting
with students no matter the lesson format. More research could provide approaches for
bonding with voice users across different mediums. The goal of the future research I
289
intend to conduct is to help voice experts better connect with their students, with one
another, and with communities at large.

290
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APPENDIX A: Interpersonal Standards Within the Fields
ASHA:
“Knowledge required includes: Understand the basic principles and dynamics of effective
interpersonal communication; Understand different learning styles and how to work most
effectively with each style in the supervisory relationship; Understand how differences in
age, gender, culture, social roles, and self-concept can present challenges to effective
interpersonal communication; Understand the importance of effective listening skills;
Understand differences in communication styles, including cultural/linguistic,
generational, and gender differences, and how this may have an impact on the working
relationship with the supervisee; Be familiar with research on supervision in terms of
developing supervisory relationships and in analyzing supervisor and supervisee
behaviors; Understand key principles of conflict resolution.
Skills required include: Demonstrate the use of effective interpersonal skills; Facilitate
the supervisee's use of interpersonal communication skills that will maximize
communication effectiveness; Recognize and accommodate differences in learning styles
as part of the supervisory process; Recognize and be able to address the challenges to
successful communication interactions (e.g., generational and/or gender differences and
cultural/linguistic factors); Recognize and accommodate differences in communication
styles; Demonstrate behaviors that facilitate effective listening (e.g., silent listening,
questioning, paraphrasing, empathizing, and supporting); Maintain a professional and
supportive relationship that allows for both supervisee and supervisor growth; Apply
research on supervision in developing supervisory relationships and in analyzing

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supervisor and supervisee behaviors; Conduct a supervisor self-assessment to identify
strengths as well as areas that need improvement (e.g., interpersonal communication);
Use appropriate conflict resolution strategies.” (ASHA, 2018)
Code of Ethics:
1. “Individuals shall honor their responsibility to hold paramount the welfare of
persons they serve professionally or who are participants in research and scholarly
activities, and they shall treat animals involved in research in a humane manner.”
2. “Individuals shall honor their responsibility to achieve and maintain the highest
level of professional competence and performance.”
3. “Individuals shall honor their responsibility to the public when advocating for the
unmet communication and swallowing needs of the public and shall provide
accurate information involving any aspect of the professions.”
4. “Individuals shall uphold the dignity and autonomy of the professions, maintain
collaborative and harmonious interprofessional and intraprofessional
relationships, and accept the professions' self-imposed standards” (ASHA, 2016).
NATS:
“Personal Ethical Standards:
The Association expects its Members to behave professionally and ethically in the
representation of their abilities and in their promotional materials and outreach, and to
conduct themselves in a manner that reflects positively on the Association.

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1. Members shall present themselves honestly, in a dignified and professional
manner, and with documented qualifications. These may include appropriate
academic degrees, awards, professional affiliations, and teaching and performing
experience.
2. Members shall strive to teach with competence by demonstrating knowledge of
voice pedagogy, musicianship, familiarity with a variety of vocal repertoire, as
well as performance skills.
3. Members should strive for continued growth in professional competencies.
4. Members shall faithfully support the Association and are encouraged to
participate in and contribute to its activities and mission.
5. Members should abide by copyright laws and guard against encouraging or
allowing infringement thereof.
6. Members shall exhibit responsible and ethical behavior when using print, digital
and social media associated with the profession and the studio.
7. Members should be artistic resources for their communities.
Ethical Standards Related to Students:
The Association is committed to Member/Student relationships which foster excellence
and learning in a dignified and professional environment, and which do not involve
discrimination, sexuality, innuendo, or favoritism.
1. Members should avoid all types of discriminatory practices. Appropriate
guidelines are set forth in statutes such as Title IX of the Education Amendments
of 1972 and the Canadian Human Rights Act.

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2. Members should maintain appropriate boundaries in psychological, emotional,
and personal contact with students, including insinuations that could be construed
as sexual advances, even when a student may encourage or request such
interaction.
3. Members should respect the privacy and personal integrity of students, not
disclosing confidential information except to the extent that a particular legal or
academic system requires disclosure.
4. Members should clearly communicate and comply with their studio policies and
expectations in a timely and concrete manner.
5. The relationship between teacher and student shall be established, maintained and
terminated in a respectful, professional manner.
6. Members should respect a student's prerogative to obtain instruction from any
teacher(s) of their choice, including concurrent study with another teacher(s).
Transparency should be maintained among all parties.
7. Members should offer their best instruction and career advice to every student
under their supervision, and should treat each student in a respectful and impartial
manner while taking into account individual differences in ability, learning styles
and motivation.
8. Members should refrain from making exaggerated claims or misleading
statements concerning a student's prospects for a professional career in music.
They should not guarantee performances, professional positions or favorable
contacts unless they can fulfill those promises.

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Ethical standards Related to Colleagues:
The Association encourages a mutually supportive atmosphere among its Members, and
in their interactions with other related professionals.
1. Members shall refrain from making defamatory or untrue negative public
statements or judgments about colleagues or their students, either verbally or in
writing.
2. Members shall render honest and unbiased adjudication at auditions and
competitions. If they are unable to do so, then they should recuse themselves.
3. In cases where a Member determines that involving other professionals in a
student’s instruction may be of benefit (for medical, technical, artistic, musical,
pedagogical, or other reasons), Members shall strive to work collegially with
these professionals.
4. Rules and regulations of accredited academic institutions may at times take
precedence over the Association’s Code of Ethics, should there be a conflict.
5. Should ethical conflicts arise between Members and/or a NATS Entity, direct
communication should be used to resolve problems among the involved parties. If
the conflict cannot be resolved, the Association has a specific, detailed
process for dealing with concerns.” (NATS Code of Ethics, NATS, 2018).
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APPENDIX B: Institutional Review Board Approval Letters

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APPENDIX C: Research Theses and Sub-Questions
Thesis 1: Sub-Question 1:
I identify interpersonal Are there interpersonal skills that are most prevalent in the
practices implemented fields of voice pedagogy or speech-language pathology?
by teachers of singing What are they?
and speech-language Sub-Question 2:
pathologists and compare Are there interpersonal skills that are evident in the
and contrast these literature, but are least prevalent in the fields of voice
practices to make pedagogy or speech-language pathology? What are they?
recommendations for the Should they be incorporated into teaching more often?
two fields. Why or why not?
Sub-Question 3:
Do teachers of singing and speech-language pathologists
use individualized instruction when working with students?
If so, how do they tailor instruction?

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Thesis 2: Sub-Question 5:
I identify types of Are there interpersonal beliefs, expectations, and/or
teacher training in standards set by the fields of speech-language pathology
interpersonal practices and voice pedagogy? By the individual? What are they?
by examining both Sub-Question 6:
individual and corporate Are there effective ways to develop these interpersonal
experiences of teachers beliefs, expectations, and/or standards? What role do
of singing and speech- personal experiences or professional experiences (such as
language pathologists, certification, education, workshops, clinics, memberships,
which will include study etc.) serve?
of how the two fields Sub-Question 7:
approach curriculum and What is the role of research-based practices in these fields?
education, professional Sub-Question 8:
memberships, Do self-identified interpersonal beliefs, expectations, and/or
certification practices, standards align with self-identified and observed
beliefs and ethics, and interpersonal actions? Basically, do teachers of singing and
research-based practices. speech-language pathologists do what they aim to do in
terms of interpersonal teaching?

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APPENDIX D: Qualitative and Quantitative Instruments
D.1: Semi-Structured Interview Questions
1. How would you define interpersonal?
2. What do you consider to be necessary interpersonal skills in your line of work?
3. How do you incorporate interpersonal skills into your line of work? Can you give
an example?
4. Do you teach or encourage interpersonal skills in your students or clients? In what
ways?
5. Which of the following approaches to individualized instruction are used by you?
a. Gardner’s Intelligences (Visual-Spatial, Linguistic Verbal, Logical-

Mathematical, Bodily-Kinesthetic, Musical, Interpersonal, Intrapersonal,
Naturalistic)
b. Modes (Auditory, Visual, Kinesthetic)
c. Personality Types/Tests
d. Gallup Strength Finders
e. Other, Explain:
6. Do you adapt to student/client learning styles or preferences? If so, explain. Or

describe a time that you had to alter your teaching/methods to fit the needs of a
student/client.
7. How do you measure success? In yourself? In your students/clients?
8. Which of the following types of goals do you set with your students or clients?
a. None
b. Short-term
c. Long-term
d. Professional
e. Personal
f. Other, Explain:
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9. How do you set goals?
10. Do you include students/clients in the goal-setting process? In what ways?
11. Describe your process for selecting client or student exercises or sung repertoire.
Do you include students/clients in the process? In what ways?
12. Which of the following modes of feedback do you provide in a session with a
student or client? Please provide a notch on the line and give any reasoning aloud.
a. Feedback given to the person during an action (concurrent feedback,
active coaching)
NEVER SOMETIMES ALWAYS
b. Feedback given to the person after an action (terminal feedback, reflective

feedback)
c. Praise
d. Positive Criticism
e. Negative Criticism
f. Suggestions for improvement

g. Other, Explain:
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13. How do you balance or manage the balance between encouragement and
constructive critique?
14. Do you see yourself as a life coach/life therapist in the lives of your
students/clients? In what ways? For example, do you see yourself as someone
who helps with emotional or personal concerns? How much of that role do you
take on as friend, nurturer, mentor?
15. Which of the following methods do you use to create rapport and healthy
relationships?
a. Student/Client Information survey
b. Attending performances or extracurriculars of students
c. Small talk
d. Investment in their other classes or coursework
e. Taking an interest in them as a person, caring about them as an individual
f. Other, Explain:
16. Which of the following steps do you take to create a safe environment?
(suggestions below from Clemmons, 2010)
a. Treating each person as an individual
b. Respectful of student/client goals and ideas
c. Lack of criticism of person (not making negative comments about the
individual outside of the skills being worked on)
d. Positive motivation
e. Positive language with forward direction (ex: do an exercise again with a
goal in mind)
f. Clear expectations
g. Other, Explain:
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17. Do you belong to any associations? What memberships do you hold?
a. NATS
b. American Academy of Teachers of Singing
c. Pan American Vocology Association
d. ASHA
e. Academy of Rehabilitative Audiology
f. American Auditory Society
g. American Cleft Palate-Craniofacial Association (ACPA)
h. International Association of Logopedics and Phoniatrics (IALP)
i. International Society for Augmentative and Alternative Communication
(ISAAC)
j. National Center for Hearing Assessment and Management
k. Nebraska Speech-Language-Hearing Association
l. Other:
18. Which personal or professional guides (ASHA, NATS, etc.) influence your
practice?
19. Briefly describe your training.
20. How did your past training influence your current teaching/practice?
21. Is there any specific training that you wish you had received?
22. Which types of workshops or clinics do you attend?
23. Rate or explain the influence of these workshops, in general, on your professional
development?
24. Do you use research-based practice in your teaching? Can you describe current
practices you use?
a. Reading publications in your field
b. Implementing methods or interventions backed by studies
c. Conducting your own research
d. Other, Explain:
25. How do students or clients come to you? (Doctor, speech-language pathologist,

voice teacher, choir director) Do they choose you? Are they recommended to
you? What factors play a part in matching students with teachers? What is the
process for matching client to teacher/doctor? (audition, student preference,
referral, past-client referral).
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26. Is there anything that might keep you from teaching certain students? Can you
refuse to treat a client who’s been assigned to you?
27. Is there anything that draws you towards certain students/clients?
28. In terms of the voice studio, what is the role of studio “culture”? What kind of
culture do you strive to create? (Does this exist in speech-language pathology?
Maybe in group sessions?)
29. How do you approach diverse students/clients with understanding and respect?
Not using names, can you describe a specific time in which this was difficult to
do? Or easy to do?
30. How do you prepare for sessions?
31. How do you reflect on sessions?
32. How often does reflective teaching influence your methods? Explain.
a. Always
b. Almost Always
c. Sometimes
d. Almost Never
e. Never
33. What was your motivation for entering your line of work?
34. What continual motivation do you find in your line of work?

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FOLLOW-UP QUESTIONS FOR SECOND INTERVIEWS
• What has the pandemic changed about your interpersonal interactions with voice
users?
• Do you value being an expert in 1 or 2 specific disciplines (whether that be a
voice disorder, a teaching or therapy technique, a genre of music, etc.) vs. being
versed in a number of different disciplines?
• Is there a difference between how you interact with the voice users you see long
term vs. voice users you may see once or twice/over a short amount of time?
• What is the role, if any, of the age of the voice user with whom you are working?
• What is the role, if any, of the familial/personal background of the voice user with
whom you are working? This could include nationality, culture, socio-economic
status, sexual orientation, disabled status, religion, etc.
• What is the role, if any, of multidisciplinary training in educating voice experts?
For example, how much should teachers of singing understand voice medicine or
the practices of speech-language pathologists? How much should doctors and
SLPs understand music?
• What is the role, if any, of gender in your field? For example, are there any
barriers or privileges granted to voice experts or voice users based on gender?
• What is the role, if any, of funding in your field? For example, have you ever had
to pay out of pocket for additional training or to attend a conference?
• What is the role, if any, of voice user disposition? For example, perfectionism,
high achiever, high anxiety, etc.
• What is the role, if any, of scheduling demands?

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D.2: Quantitative Survey

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317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
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D.3: Focus Group Questions
1. What aspect(s) of your training are most influential or most utilized in your day-
to-day work?
2. Is there any training you wish you would have received, or more training on
certain topics/techniques?
3. Do you see any differences between working with individuals versus working
with groups of people? If so, what are these differences?
4. Do you regularly collaborate with other voice experts? If so, what contributes to
strong working relationships?
5. How do you communicate with voice users? (Verbal/nonverbal, in-
person/virtually, etc.)
6. Has the pandemic impacted interpersonal interactions with voice users? If so,
how?
7. What motivates you?
8. Are there particular techniques or approaches to voice care that you frequently
use?
9. Do you adapt these techniques based on the voice user? If so, how?
10. What is the role of research/evidence-based practices in your work? What are
research questions related to voice care you think need to be addressed in our
fields?
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APPENDIX E: Qualitative Transcripts
Med Subject 1, Interview 1 Transcript
Smith: So, I’m just going to say, again, that this is Brianna Smith on Tuesday, February
18, 2020, at 3:18 PM and could you verbally confirm, again, that I have your permission
to record this conversation?
Med Subject 1: Yes.
Smith: Okay, thank you so much. So, thanks for agreeing to meet with me today. And
this interview is part of a pilot study to better identify some interpersonal practices
implemented by voice experts and I’m hoping to compare and contrast these to better
design a serving tool, or to make recommendations for the fields, or eventually maybe get
greater cooperation between the field, some things we talked about on the phone. So
yeah, you have the questions in front of you, but we don’t need to strictly stick with these
topics if something else comes up we can kind of go wherever it goes and I may take a
few notes as we go, but I want it to be an open conversation and we’ll go from there. So,
to begin in regard to interpersonal practices how would you define interpersonal?
Med Subject 1: So, relating to skills that are needed to facilitate communication between
me and others. And in my daily work that has to do with patients, their family members,
our nursing staff, our medical assistants, referring to speech pathologists, community
voice teachers, and other health-care providers that are involved in voice care. So, the
skill set required, and emotional intelligence needed to really read what the patient is
trying to say to me, make sure that that matches with the words that they are choosing.
And that they’re receiving communication in a way that is relating to a goal of shared
understanding in the situation.
Smith: So, you kind of touched on these, but are there any other interpersonal skills that
you consider to be necessary in your line of work, you kind of already answered that,
but…
Med Subject 1: Yeah, I mean I think listening is really key, not only, again, to content,
but for us, delivery. Is there, you know, an underlying emotional issue that we need to
sort of bring to the surface and then sort of the other layer of listening that we have: are
there differences in their speaking voice and singing voice, you know, what kind of
breath support are they using, if they speak multiple languages, you know, what all is
going on. So, when we listen we are listening with, you know, sort of three big buckets of
listening: content, delivery, but then specifically, you know, voice health parameters
within delivery and if there’s any dissonance between the story and the output.
Smith: Yeah, that’s excellent. That’s very interesting having your expertise and
your…You’re wanting to know what they’re concerned about or what they’re coming to
you with, and then kind of doing some of that decoding of what they’re saying?
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Med Subject 1: Oh, no question. And sometimes it comes up that, you know, their father
has recently been diagnosed with throat cancer or, you know, someone in their class had
nodes and they watched Pitch Perfect, and they’re scared they’re never going to sing
again. That absolutely happens on a weekly basis…
Smith: [laughs] Not to laugh at that, just that I’ve been there.
Med Subject 1: Yeah, just like what are you worried you’re going to see, you know, what
are your fears because there’s just silence. There’s, there’s something else, so really
paying attention to the voids as well as the content. You know, holding the space for
other things to come up and then if nothing sort of comes up sort of trying to create a
space where it’s like, “Okay, before we do an exam, what are your fears, how can I help
understand your expectations? And see if our reality and out expectations are in line with
one another, you know. I think that’s kind of a key skill.
Smith: Great! Yeah, and that kind of…
Med Subject 1: Goes with the next one.
Smith: These are all kind of along the same…but number three, incorporating
interpersonal skills, and you kind of already gave an example, but if there’s anything else
you want to add.
Med Subject 1: This is key, and I think this has to do with kind of that emotional
intelligence of system navigation. Like I not only have to navigate health care, but I need
to navigate the arts, and it’s like, “Well okay, what’s your next upcoming gig? Like what
does that entail, do you have control over your rep, do you not, do you want me to talk to
your, you know, teacher or stage manager or production manager, director, do you want
that to be confidential? How can I help empower you, patient, who then needs to go out
and have another role?” So, I also incorporate, like, translation as part of my wheelhouse.
“Would you like me to tell your teacher, would you like to tell your teacher, would you
like to have your video on your iPhone, would you like me to be involved, would you
like me to not be involved at all, do you want to not tell them at all?” So, it’s really sort
of that shared decision-making piece, I think is the last one, and translator. And then also
translating concepts to speech pathologists who may not have ever taken care of singers
before, who do a great job with stroke but who’s like the only person remotely skilled in
that area where they live, and so trying to translate to voice teachers who may be more
skilled at handling injured singers at times. Sort of what their, you know, underlying
asthma might have to do with how they approach that patient, things like that.
Smith: Thanks, yeah, that’s really helpful. So, this next one, number four, I wasn’t sure if
this fully applies here, but are there any skills that you encourage or that you’d like to see
from your clients or your students? An example might be punctuality, or, like, good
communication, those kinds of things.
Med Subject 1: So, it would be like a dream of mine to have a worksheet or workbook of
how to navigate, you know, vocal health for students and working performers. So, you
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know, curiosity, preparedness, self-reflection, self-assurance, those are all things that
would be very helpful to have patients…We do a lot of trying to put the patient in the
driver’s seat during the visit, but it would be great if those skills could be, you know, pre-
loaded or pre-taught to folks as they navigate health care. So, we do try to teach that. We
also try to teach skills of curiosity when people are going back to a return to play/return
to perform paradigm. So, we encourage dialogue and self-assurance and things like that
when people are kind of going out. Like you’ve got this, you know, there’s nothing really
medically that should be in your way and if you’re experiencing technically issues, like,
you can collaborate with your voice teacher typically at that point, we’re always here for
you. So, we do try to, you know, leave the encounter with, like, you know a lot of
mutually respect and self-assurance, things like that, but it’s really very individualized.
But really trying to put them in the driver’s seat and trying to make sure that they develop
the skills is really key to a therapeutic relationship. We don’t want them dependent on us.
We want to just be there waiting in the wings to let them do the thing.
Smith: Yeah, there’s some more questions that I think will speak to that later, that’s
awesome. The next one, if any of these approaches are familiar to you or if you’re
comfortable speaking to how you may use them to tailor your instruction to certain
clients? I think this is more prevalent a lot of times in teaching.
Med Subject 1: Yeah, I think for me, for patients, I just very much try to read their
preferences and then will just point-blank ask them how they would prefer to receive
communication and if it’s very basic, like are you a better verbal learner, are you a better
video learner, do you want to watch, do you want to hear, do you want to see, do you
want to touch, these types of things? So, it’s very basic, like a 5-sensory type deal. We
don’t have too many smells, some smells. But I mean, that’s basically…Then, for Gallup
Strength finders, a number of the people on our team have taken that, so we’re aware of
each other’s strengths and teammates and we’ll, at times, share patients, but it’s
interesting that there’s a lot of overlap in our strength finders, which is cool, but our
personality type testing is totally opposite. So, there’s overlap on the strength finders. So,
[omitted name] and I have both taken our personality type testing and the Gallup
strengths finders, so we are polar opposites personality-type, like could not be more
different, and our strength finders coalesce. I think that has helped us kind of understand
where we’re best suited to help and then how, when we share patients, sometimes there is
like definitely a benefit in terms of patients’ learning styles and things like that, for
different provider communication so it just like helps move things forward.
Smith: Awesome, good. So, then this also kind of goes into number six about just
meeting them where they’re at, anything else about you may be having to…So, back to
what you were saying about you and [omitted], if there was ever a time that you thought
maybe a patient would be better suited, would you like to pass that along?
Med Subject 1: Yeah, I would tell the patient just like flat out I think he would be a great
second opinion, why don’t you meet with him, see what his take is, he’s a singer too. So,
I think that’s helpful. And then in terms of learning styles, I find that a lot of people want
to fixate on like an exam picture, like they want to fixate on a visual, but they actually
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learn more kinesthetically, so I’ll have them get up from the chair and we’ll do some like
body work type stuff and really embody that the voice is not just, like, a picture of the
voice box, but that it’s like the whole body, it’s the lungs, the voice box, and the sinuses
and if they can feel different movements that inform them that that’s their truth, then they
can stop looking at the picture. So that’s the most common one that I use. I usually just
shut the exam lights off in the room and just have them sing for me, after they’re
decongested and they can feel the placement change and I’m like “So, the voice box
stuff, you had that when you came in here and now you can sing, how much better? Oh
20%, 50% better.” So, like, okay, it’s there, but it’s like the pea in the mattress in
Princess and the Pea, so like, we need to move on from the concept of like I’m damaged
or I’m not good enough or I have this [diagnosis]. Sure, I know what that means, but we
need to figure out what that means for you, and they leave with like a deep kinesthetic
sense of knowing that they’re going to be fine. But for those patients who…So, I really
try to read what their learning style is and that helps.
Smith: And yeah, and I think there’s more of a leaning towards that in voice lessons, even
with healthy voices, we have bad concepts in our head or the body map
Med Subject 1: Body maps is super off.
Smith: Yeah, it isn’t helping get the sound we want, so, great. So, shifting gears slightly, I
want to talk a bit about goalsetting and methods of feedback and some client interactions.
So, this is kind of broad you can interpret it however you want, but how do you measure
your success and in yourself or in your clients?
Med Subject 1: So, we employ a shared decision-making model so the goals for treatment
are totally dependent on the patient, tempered with realism about what we as surgeons
and, you know, otolaryngologists can reasonably provide with partnership, and that’s
patient partnership and then partnership with speech pathologists. So, we’ll be like,
“Alright, but like you never sing like that ever so is that really realistic”, or “Like wow,
that seems like a really realistic goal, we think we can get you to that wedding in
October, we’ve got 6 weeks.” And you know, “We think that this is a subsystem issue.”
So, the success is really defined by the person we serve, and I think we have a healthy
conversation about whether that’s a reasonable goal or not and what our role in that goal
is. So, if it involves a director or singing teacher, the patient, the speech pathologist, the
surgeon, primary care doctor, a pulmonologist to get the asthma under control, and
someone else to get a different birth control pill, that’s like 7 people on the team, or
student health. So, that’s not unusual, actually. And so, it’s like, okay, so, you know,
what’s our role in helping you navigate this, what’s your role in helping you navigate
this? What does that entail? It’s a lot of Adulting, along that continuum. And then when
is it reasonable to meet back, do you want to meet the week of your show, do you want to
meet? See how much runway we have. So, success for patients is very much shared
decision making.
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Smith: Okay, that kind of answers some of the next questions that all kind of go together,
so when you’re making those goals, it kind of just depends on the student if it’s going to
be long-term or short-term?
Med Subject 1: Sure, typically there’s a short-term goal for us because people are coming
in because they are worried. The short-term goal is the lead goal, typically, it’s the Band-
Aid the crutch or the triage appointment where we’re just trying to say, “safe to sing:
yes/no,” and then the regular visits are unpackaging visits, like how did we get here?
Like, what’s the last seven years been like? Like, why do you have a tendency to have so
much tension? Oh, do you have sleep apnea? Like, what else is going on? so to me I
really see the goals as being made of two types of visits, like if you come in something’s
on fire, like all you can think about is you open Friday and it’s Wednesday, like we’re not
going to be unpackaging the last seven years, and it’s going to take an hour just to figure
out what you need for Friday. Or you know, like Lion King comes through and it’s
“Gazelle Number 3,” or whatever, it’s like, can I work, can I not work, do they need to
pull the understudy? Yes, no if so, how much? All weekend, not all weekend, do you
need to fly back to New York?
Smith: And do you have patients like that, who are like transient?
Med Subject 1: Yeah, I mean that’s the nature of our business. So, when tours come
through, you know, we’re trying to help them decide, like, do you want to bag this gig?
So, in [omitted], it’s a gig that a lot of people are happy to skip, they don’t want to skip
Chicago, so that’s helpful. In [omitted] it was opposite, they’d skip Rhode Island or
sometimes Montreal or whatever. You know, like, “what can you not do?” is a goal for
some people, right? Because like, okay, which audition do you want? You have three
auditions coming up and one’s in Europe and two are local, like, what do you want your
summer to look like? If you could sing for one thing, which one thing would it be? You
know, those types of things. Or if you’re going to do community outreach or Radio show
or whatever, do you really need to do the meet and greet, or do you need to just, like,
cancel the VIP tickets, and just do the show? So, it’s very much short-term, in terms of
what is in your face, can you work yes/no or if people want to unpackaged that long-term,
whether it’s with us or with our colleagues wherever they’ve landed, based out of, etc.
Smith: Okay, yeah thanks, that’s very helpful. And that kind of answers number 10, too,
that you are including them very much so in the goalsetting process?
Med Subject 1: Yes, they’re the center of the process. That’s why the visits take so long.
It’s not our agenda.
Smith: Right, so then, number 11, to kind of expand on that, once you’ve set the goal, are
there any certain steps that you’re sure to take or does it just kind of depend on those
goals?
Med Subject 1: It totally depends on what they need to do…and we do this in concert
with the speech pathologist for singers.
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Smith: Okay, and I think that’s…number 11 is kind of what I’m interested in seeing, kind
of what you mentioned earlier, do you have any say in your repertoire? The singing
model’s often “teacher says sing this, so you sing this,” or “teacher says do this exercise,
so you do this exercise…”
Med Subject 1: Yeah, but once you start working with working singers and people who
are funding their own performances or their own studio time, that goes out the window.
So, for classical singers, still, if you’re doing a recital, you can still do easy, easy, hard,
easy, easy, hard, you can change the key, a lot of the time, if you do weddings, and you
can, you know, if you’re in a band you can have other people pinch-hit, you know those
types of things so it gets really… Some of the stuff is just common sense, and then some
of it is load escalation on an injury, so that’s where we really lean on the speech
pathologists. We try very, very hard to get the patient to the point that they’re not a
patient, right? To really do that rehabilitation and understand where the anatomy and the
demands align, because as long as the anatomy and demands are in mismatch then you
don’t have a situation that is sustainable for someone. Like are you a grade school music
teacher who is unamplified, who is also in Omaha Playhouse production of blah blah blah
and happens to do church gigs every Sunday with a polyp, like it’s not going to work. So,
like that stuff is everyday bread and butter stuff for us. So yes, there’s rep, like can
change your key for the church gig? Can you give your church gig to someone else? Can
you, you know, pre-record things for your students? Can you do “Go noodle”? So, that
type of rep is like outsourcing rep, as opposed to picking specific new rep, cause usually
there’s not enough runway to pick new rep at that point, the point that we’re involved,
they have something in two weeks, within two weeks. So, like, their ability to switch
songs is probably not but to switch keys and switch order is very common. Does that
help?
Smith: Yes, that’s very helpful.
Med Subject 1: So, like, choosing rep is very much like production manager, studio
managers, tour managers, voice teachers for recital, jury, etc. Like that’s already canned,
usually, we don’t, we are not involved primarily in that. Speech pathologists will make
suggestions, predominantly for like college auditions and things, like that’s a
lever…Usually we have enough lee-time with that. But that’s like the speech pathologist
and the voice teacher getting together and deciding, like, this is something that this kid
can do in their sleep that’s hard, that will be a good audition piece, so they could sing this
with a cold that’s a good audition piece for the student. Not like, this might happen once
in a blue moon, so we’re going to put this shining unicorn piece on this kid, like, who is
like the show pony for all the show choir stuff and musical stuff and private studio stuff
and is also doing studio time…So, that’s the conversation about vocal load that’s like,
okay, sure, yeah, they can do this, but like that might be a good studio recording piece,
that’s not, like, a good audition piece that they need to go, like, fly to Chicago and do
that, or fly to Boston and do that, or fly to Michigan and do that. Those are the
conversations, like what can people do live? What can people do recorded? does anyone
ever do that live? No, you know, so that’s their domain.
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Smith: Yeah, so then I wanted to talk a little bit about feedback and kind of get your take
on how you provide feedback. And there is this little scale, if there are any of these that
you feel like you give a lot of the time or…
Med Subject 1: Yeah.
Smith: So, do you want to explain…
Med Subject 1: Yeah, so I will, so I’ve picked pretty much everything almost close to
always, the reason for that being is because my examination is completely dependent on
effort, and so I coach all the time during my examination. And I also prompt for
feedback: How did that feel? Does that feel different than when you vocalized before the
spray? Does that feel different with a scope in? And how did that feel? Was that easy?
Try this. I noticed you didn’t breathe first, breathe again, right? So, that’s noticing and
could be neutral negative criticism: I noticed you did not blah blah blah blah, so that’s
just a negative. Like wow, that was great did you feel the difference when you took that
breath lower? Did you feel any difference at all with the shoulder tension? Let’s try that,
so that prompts improvement. So, this is completely happening during our exam, it’s a
very dynamic exam and I think that’s why we get good information from it.
Smith: Yeah, I think that’s amazing. And this isn’t on there, but just because you, you do
have singing experience, do you feel like a similar thing is happening in the voice studio
can you speak to that at all?
Med Subject 1: Yeah, I mean I think if you have a teaching style that’s, like, one size fits
all, you may be limited by the limitations of the technique, whereas if you’re a teacher
who is able to pick and grab a number of different sort of technical solutions from
different methodologies, you have a really, really wide toolbox, and a lot of different
body map constructs to sort of read in real time, and I think that’s where I derive my
feedback style from, is because I have a lot of different toolboxes. I’m sort of, you know,
I get to be a little bit technique agnostic, because I am looking for a certain anatomical
result and however the patient needs to hear that cue to result in that action, like we can
explore that in exam, so there’s really no right or wrong as long as I get the answer to my
question, which is how can this person get better and do we have the right diagnosis?
Smith: Awesome.
Med Subject 1: So, I have a lot of luxury in that way.
Smith: Great, so then yeah, with how much feedback you give do you feel like there’s,
like, good ways that you’ve found to balance encouragement and critique?
(24:30) So, in the healthcare sphere there’s some pretty good data to show that if people
feel empowered and encouraged their health outcomes are better, so you know keeping
the encouragement balance is really critical. The constructive critique piece typically for
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me happens after 2 to 3 visits, where I have a rapport with someone and they’re not
making any gains, and if they’re not making any gains because they haven’t, you know,
kind of gotten on board with the treatment plan, that to me is then the time that it’s like,
“Okay, this is your goal, do we still have the right goal? Did we pick the right journey to
get there? It seems like this isn’t feasible, so do we need to switch goals, or do we need to
switch gears to get to the goal?” And I think it’s important also that the constructive
critique comes from a place of just that, like, radical candor philosophy, right, like you
need to have a relationship before that can really be productive. And you’re having that
critique alongside the person and not to them or down to them, etc. So, I really pay
attention to body language and inflection and really try to empower them during the
constructive critique, but it is, but there are definitely tough love sessions of “This ain’t
realistic, there’s just…This tour seems like this doesn’t really meet your goal.”
Smith: And yeah, and someone’s got to say it.
Med Subject 1: So it does come out a bit blunt at times, but I think it’s really important to
make sure that, like, the last thing I’d want is for someone to be out on the road and have
a problem and they’re kind of screwed at that point, so the more honest you can be with
someone…Or like sure, if you have 50% of your songs for jury that are like okay, like do
you want to take the chance, or do you want to take, like, a leave of absence and continue
with voice therapy and try again? Is that something we can talk about with your teachers?
Or listen, you went to show choir camp or whatever and then ditch show choir boot camp
and then we kind of talked about how that might be too much, and it seems over in your
headlights. Like what are we going to do going into the school year? Do you think
it’s…auditioning for the musical, doing show choir, doing voice lessons, all the blah blah
blah. That’s like where the constructive critique fits in.
Smith: Yeah, so then that moves really nicely into 14. So, then because you’re giving so
much advice or spending time with these clients, do you see yourself as some type of life
coach, or do you help with those emotional or personal concerns? How much of that role
do you take on?
Med Subject 1: Yeah, so I think, you know, a lot of times people want that from us and I
think we have to be extremely careful being so relational, both myself and [omitted], try
to practice in a really relational style, we try to be very careful not to take that on
and…but to point out that that certainly needed and for a lot of our young singers or who
are adolescents, or those in college, they haven’t really sort of figured out who their
village of support is outside of their nuclear family and their navigating that on the
lifecycle or they’re on tour and they’re alone and have some other things, and so we try to
help them identify who their coaches, therapists, support people are. And we say that the
voice lives between the head and the heart, so it’s very important that if anything is in
conflict, that they do have help. And often people are suffering from really significant
personal trauma or depression and anxiety, obviously all that stuff shows up in the voice,
but as surgeons and medical practitioners, it’s really important that we can recognize, but
then try to empower the patient to seek that support out wherever they feel most
comfortable, whether that’s college health or primary care physician, their voice teacher,
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for some guidance to who might be helpful to work. It’s important that we recognize it,
and a lot of surgeons feel like there’s not even a place in the conversation for that, and to
me that’s the whole point. You know? And so, it’s kind of an interesting thing of
recognizing it, understanding the importance of it, and then being very clear to draw a
boundary of “I will be here for your medical needs, here’s my cell phone, and we need to
build you a village,” so it’s the “Yes and.” But a lot of surgeons will just be like, “You
don’t need surgery, bye,” and that’s not how I feel most comfortable practicing.
Smith: Okay, yeah, and I’d love to talk more about that, in a couple more questions we’ll
talk about some of your training and beliefs, but I was just wondering, before that, with
15 and then 16 on the next page, about creating just that rapport, or 16 asks about
creating a safe environment, that kind of thing?
Med Subject 1: So here at [omitted], it is very in line with my kind of like native care
style, so respect: so introducing every single person who comes into the room, reiterating
that they have autonomy over their healthcare record, so it’s not just legal, but it’s their
wishes, being very upfront about the philosophy of shared decision-making and engaging
them in the process. We’re very careful about body language, we don’t type or look at
records during the exam, we are face forward at the patient, eye-level so we’re not
standing up on them or down to them, we raise their chair, so they’re eye-level with us
during the exam, they have a screen so they can see it. So, that every moment they’re
essentially being identified with their preferred pronouns and name, they’re asked
specifically about their story without interruption, they’re able to articulate their goals,
we have discussions of how realistic that is or not, there’s a lot of positive
encouragement. The clear expectations do kind of evolve. The first expectation is just
getting a diagnosis for us, and then when we ask if there are any questions we’re typically
seated, you know our hand’s not on the door, they also receive a written confirmation of
our entire visit and any action items, so they don’t need to be fully distracted, they can
sort of stay more in the moment with their feelings and concerns, as opposed to trying to
get every last thing down, because we have a nurse who is doing that during the visit. The
small talk is a bit relative because, again, we try to have that boundary, so the small talk
is relevant to voice you so what did you do this weekend? I’m listening to them talk, use
their breath support, how they talk, are they in fry. What did they do over the weekend,
like what’s their vocal load? My small talk is very calculated in terms of I want to make
sure they feel comfortable telling me what exactly they’re doing, “Oh you work at a bar,
oh that’s nice did you go out after all, oh yeah, was that fun? was your throat sore.” This
is the kind of thing, you ask them the time and they build you a watch, right, their answer
to the question might be a huge story when it was a yes/no question. So that type of small
talk for me is very calculated at this point, that’s part of my physical exam. So, any
discussion, how are they talking, what’s their position, do I see a lot of jaw tension, that’s
my exam. So, I hope it feels natural to the patient, but I’m getting like 40 data points on
everything that they’re saying that I am integrating into their treatment plan.
Smith: I’m just thinking about it, like, am I talking in my fry?

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Med Subject 1: And I will also call out when I’m in fry in front of them, like I did with a
singer last week, like just so you know I’ve been up for three nights with my son and
that’s where I’m at today, this is not a place of judgment, it’s a safe space, and I will say
that over and over again, so I will use those words and I think it’s helpful. I occasionally
attend performances and extracurriculars, I did a lot more before I became a mom and
just with the mom schedule it is really hard to attend a lot of things and I also feel like it’s
unfair, I have so many patients who are performing in things and if I’m going to certain
things and not others I feel like it’s, I’m not showing my full support, so I haven’t really
found my way with that. I did attend a lot of stuff when I was in first and practice? I’ve
just scaled back a bit. We do have a student/client information survey. They are just this
the voice handicap index, singing voice handicap index and whatnot, but I do think that
creates a neutral environment, in that if people don’t feel comfortable telling us the direct
answers to questions or hadn’t had a specific guide in terms of reflection that’s a really
nice de-personalized way of kind of having a conversation about things that are like over
here and not in them, even though it’s about them, which is quite nice. We do ask in
detail everything. So, like, I have a singer walk me through a week, if there’s a typical
week, Monday through Sunday from the time they wake up to the time they go to bed,
takes a long time, but you get a better sense of vocal load, like how long is opera
rehearsal, how much are you actually singing tell us about your job at the library, oh you
give tours, oh it’s not a quiet library job, oh your mom is really hard of hearing, oh
there’s a family issue, how long was that phone call, was it on FaceTime, was it on
speakerphone was it, you know, all that kind of stuff oh you drive back to wherever every
weekend, oh are you singing in the car, are you on Bluetooth, you know, blah blah blah,
so I think, you know, even though it’s part of our job we try to do that in detail in a way
that people feel comfortable sharing stuff.
Smith: Yeah, that’s very helpful and very good to hear, and are you good until 4:15?
Med Subject 1: Yeah, I’m good, I don’t have a time constraint anymore, my meeting
cancelled.
Smith: So I was just wondering, based on everything we’ve talked about so far, just some
more information about how, do you belong to any of these groups or others?
Med Subject 1: Yeah, so it’s interesting, so I belong to PAVA. I also belong to the
Performing Arts Medicine Association and Voice Foundation. So, Voice Foundation.
And then all the ENT stuff. But I attend regularly NATS, [omitted], and then what’s the
music teacher one? NMEA. So, I don’t belong to them, but I attend them, and I think that
helps. And we give talks.
Smith: Okay, so then, oh, did you have anything else?
Med Subject 1: No.
Smith: So then, so with some of these groups, a lot of them have professional or set
standards for what they expect in their practices, so is there any way that that
influences…I mean I’m sure…
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Med Subject 1: So not really, and that’s what PAVA is trying to do for us. So, voice
foundation and Performing Arts Medicine Association for me are the most helpful and I
think PAVA is going to kind of fill the gap, but NATS is very much best practices for
singing, teachers of singing, right. And then ASHA is probably not the best gathering,
actually, of speech pathologists that help with voice, [omitted] doesn’t have very many
people who deal with voice, so you know you’ll find more of that at voice foundation or
Fall Voice. Fall Voice is the other one we attend regularly.
Smith: I don’t know what that is.
Med Subject 1: Oh, you should totally go, we should submit an abstract or something to
Fall Voice.
Smith: Okay!
Med Subject 1: That’s where, you know, best practices for, you know, as physicians and
how we practice individually are most directed. So not all laryngologists deal with
performers, right, and the performing arts medicine people deal with all kinds of stuff and
they’re not super voice experts, so kind of attending a bunch of these meetings and kind
of cobbling together these things is important, but PAVA I think it’s really going to be
the place, and I’ve worked with them and was in their focus group, to really kind of come
up with best practices of how do we integrate singing teachers into the practice and how
do we integrate speech pathologists into the practice. The speech pathologist piece is well
covered in voice foundation, but I think PAVA is going to be the glue.
Smith: So, I would like to better understand some of your training.
Med subject 1: Training, so training for me, I did my fellowship at [omitted] in

laryngology and professional voice, and I think that was like the first entrée into
practicing as a professional voice practitioner. And then I had a very close relationship
with a speech pathologist for the first five years or so that I was in practice, well after the
first year, anyway for about five years and the two of us together did collaborative
practice and I think that’s where I really learned how to take care of singers. So, she had a
DMA also, so she was a speech pathologist with a DMA, we really you know, did the
exams together and did the histories together and really try to do share decision making
as a team in the room and that’s where I feel like I got my training in terms of taking care
of singers. And then I worked very closely with a nurse practitioner at the [omitted]. The
singing teacher staff at [omitted], so I would very regularly interface with singing
teachers and so would the speech pathologist, so that’s where I really cut my teeth, it was
really on the job training.
Smith: And I know when we talked on the phone a couple months ago, you had
mentioned that [omitted] maybe doesn’t have, you find as much overlap…
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Med Subject 1: As a normal city, yeah, we don’t have that. We just don’t have the speech
pathologist, so we’re way short on the speech pathologists who can take care of voices.
Smith: Yeah. So, for number 21 is there any specific training you wish you would’ve
received or in your formal training so like you would have felt more prepared?
Med Subject 1: No, I mean I think the model, you need to have enough creativity to be
able to do what patients need to do, and it’s hard to find that in surgery. I was lucky
enough that I’ve been places where I could be very patient-centered, very creative. I think
the piece that I wished I had had was I wish I had kept up my own voice lessons for a
sustained period of time, I restarted voice lessons when I came to [omitted] and that does
help inform me in some way. Again, it’s important to have a boundary there but it is a
very helpful, it helped my ear, hearing things and understanding other choices and trying
to have a better vocabulary for explaining some technical issues that I would hand off.
And I think for…I’ve been very lucky, so I have a love for commercial and contemporary
music and have really good working knowledge of recording studio stuff and how that’s
different from live performance and the transition over different genres, whether it’s hip-
hop or metal or whatever, so receiving some training, like just some common sense
training, like life experience on that I think has been incredibly influential on me, so I can
talk microphones in gear, and do you make beats in your basement… what’s your
recording schedule? Are you paying? Are you doing ad hoc? That school of hard knocks
training has been incredibly influential. And then some seminars that I took at voice
foundation years ago with [omitted] for metal artists, kind of being on the forefront,
understanding that there are many genres and ways people wish to express their art using
their voice. And thankfully, being in a place where that was being supported at [omitted]
and also at [omitted] even though [omitted] is a very classically oriented, there’s sort of a
gentleness to trying to help people be mostly efficient and when I started it was like opera
or nothing, so I kind of started my journey as a practitioner of medicine thinking that I
needed to know all the opera rep and all the classical techniques… And then there was
this moment that I was like that’s crazy, and people need to be able to do their art
however it is vocally efficient for them. So therefore, it opened up wider possibilities for
me. So, I wish that would have been something that was a possibility, but I think the field
just needed to make that transition and I happened to be around when that was a thing.
Like I subscribe to opera news and was like I have to know all of it, but then I realize I
actually don’t need to know I just need to hear the rep and understand that it’s like high
and staccato and shit that sounds hard, like that’s what I need to know not like all of the
things about the rep, so I’ll pull up things on YouTube, regularly well I’m like I’ve never
heard you before, can I please hear a sample of your voice, and ask people on their cell
phone to pull up the web and whatever else, but I don’t need to keep all that in my head
and that’s something I wish someone would’ve told me. Because I have this expectation,
having traversed the singing world and the medical world, that I needed to keep all of it
in my noggin. And then in practice, seeing the amount of the patients we do, it’s not only
a silly expectation, it’s just ridiculous, it’s not sustainable, and it doesn’t matter. I don’t
treat people any better because I have you know it’s like let me listen to hear you now let
me listen to where you were we got to get you here. And a lot of common sense and a
very individualized thing, that’s not training that is common in laryngology fellowships.
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The primary goal in laryngology fellowships is to make sure you learn a number of
different procedures and when to operate on them and when not to operate, and then
there’s everything else you need to learn. So, it’s only a year.
Smith: Oh, okay. So then 23 and 24, or 22 and 23 we kind of talked about but if you want
to…
Med Subject 1: So, voice foundation I used to go every year, I know the content pretty
well, so every other year is about what I go to. Performing Arts Medicine Association, I
try to go to every year, and I find it very helpful because I find most people are not doing
static singing anymore, they’re doing acrobatics and singing or movement and sing or
they play guitar or they’re dancing in their breathing is very different for those activities
and their posture is different. And so, I find it most enriching actually to get to go to
meeting so it’s not just voice because I am thinking of this person is in a band and they
have hearing loss and they play guitar and their mic is, and their day job is blah. You
don’t get a lot of that at Voice Foundation, you get straight larynx stuff. Fall Voice I have
attended every year for a little while. And I think…And PAVA I look forward to being
more involved in, though I haven’t been to a conference and we’re planning our own
conference here in September. So, I think for me, honestly, the discussion and panels at
these conferences that are most helpful in clinical practice and just the chance to interface
with the people who you care about their opinions. But we get a lot of that, like we’ll run
cases by people on the regular if we’re struggling with someone. So, it’s kind of like
getting that we’re looking at a singer who blah blah blah and you can kind of run that by
other people. So, it’s, I think it’s really having that community of support and running
cases by speech pathologist as well, so that’s why I find this so valuable. For singing
teachers for us here or there haven’t been as many who have been interested in the
healthcare side honestly, in Boston there were a ton in New York there’s a ton, so they
would pick our brains about certain things and be like, “Hey, when should I refer, can
you come talk to my class?” There’s not as much of that here yet, but it’s starting to
happen, so I think that will as we create a safe space for teachers and practitioners to say,
“I don’t know,” I think that will be really helpful. I find voice health to be very
stigmatized and shameful here in the Midwest, we saw that at the KU conference, it was
like the first time we were hearing things we’d been hearing for 10-12 years on the
coasts. It was like very disarming and really wonderful, but I could sense there was a lot
of deep shame of like, “Oh my God, I’m a teacher and I sent my student to a doctor, does
that mean I’m a horrible teacher, I have bad technique?” Like no, we don’t think that, we
don’t say that in the office, we’re still deconstructing all that. And that doesn’t seem to be
like common knowledge here, from an outsider moving in, so that’s what I think when
the conversation will shift here. And also, a lot of people here are not getting out to these
things. They’re not getting outside of [omitted], they’re going to [omitted] stuff and if
we’re not giving the talk, I don’t know where they get the information, just cause we’re
just a small group right, I know we’ve talked here and here, but for this other stuff I mean
this is, there’s a lot of stuff, I’m sure there are a lot of music or singing related things
happening, and I mean we’re hitting these but I think the conversation is very early
because like we haven’t had people who are in the state who can kind of come together to
do the stuff until recently.
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Smith: So then, do you have a couple more questions if that’s okay?
Med Subject 1: Oh yeah, I’m yours.
Smith: Kind of with these workshops and institutes, with my field I’m seeing more
research-based practices, like we did this and found this and here’s how it affects you, so
do you…
Med Subject 1: Oh yeah, all the time.
Smith: That’s kind of what I assumed:
Med Subject 1: Yeah, that’s my job. So, I also do research for the department, I oversee
research for the department of otolaryngology here. So yes, and I regularly pull up
articles to talk with patients about their treatment options and I’m directly involved in
assigning studies to answer some of the questions where there’s data gaps. So yes, all of
it, all the stuff like reading: I read all the time, I implement stuff all the time, we actually,
[omitted] and I, talk about studies and patients constantly, we have a Friday where we’re
together and yes, conduct our own research, and then also do multi-disciplinary research
with our colleagues. We’re just starting that process and also to follow up on some prior
work that I did in [omitted], we’re going to try to do that too.
Smith: Great, so then, in determining, this is something we talked about earlier, I’m
curious how our fields can connect students or clients either with a voice teacher or a
speech-language pathologist or a doctor, so is there…What kind of ways do students or
clients come to you?
Med Subject 1: So, they’re referred by other ENT doctors, their primary care doctors,
student health, pulmonologists, so, speech pathologist send people regularly, voice
teachers, I would say collegiate voice teachers, private voice teachers, production
managers, opera directors, choir director, absolutely, principles, yeah, tour managers. Do
they choose you? Yes. I mean in Nebraska, there’s two people with fellowship training so
that kind of makes it a little easy. But there are some practitioners, other practitioners
who have an interest in voice here and they go to them too. So yeah, they are
recommended they are usually recommended to our practice, but we try to get them in
first available we have a laryngologist on site Monday through Friday so whoever they
can into that works with their schedule first, knowing that they both work with singers, so
that works. If someone is recommended to [omitted] and I can get them in earlier, if they
referred to me and [omitted], you get them in earlier we just try to give patients multiple
options and usually that’s worked out.
Smith: So, this may or may not apply to you…
Med Subject 1: Oh, it does.

Smith: Okay.
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Med Subject 1: So, the speech pathology thing is really easy we have one speech
pathologist who is taking care of singers right now in [omitted] who has completed their
clinical fellowship, it’s easy, you just go to [omitted], that’s it, that’s the only option we
have. So, it’s a healthcare disparity issue. We are occasionally asked to recommend
singing teachers once the rehabilitation part it is worked out and we’re on to habilitation,
so habituation.
Smith: So, their habits?
Med Subject 1: Yes, so they need a technical person, they’re no longer a patient, they’re
ready to go fly and do their thing, like their medical issue is resolved. So, when matching
to a singing teacher it’s a lot about genre, goals, and personality type. And we pretty
much recommend studios based on genre, as opposed to trying to do teacher match
ourselves, and we often defer that to the speech pathologist. So, if someone wants to do
contemporary music, I’m not going to send them to a classical bel canto singer/teacher,
like that’d be silly. Well, they would benefit from that, but they would feel like they had
to jump through a ton of hoops to get where they needed to go, whereas someone who’s
had classical training, also does CCM, who is a teacher might be a better fit. So, I leave
that up to the studio to do intake on them to see who is working, who has bandwidth to do
that. So, we try wherever possible to make sure that the referral is in a way that gives the
teacher the most autonomy or the studio the most autonomy over where they think that
person would be the best fit, and they also show us that respect back. We know that you
referred the patient to [omitted], but patient is [omitted] and the doctor was thinking
[omitted] might be a better fit because of that. So, that kind of refer to the practice thing
has helped. That’s just kind of how I felt more comfortable doing that and I did that in
[omitted] as well.
Smith: Thanks, so then, for 27, is there anything that draws you towards certain clients, I
know you have on your website your specialty is like swallowing and some other things,
but it’s kind of different for you, I guess, because you’re not really seeking patients in the
way voice teachers might seek students?
Med Subject 1: So, we want people to know that we can help, so the hospital just put up a
four- minute video on what we do so. I think there’s still a ton of people in [omitted] who
don’t know that they can get help when they run into voice trouble. So, for us it’s not so
much that we’re not busy, we’re busy, we want to make sure that we can help people who
need our help specifically and that they don’t stop singing just because they didn’t know
that they could go to someone or stop teaching just because of blah blah blah blah. So, we
hear all the time, “Oh my God I thought I had to stop singing, or I stopped singing for a
couple years, I didn’t know there was a doctor who could help voices,” I think that’s
where we’re at. And some other areas of the country I think it’s pretty common
knowledge that you go to an ENT or whether it’s the ENT that helps you or helps you
find a speech pathologist or works with your voice coach or something, there’s something
that can be done, and I don’t think that’s common knowledge here yet, that’s my
hypothesis. But that’s something I think we could also study together. Like what’s the
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level of education surrounding voice health? I think just on a very basic level, if you’re
Joe-singer in [omitted], do you know what your options are? Your voice falters? Hang it
up, get steroids, or go see someone?
Smith: Again, this may or may not apply to you…
Med Subject 1: Oh, sure.
Smith: …but number 28, is there any kind of culture you strive to create but I don’t know
if you, are you ever really seeing clients in groups?
Med Subject 1: No, no but there are times where there are cultures within the people who
come to see us and sometimes we actually ask people to step outside of the room so the
patient can be at the center of the culture that we’re trying to create, so there’s a dynamic
that’s very clearly perceived as a power dynamic, like with a parent, a spouse, a teacher
who might attend and it’s clear that that power dynamic isn’t favoring the patient, so I
would say that’s extremely rare but when it happens it’s really important to disperse with
that.
Smith: Thanks, that gives me some good insight. So then 29.
Med Subject 1: Oh, another thing, number 26, we cannot refuse a patient. If there’s
disruptive behavior, there is a hospital process to actually fire a patient, I would say it’s
used extremely rarely, and I have not had that happen. And then certain students/patients:
I have a special interest in treating women and transgender individuals and really kind of
understanding voice change across a lifespan, so developmental voice issues, that’s kind
of the three areas that I think I feel a particular draw toward clinically and have
developing expertise in sort of those three areas.
Smith: Yeah, so with that, 29, approaching diverse students and/or clients, yeah, not
using names, is there any specific time you can describe…
Med Subject 1: Yeah, so when I work with the trans community, I think it’s a really great
example of this, so I just ask patients how they preferred to be addressed and knowing
that there’s also a dynamic nature to that for most of my patients because they typically
find me when they’re seeking care in a dynamic state, as opposed to a stable state,
although that’s not always the case. So just always checking in with them and how we
can make them more comfortable, and I think it’s really important to kind of
deconstruct…really understanding why they’re here. And I think diversity also in terms
of genre, so I feel there’s a lot of patients who feel uncomfortable bringing their artistic
self into the healthcare environment, like what do you hope to accomplish, you want to
do your own play, and you want want to direct, but you were sent here for your singing
voice. Really creating an environment where people feel comfortable bringing their
whole self to the encounter and just continuing to probe probe probe probe probe. And
also share, but not share in a way that it takes up more space in the room like, “Yeah I’m
a performer too, help me understand how you perform though” like “I’m here to serve
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you, I work for you” so those are terms that we use on a regular basis. Or “This is
[omitted] she works with me,” not for me, she’s the nurse who’s in the room. Wow I look
forward to working “with” you in whatever way you feel comfortable. You don’t
necessarily have to sign a release form if you don’t want, to there’s a law that protects
your privacy and just because people sent you doesn’t mean I ever have to tell you that
you came. In fact, I could get fired for that, so you have all the power. So, it’s really
deconstructing power dynamics, making sure that you understand patient’s preferences in
terms of being addressed, in terms of communication, in terms of post visit follow up,
you know some people never want their phone to be called for health care matter
whatsoever, so we talk about how they wish to be contacted, they don’t want to identify
as a patient. I don’t know if that’s because of shame or whatever else but we take that
very seriously. You know, if they have a cell phone at rehearsal and you know a doctor is
calling and someone picks up, that’s outing them as having a voice problem and they
want to work.
Smith: Oh yeah, I’ve never thought about that, it makes sense.
Med Subject 1: Yeah, so we are very attuned to, you know, what people wish and hope to
leave space for things we haven’t even considered. I’m sure there’s other stuff we haven’t
considered. I also don’t wear a white coat, which is really confusing, so I’m asked on a
regular basis when the doctors coming in and all that jazz, but I think for performing
artist that just helps with a layer of extra crud, some people really want that as part of
their therapeutic process, they want to see stereotypical white coat and suit oh no that
thing and some people don’t that makes them very uncomfortable, so I’ve chosen a more
casual approach to that and I think that’s worked out by and large for most folks. So just
again trying to deconstruct power differentials. I have suckers in my office that help with
the taste of the spray, so it’s a little comedic bit, but it does allow the patient to choose a
flavor, and again, every time you have a power differential, and you allow someone to
exercise choice, even if it’s a small choice, it’s important because it keeps putting them in
the driver seat over and over and over again.
Smith: Right, that’s meaningful. So, I do have a few more questions, thank you again so
much for your time.
Med Subject 1: Yeah!
Smith: Just to help me understand methods and motivation.
Med Subject 1: Sure.
Smith: So are there certain ways you prepare for sessions or, 31, reflect on them
afterwards.
Med Subject 1: Yeah, so, if someone’s coming in same day, then our nursing staff will
often ask “What is the goal? Are you in a show now?” and it’s like okay great, and I’ll
look them up online to see if I can get a sense…if I’m not familiar with the rep of their
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show, if it’s touring production of some show I’ve never heard of, they’ll ask for the role,
I’ll try to kind of fast forward through a few kind of little things between patients, is it
mixed belt, just to get a sense of what the role is and look at their tour schedule, how long
are they here. How much contact with I have with them, where they’re going next, who
do I know where they’re going next, so I don’t have to ask them that, because they’re
here for a voice problem, so we don’t need to spend time on that if I’ve already done
some homework and I can easily find that out on the web and I know they’re based out of
New York or Kentucky and they’re on this tour, so I kind of know three or four different
things that are very germane about where they may seek healthcare, they’re from Tucson
oh their allergies are probably awful everywhere else because nothing grows in the
desert. Things like that really help make the most efficiency out of the time. So, I do look
at rep, I’ll listen to them, I’ll try to find, so most singers have their own website and have
clips now, YouTube has a lot of stuff on peoples so and also check with the singer to
make sure it’s an accurate reflection, like oh 5 years ago, that was horrible, that’s not who
I am now, that kind of stuff. Or if I haven’t listened to it at least it’s kind of cued up and
I’m like “hey is there anything that’s more.” If it’s a company or voice teacher they’ll
often give me sign out of what they’re concerned about their transition, or I want to make
sure that secondary to. In that sense having great relationships with singing teachers and
venues, you get additional information which may be information that the person who
you’re seeing is unaware of or is not in a part of their life cycle where to simply tell you
what technical issue is but I don’t know my voice teacher heard something so having the
experienced person you know who’s been at this for 30 years it’s like yeah there’s a little
duh duh duh in this part of their range and a little blah blah blah but I’m hearing
something, that’s helpful for me because then I can re-create that in the exam and the
person themselves doesn’t have that, so that prep, we train people to try to prep us like
that, that’s why the multi-D [disciplinary] piece is really helpful. And if they prep the
student, you should check your insurance, and this says you should expect a scope and
what else it’s a two-way kind of pre-visit prep and then again for healthcare laws I can’t
really look back with those people, but they get students who are happy back, so it’s kind
of this weird thing of something happy and good happened, but I just can’t talk about it,
so the healthcare laws are really tough, unless they sign a release form. And most
millennials don’t sign a release form, they just forget about it, it involves printing and
faxing.
Smith: So then is there really a necessity to reflect back on your sessions?
Med Subject 1: Sure yeah, and I think in large part it has to do with information overload
and delivery, right, we spent about an hour, hour and a half, with someone who is totally
freaked out right so we get that reflective feedback usually from the speech pathologist or
the voice teacher, were their voice concerns met, was their body map totally different,
were they just not in a receptive space, does the voice teacher have the same problem.
Post visit kind of analysis so there’s self-reflection and then co-reflection with the team,
with legal so to speak just, “How’d that go?” We get immediate reflection about how the
exam went and how the comfort with the diagnosis and understanding of the treatment
plan, so we’re checking in regularly like did we get it right, am I understanding you
correctly, how is that exam for you, what was it like seeing your instrument for the first
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time, do you feel comfortable with the diagnosis, do you understand what that means for
you, so we’re doing that all in the visit and then afterwards, kind of, we’ll have a
moment. And also, I have an observer in the room who is able to give me what I need to
hear, not just what I do you know the real truth, we work with each other a lot. So they’ll
be like, “How do you think that went?” and I’ll be like, “Well I think that was a lot of
tough love,” And that was maybe where it needed to go or maybe that was too much or
man you spent a lot of time talking about exactly the same thing over and over they just
weren’t ready to get it maybe if they brought another person the next time so we do do a
lot of that it’s almost always. And I’d say the reason for that is we work in the
communication business, singing is a form of communication, right, so if we are not
communicating concepts appropriately, to the point of deconstructing shame, we want to
make sure that people feel whole and they’re empowered when they leave and if we don’t
do that post hoc analysis we won’t really get that and then when people come back to us
will say “Hey how was that visit?” So, we’ll ask them directly so self and team reflection
and engaging with the patient. They usually lead with that, like I had no idea what you
meant last time, then I went and spent time with my speech pathologist, great life
changing, I’m all better, I did all the stuff, wrote it down. If you listen very carefully,
they’ll tell you in the first two minutes how it went, if you shut up and listen because
that’s what they want to tell you, how it went, the last visit and then where they want to
go next
Smith: Great! So, then the last two questions, what was your motivation for entering your
line of work and do you find any continual motivation in what you do?
Med Subject 1: So, my motivation for entering this work is I’m a singer and I wanted to
take care of singers, but I had no idea that was a real job. I honestly had no idea that
being a voice doctor was a real gig, so that was my motivation. And then continued
motivation is that it is an absolute pleasure to help people with their voices for a living. I
mean, I can’t believe it’s a real job, pinch me, I mean it’s awesome. It’s very rare that you
have an idea of a job and then being in the job feels better than even you thought it might,
it feels awesome. And to motivate, the collaborative nature of it and the fact that I get to
use my creativity to be like, “I don’t know how you sing upside down, let me try and
think of that, how can we do that.” Because performance art is changing so much, and
you know you got tunable rooms. So really thinking through the “how” of what is
possible for people and their return-to-work schedules. And I have a patient who is a
casino dealer, and his goal is to shout numbers and stuff, well I’ve never taken care of
someone as a casino dealer before, but let’s figure out how you can shout for a living,
like you get paid a shout OK cool. I love that it’s a very individualized, but also there’s
some really solid principles and some really great logic that can be applied to certain
situations and it’s a team sport, I love it. And I’m a huge nerd, so I really enjoy actually
being able to contribute to the research aspect of it and also to ask patients what the
research question should be, so in partnering with them to be like “Hey, we’re going to
do a needs assessment what’s important to you? Do you want to work with us on this?”
So, that kind of flat hierarchy collaborative kind of stuff is my jam and it’s great to find
that in surgery, surgery is not creative/collaborative sometimes, I enjoy that I kind of get
to tickle all of the parts of my brain.
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Smith: Is there anything else you want to talk about or have questions on?
Med Subject 1: No, this was great.
Smith: Thanks!
Med Subject 1: Good stuff!

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Smith: I just have a few follow-up questions. I know we talked over a year ago, and my
first question is kind of related to the pandemic and why we haven’t talked in so long.
Did the pandemic have any effect on your interpersonal interactions with the people you
see?
Med Subject 1: Yes, number one is that singers and professional voice users are often not
seeking care unless they’re like an extremist i.e. can’t work. So, anyone who’s not getting
paid to see who has a voice problem is basically like dropped off and the people who are
singers or are professional voice users who like need their voice to teach or sing most
people, so our patient population has change slightly, and still are singers are just barely
starting to come back a lot of them are facing deconditioning or I would say multiple
voice demands, like care giving, like elderly parents, kids, trying to teach via zoom and
all that type of stuff. So, I would say that the patient panel has changed, their presenting
symptoms have changed, and then in terms of communication with our speech language
pathologists, certainly like the…just trying to navigate all of those obstacles as part of
treatment has affected peoples treatment courses. Just logistical obstacles: having to
change insurance because of job instability, having to like go back to work instead of
continuing with school, if they’re a student, just stuff like that. Yes, things have changed,
and I think that that’s been really continuing to be part of the narrative even though we’re
like reopening and what not, like I’m still seeing a lot of that play through the healthcare
system.
Smith: Okay, yeah. Has anything…have there been any positive changes, or no?
Med Subject 1: Yeah, telehealth and so permissions that have come through, I’ve been
able to see people through telehealth, so it’s made it more accessible in terms of care for
myself and then more accessible for care during voice therapy. The difference for me is
that I can practice across state lines, so they did not extend the same permissions to
speech pathologist to practice across state lines, which is ridiculous. So, you can get some
parts of your voice care across state lines because of Covid but not the other and I think
it’s ridiculous, so there we are.
Smith: Right, like why is it different?
Med Subject 1: I will also say that we have a handful of people who can practice voice,
and the other change that we’ve seen in the state is that one of those people is now a
professor at [omitted] teaching undergraduate speech pathologists, and so we’ve lost one
full-time equivalent of the four people we have in the state who know how to practice
voice so that’s a huge hit in [omitted] region recently. We’re really super happy that she’s
teaching the next generation of speech pathologists, but we lost 40 hours a week of voice
care in the state.
Smith: Yeah, and when there’s so few, that’s hard. So, kind of shifting gears a little bit, I
was wondering if you had any opinions on the value of being an expert in one or two
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specific disciplines or being versed in a number of different disciplines, whether that is a

specific disorder or a teaching technique, that kind of thing?
Med Subject 1: I am…I believe in expertise, and I also believe in diversification. So, I
believe that you have to know enough about a technique to understand what it strengths
and weaknesses are, and to know the correct people to apply it to. I’ve seen a lot of
technique that does not necessarily, how should I say it, either the way to apply the
technique or the cues for the person, their body won’t do what that technique is trying to
teach them to do and so, does that make sense? I’m so in that sense I have not seen one
particular technique that is superior to another technique where I think people have
expertise is where they can understand the pitfalls of what they know and the strengths of
what they know and how to adequately apply it to a person. That said, if you have a large
toolbox, you’re more apt to be able to treat different peoples’ bodies, different peoples
learning styles, different peoples’ vocal needs, so it’s a tall order for one technical school
of thought to be able to address the wide span of voice needs that people have in a diverse
population. Particularly when we’re talking about people who perform across multiple
genres or have very, very niche vocal needs, like I saw a teenage metal singer, right? So,
this is someone who’s instrument is still developing, has a very defined need to kind of
sustainably scream, right? So, you take from different areas, yes, I think there’s a need
for expertise and I think there’s also a need for diversification.
Smith: Okay, great, yeah. Thank you for putting that into your own words, that makes a
lot of sense. And then is there any difference, I know we talked last time you saw a lot of
short-term people coming in, maybe just for an emergency or they just need the quick fix.
Is there any difference between how you interact with people that you see short-term
versus those you might see over a long period of time?
Med Subject 1: Absolutely. So, I try to very much frame those appointments as the triage
session, we’re going to see what’s going on now, knowing that there’s a larger story. And
I try to get you through your most immediate needs, which are usually within the next
three days, like they’re going to perform over the weekend, they have the biggest audition
of their life, and they have to be leaving town for it, or whatever, or like they have a run
of the show which has to be completed. And so, we know that someone’s personal
narrative probably extends more than just that time, and we know that we simply don’t
have the amount of time to unpackage that because the amount of time that they’re in
town. And so yes, there is a different way of approaching that, and it’s really more of a
binary construct than I’m used to or prefer. Are you safe to sing? Yes/no, which means
do you have a hemorrhage or a mucosal tear, and then secondly, do you have such severe
vocal fold edema that this is really going to be a problem to get you through whatever the
next one or two obligations are? And it’s not so much the changes to the treatment, the
treatment is really similar whether it’s long-term or short-term, it’s whether the patient is
going to be able to actually carry through with the treatment based on logistics, so. But
I’m very upfront and I tell my patients that there are limitations, or you know if you can
drop off a tour and hang out in [omitted], maybe it’s a cheap place to hang out and get the
rest of your stuff treated. Very few people have elected to press pause, put the understudy
in or just kind of hang out in [omitted] while their tour moved on, so usually what we’re
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doing is trying to say, “What’s your next landing point and where would you feel
comfortable unpacking this?” I did have a singer who went from here to Germany to then
[omitted], where she’s based in, so we said are you safe to go to Europe for you know
two gigs? Yes/no, they’re coming from a show in [omitted] I cleared them to go to
Germany and probably unpack in [omitted] and then they ended up I gave them
recommendations in [omitted] for kind of unpackaging. So, we have that yes/and
approach: what do you need to get through the next two days, and then you probably
need to unpack this, where can you do that? That’s where the approach is a little
different.
Smith: Okay, yeah. Great, thank you.
Smith: And then what is the role, if any, of the age of the voice use with whom you’re
working?
Med Subject 1: Sure. So, age is important because, as you know, throat weakness is
common in people over age 60, right? So, swallowing dysfunction is common, so why
wouldn’t voice difficulty be a little bit more common? Because we know that the
respiratory strength of older individuals is a little bit less, so they perform differently in
pulmonary function tests. That’s why there’s age and gender norms, not just gender
norms, I should say sex norms, because it’s not really gender, it’s sex, then we know that
vocal folds lose muscle and fat over time and become floppy or, just like the backs of our
arms. We also know that the sinonasal cavity changes, particularly post menopause, so
the amount of real estate that your turbinates and things take up, the nasal tissue tends to
atrophy. We also know this changes over the lifespan, so we don’t have as much
lubrication as we did. Basically we tend to dry out as we age and that’s really well
described, okay? So, we have decreases in vibratory function because things are less
moist, we have increases in air escape, we have less air than we ever had in our whole life
to try and compensate for that, and then we have a decrease in pharyngeal tone, i.e.
ability to shape that air column. So, the age of the patient does have a lot of
physiologically, a lot of changes, just like developing voice is going through a mismatch
of all of our sub systems. We also know that if patients have something such as hearing
loss, their ability to hear and their brain cognition may be affected, right? We know that
hearing and brain function are related. We know that older individuals are on
polypharmacy, so they often have a lot of medications, most of which have vocal side
effects, whether it’s dryness or decreased stamina, or etc., or like lung function problems
like CODP and things of that nature. So, an older individual is not only going to have
some physiological and anatomical issues, but also some medical problems on lungs, side
effects, vocal tremor, and things of that nature, so the American Society of geriatric
otolaryngologist has some nice stuff on aging voice and we’re constantly looking at data
and that. So, we do kind of break it down to regular voice problems, and sort of looking
in the different sub systems, factoring in their goals, looking at communication. And I
often screen for a hearing loss in their partner. This is something we see all day, every
day, and I encourage the voice person to only have, own 50% of their communication
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difficulties. Or if their partner can’t hear and won’t listen, that’s not on them, they need to
kind of own their 50% of voice problem. So, that’s how we kind of think about age
invoice in kind of a nutshell.
Smith: Okay, yeah thank you. Thanks for giving me so much detail on that. This next
question we had already talked on, so I was just wondering if you had any other
comments on the role of either the familial or the personal background of the voice user
with whom you’re working? So, their nationality, culture, socioeconomic status, sexual
orientation, disabled status, maybe even religion, just things that the person brings in with
them with their voice and how that plays out in their interactions with you?
Med Subject 1: Yeah, I think leaving space in the room, so they feel comfortable telling
you about all that stuff. If you don’t create an environment where they can bring their
whole self to the encounter, you’re going to miss all of it and that’s the whole story right
there. You know, there are patients who say, “Three things you need to know about me: I
love to sing, I’m a talker, and I’m Italian,” right? So, people will tell you about, I actually
had someone tell me that in real life, in a very whispered voice, they had a problem after
a surgery and they had lost their ability to [unclear], very breathy voice, the patient is
telling me culturally it’s important for them to talk, they identify with being a talker, and
they love to sing, and they can’t do it, so artistic expression is important. And so, we have
to listen to what those cues might be and what people say, we need to be very attuned to
the fact that there’s probably a lot more meaning there. People will try to tell you about
their cultural background if you leave space for it. And patients who are multilingual,
asking a lot of questions, like do you prefer to talk in one language or the other? Are you
around your family? Is it hard to get a word in edgewise when you’re around your
family? Do you sing in one language or another? What do you prefer to sing? What is
your preferred name? Do you know what would you like to be called? And I think these
are the things that are really helpful, whether it’s gender-affirming care, just like, or
person-forward care generally speaking. We do ask about family environment, we ask
about different ways people present with her voice, whether it’s online and gaming.
whether it’s online for work for voice-overs, whether it’s in person, whether it’s zoom,
and how people identify, and want to mention if that’s themself in a variety of different
circumstances, so I think there’s always more that can be gleaned, but part of the person’s
story is that entire narrative and leaving space for it. We try to ask, again, a lot of open
ended questions at the beginning of the encounter, but also as we’re wrapping up: “Is
there anything that I didn’t ask you that I shouldn’t know that could help our care? Is
there anything that I can do to make you feel more comfortable today? Is there anything
else that our team?” And that goes from how people preferred to be communicating with
our office. People with voice disorders often don’t want to make a phone call and they
don’t want to deal with the phone tree, and so having the ability to directly message our
team and not have to use their voice, or to hate the way that they sound, they don’t want
to navigate healthcare in a way that they don’t feel comfortable with. So, I think it’s a
very much, you know, whatever the – sorry I didn’t realize you didn’t see me, you didn’t
miss anything – So, I think that’s part of how we try to bring the narrative in. Right now,
we don’t have the extra person in the room, usually the narrative is also supplemented by
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a family member or a friend, but during Covid we have less people in the room, so that’s
how we used to do that in the past.
Smith: Okay, yeah, thanks, thank you. I just have a few more questions.
Smith: So you were really great at explaining multidisciplinary teamwork and

relationships in our last conversation, and I know we talked about PAVA and some other
things working towards that, but do you have any other comments about how much
teachers of singing should understand voice medicine or the practices of doctors or
speech-language pathologists, or how much the medical side should understand music, if
at all?
Med Subject 1: Yeah, you know it’s interestin, because a lot of laryngologist have not
taken the time to go observe singing teachers, whether it’s in a group setting or an
individual setting, and if they have maybe it’s once during training, if they don’t identify
as a singer, which I would say is insufficient. I would also say on the other end, there are
people who have graduate training in vocal ped who may make associations with singers
that are based on their personal experience and not necessarily the person walking in. So,
the more you know, the more you might have assumption bias, the less you know, the
more you might have assumption bias. And so the background any practitioner states,
they still need to apply with the person in front of them is telling them and try to tease out
what that particular person wants. So, I do think the idea of what PAVA is doing it’s a
really good idea which is having a certification for healthcare professionals that are
actively involved in observing teachers of singing on a regular basis, like just because
you’ve been in practice 20 years does it mean you know everything. I regularly go
observe, now granted, it’s been harder with Covid, but I’ve observed choirs this year like
to see what it’s like to sing with a mask and a face shield. Is that reflective of everyone’s
choral experience? Absolutely not. Have I a seen a private lesson recently? No, I haven’t
had a chance to do that, but I think it’s really helpful. And then I think it’s really helpful
for teachers of singing to observe clinic setting regularly and I do think it’s really
important for teachers of singing to observe voice therapy, because I think the more you
know about something, the more you can explain it in a way that helps us navigate each
other’s worlds. And all of the stuff is dynamic, and so I don’t know what the right
interval is, but I do think a certain amount of cultural immersion is quite helpful for
everyone.
Smith: Okay, yeah, great. My next question is what is the role, if any, of gender in your
field? And you mentioned the difference between gender and biological sex, are there any
things that you notice as a practioner or that you notice in voice users?
Med Subject 1: No question. So, I want to start with biological sex at birth. So, we do
know that there are laryngeal, in people who have not had hormone blockers, we do
know that there’s a large continuum of size both male and female at birth patient.
Laryngeal sizes are different, tracheal sizes are different, lung sizes are different, that’s
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why we have age and sex norms for pulmonary function tests. They’re called age and
gender norms; they should be called age and sex norms. So, there are differences. We see
that with patients who are the same height, and they get a breathing tube placed, and
males and females have different laryngeal confirmations. So, in terms of gross size,
there is a continuum that is more sex-based and it’s also height based, so height may be
the primary predictor, sex may be the secondary predictor. Biomechanically, the female
larynx has biomechanical trouble in the middle, and that’s well documented in silica
studies, we’ve all seen that for a long time. Epidemiologically, females get polyps and
nodules, men get granulomas. Women get Reinke’s edema, men get laryngeal cancer. We
know that there’s sex biology differences. We know females get paradoxical vocal fold
motion; males rarely get that. We know that asthma hits males and females differently
throughout their lifespan, so there’s probably things about the lungs that change over
time, there’s probably things about the lyrics that change overtime that are somewhat
hormonal mediated or mediated by other sex-based factors that we haven’t yet outlined.
The science for this actually relates to the cardiology world, where men experience heart
attacks differently than women, and the heart and the lungs are both in the chest, so it’s
very possible that there are some sex biology things that we don’t yet understand.
Women have lung cancer that is not smoking-based. There are four types of lung cancer,
women get two of them, men don’t really get those kinds. There’s probably a lot that we
don’t understand that sex biology driven. That said, I’m a significant advocate for
gender- affirming care and gender as we know is different than sex. However, when you
take anatomy with you on your journey, there may be risks that you take along with you,
and we need to make sure that we counsel patients appropriately about anatomical risk
factors and biological risk factors, even if they no longer identify with that gender. So, in
terms of gender-affirming care, there is not a fixed phenotype that patients have to reach
in order to be successful, it’s whatever the patient defines as success and their best
manifestation of their self. And we hope to create an environment where that’s possible.
As we know, gender is very much rooted in a cultural understanding and an individual
expression, and those dynamics are very complex and…And essentially range quite
greatly and patients’ needs range quite greatly, particularly in folks who want to present
as in one gender in certain activities and perhaps have multiple gender manifestations
through which they wish to navigate their life. And they may wish to not have one
phenotype in which they present. So, there’s just a multitude of patient desires and we
need to make sure that we best address those to our finest ability
Smith: Great, thank you. I know that’s a complex question, so thank you for giving me so
much information from your field. The last couple questions…yeah, what is the role of
funding in your field, and have you ever had to pay out of pocket for additional training
or to attend a conference?
Med Subject 1: Oh yeah, all the time. I would say our academic budget does not cover
necessary training. If we just wanted to do voice, there’s like three conferences we need
to be at every year, and so we often pay out of our pockets.
Smith: Okay.
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Med Subject 1: The regular stipend just doesn’t cover the work and I think you’ll find
anyone who wants to do this area does it as a labor of love but it’s just not funded, it’s
really hard, yeah.
Smith: That’s kind of what I’ve come across, so I was just checking with people to see..
Med Subject 1: Yeah, I’m still in credit card debt from conferences I’ve attended, to try
to get extra stuff that my academic budget just doesn’t cover.
Smith: Yeah, and even when you present, you’re the one presenting and teaching, but
you’re paying to attend.
Med Subject 1: To attend? Yeah, totally. Yup. Or you’re choosing which conferences that
you don’t go to what you really need to be at for your medical life and it’s just, yeah, it
stinks.
Smith: Is there any factors that play into your decision which ones to prioritize?
Med Subject 1: Yeah, I would say some of the conferences are sort of more thematically
similar than others, so once you kind of go to one conference, you kind of know the gist
of what’s going to be presented. I’ve been going to one conference, for example, since 19
– no I’m sorry – 2002, so that’s pretty a long time. I would say some of the conferences
really honor multidisciplinary care and others are very like surgeon-driven, so sometimes
I find those useful, sometimes I really want more of a multidisciplinary perspective, and
so for me it’s where I really feel I knowledge gaps are, and that moment knowing I
always have knowledge gaps, but understanding which ones are most tractable based on
what I have the offerings are for conferences in that particular year. So, I think also right
now for me, the thing that’s driving my continuing education is, like, I have a young kid
and I don’t really want to travel right now, so anything that’s virtual is going to get like a
hit for me, plus my CME is going to go farther, so I can attend more conferences virtually
that I could in person anyways and I could with those dollars, so I’m going to try to go to
more conferences this year than I ever have, but not travel at all, so that sounds awesome
to me.
Smith: Yeah, yeah, that’s kind of a, I know we’re missing the in-person stuff, but that is a
benefit to more…more training.
Med Subject 1: For sure.
Smith: And then what is the role, if any, of voice user disposition? You talked a lot about,
like, putting the voice user in the driver’s seat and giving them power over their decisions
and everything, I was just wonder if you had comments, I’m just going to make, like,
some generalized statements but like, perfectionists, high achievers, high anxiety, or
maybe people on the other side who are not as motivated to do the work, or that kind of
thing? How the person influences your interaction?
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Med Subject 1: Yeah, I think the key thing is I just tell them I work for them. And for the
people who aren’t as motivated, maybe they just want information, maybe they don’t
actually want to do anything, but they’re really excited that they don’t have cancer, and
they really don’t care that their wife can understand them. That might be their chief
complaint, they might not care. And so making sure that they realize that, like, it’s a
judgment free zone and if they come back and they haven’t complied with anything, but
their real goal under all of this was to just know that they weren’t going die from this,
that’s okay. So, just trying to meet people where they are. And maybe you don’t feel
comfortable saying that the first time, but that’s an honest conversation that I have with,
or do you want to do it? Is this the right time for you to do this? And usually, if you ask
them in a few different ways, they’ll be like, “You know what, honestly I don’t feel like
doing this right now.” So, a lot of those patients we try to screen up front, and the other
thing too is we try to give our colleagues the autonomy to discharge people at any time.
And if they just wanted an information gathering session about what voice therapy might
be, if that’s part of their treatment regimen, then that’s pretty clear after a session or two.
It’s okay, you don’t really, seems like you’ve got a lot going on, “oh yeah, my mom’s
sick,” okay great, this probably isn’t a good time. So, I would say the person factors drive
care near completely. Same thing with surgery, is this the right time to do surgery?
Because you need to do surgery and voice therapy together, so is this the best time? Once
we start that moving, you need to make sure that we do it in a way that’s really going to
get you the best outcome. Is the voice you have…I just treated someone who today who
does a lot of legal testimony. Is the voice you have as, disordered as it is, you know the
limits of your voice, would it be best to you know do surgery at a time where you don’t
have a testimony two days later? Even though your voice might be better two days later,
it’ll be different. And so is that wild card of getting used to something else being on the
witness stand for you? So, I would say meeting the patient where they’re at is everything.
When the patients are really motivated and their perfectionists, sometimes they totally
lose the ability to feel and hear and understand the differences about their body. They’re
so focused on achieving, they’ve completely lost their framework. And so sometimes it’s
about…And usually that’s manifested by people who say I did the exercises 46 times,
and I did this that and the other thing, and we say because they’re called exercises, maybe
we’ve given you the wrong language. Maybe we need to work more efficiently rather
than harder and sometimes that means working less and so we give patients permission to
actually scale back, do less, have the partner read the bedtime stories, have the junior
coworker run the meeting. To really figure out where we can best deploy the voice in the
safest environment, but also have the patient retain some power, some autonomy, and
some decision making about delegation, and get them into their bodies, so that when
they’re doing something like that in the mechanics the best serve them, and they’re not
just sort of doing repetitive motion without thought. And that comes a lot from our voice
therapists, and sometimes they just need us to reinforce that, so that they hear that in a
bunch of different ways. Which is similar to what our singing voice folks, like yourself,
right? So sometimes they just need to all kind of say exactly the same thing in different
ways, and then it starts to resonate with people the fourth time they’ve heard it, you
know?
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Smith: Right, great. And then my last question is what is the role, if any, of scheduling
demands? Like your personal schedule, is it working well for you, are you in control of it,
that kind of thing?
Med Subject 1: I am in control of very little. I see patients as much as I possibly can. We
have to have staff to be able to staff the clinic, and I can tell you Covid has been a
staffing issue, the Covid pandemic, just because there’s been a lot of job fluctuation for
people and their families. So, there are days when we don’t have sufficient staff and
clinic and that does somewhat drive the amount of volume that we’re able to see. I feel
like I have a lot of personal clinical autonomy and support where I work and so for the
things that I, you know, can affect change on I feel like I have a lovely partnership. I get
to work with amazing colleagues and have incentives to just do the right thing for
patients and I feel like that’s fantastic. In terms of the degree of clinic versus operating
room, and this past year we have basically been busier than we ever have, and so we just
try to fit people in whatever we can to try and meet their clinical needs. I have people
who need their boys to work and we’re getting them scheduled within 10 days or so to for
surgery and things like that, which is Covid fast. You know, pre-Covid, that would be
within a week or 10 days or so, the operating rooms are booking out with all these
backlog cases right now that that’s fast for us. So it’s a kind of complex answer, but
every day that there’s open rooms and equipment, I’m seeing patients and then I’m
seeing patients via Tele health on days when the clinic rooms are taken by my partner
doing clinic, and so telehealth’s been a wonderful addition to be able to add access to
patients who would have to have prior waited for a clinic visit. And my clinical partner
doing exactly the same thing we’re just flip-flopping each other.
Smith: Okay, smart.
Med Subject 1: Yeah, so we’ve been able to increase access also which has been good.
Smith: Yeah, great. And for you personally, is there, this a personal question, but a lot of
burnout? A lot of emotional/physical exhaustion? Is there anything you do to address
that?
Med Subject 1: Yeah, so I would say absolutely, and I think in large part just because the
complexity of patients that were taken care of has massively increased, whether it’s
because people have had to delay their healthcare because of Covid or whether it’s
related to Covid frankly, because we do see, in voice, airway, and swallowing, people
who’ve had all the bad stuff happen. I’d say, also, my teaching schedule has increased
quite a lot. So, I guess if I think, I am giving five talks within five months or something
like that, plus the regular teaching stuff that I do for the residents and things. So, I think
for me when the Covid cases spiked in November, December here, that was kind of my
highest level of burnout because we were already dealing with having to reschedule
people because our computers got hacked at [omitted] so, and we didn’t have any OR
time to put people and then people had to cancel their clinical appointments, other people
couldn’t get in, so that was the worst part to me of our Covid pandemic, because we were
kind of open for business fully, but yet our healthcare system really couldn’t quite handle
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all of it. So, January on has been much better. In order to combat burnout, I try to work
out about 45 minutes six days a week. I try to make sure that I don’t do emails on
evenings, and I try to reserve weekends for family time. And I try to just do the extra
administrative and research and education stuff early on weekdays, so I’ve just tried to
have some demarcation of, like, what time is whose time and I find that the regular
exercise really helps me process stuff. And having family time and some time away to
kind of reflect about the, you know, personhood and smell the air, and feel the breeze,
and be out in sunlight is really, like, nature is very healing for me, and I quite like that,
and I come back refreshed, it’s great.
Smith: Great! Well those were all the follow-up questions I had, did anything else come
to mind that you wanted to talk about or that you had questions or comments on?
Med Subject 1: Well, I’ll just say one thing is that we’ve recently re-initiated our talks
with the undergraduate speech pathology programs to see how can we more effectively
bolster voice in a curriculum. So, voice gets a very small real estate nationally and so
we’re kind of trying to explore what might be feasible because there are roughly 1000
speech pathologist in the state of [omitted], but less than a handful full-time practice in
voice. And so, how do we reconcile that and figure out appropriate resourcing? And so
we’re really excited to partner in the same way, too, we’re really excited to partner with
any of the [omitted] programs for vocal ped or voice health programs. I did, let’s see,
three talks for [omitted] this year, their graduate vocal ped class, the music school
convocation, and then their choral studies. So, if there’s any way that you can think of
[omitted] that would benefit from closer cooperation, we’d be happy to help. The more
we know about you and the more you know about us, the more we can learn from each
other and you know we can figure stuff out.
Smith: Yeah, yeah, I completely agree. That would be great. And yeah, I’ll, if you don’t
mind, since I’m working with my advisor, I’ll let him know that.
Med Subject 1: Totally happy to help.
Smith: Since he’s the vocal ped everything.
Med Subject 1: Sounds good. Yeah, we just had like a discussion for like an hour and a
half on an evening as part of the the evening class over zoom for [omitted] at [omitted].
Smith: Okay, yeah, I know him.
Med Subject 1: Yeah, it was really fun, and I think basically we ended up saying, I
probably said the same things that he was giving to them, just in a completely different
way from a completely different framework. So, it was really fun, so that’s the kind of
stuff that we love doing and so if that’s at all useful, I’d be happy to help. But we just feel
like the more we can gather the voice people and the voice health people in the state, the
better cool things can happen.
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Smith: Yeah, and like you said, that’s what sometimes makes people, it registers, or it
clicks when they hear it from your perspective or from a different person.
Med Subject 1: Yeah, or they’ve been working and they got their masters and voice 20
years ago and they haven’t you know connected with the teacher and they say, “Oh my
God, I’m so glad you had me see a singing teacher, because I thought I knew everything,
but like my instrument changed.” And I’m like, “Exactly, it’s time for a tune up, and also
there’s probably some new techniques that, like, in the last 20 years, you know, people
have learned how to teach differently or learn different techniques you haven’t been
exposed to yet. Thank you so much for being open.” I think the other thing I’ll leave you
with is that as I’ve taught more this year voice health, there’s really that, I usually start
the talk by saying how many of you think that your voice, how many of you experience
voice problems? Most people. You know, how many of you think that your voice
problems are technical issues? Everybody raises their hand. I said, “What happens if you
had gallbladder surgery and you couldn’t sing after? What happens if you delivered a
baby and you had trouble singing after? Do you think that’s still a technical problem?”
“Oh yeah, oh yeah, oh yeah.” So that concept, do some technical issues lead to vocal
harm? It’s possible. Is it also possible that something else could be happening? Do we
need to accept all that personal responsibility, and I would argue, shame? What if people
get adult onset asthma? What if people are prescribed a medication from their doctor for
their blood pressure that totally changes their voice? And these are not things that are
vocal teachers, teachers of singing, and singers are aware of because they’re the first
person to take total responsibility for their voice issue. And I think there is a role for
personal responsibility, but there’s also a role to be gentle and to deconstruct to shame for
a vocal injury. And I think that’s really important particularly for training people who
have the highest rate of voice injury, as professionals, teachers have a high rate of vocal
injury, and teachers of music, right, which include teachers of singing, you’re going to
have a voice problem, statistically speaking, we know that from the literature. So, why
don’t we talk about that and deconstruct it? Because the vocal load you’re going to have
exceed human capacity. So, if we’re stuck on technique equals vocal problem, we can’t
get past shame and voice use. And so, I think we’ve got a lot of work to understand that
complexity, but I think it kind of starts with deconstructing that it might be more
complicated than just technique. Or maybe as a teacher, you’re not responsible for that
voice issue. Maybe your student isn’t disclosing things. Maybe your student, you know,
got assaulted and had to scream to save their life, and they feel uncomfortable about
telling you that they were in that situation. There’s so much that happens to these bodies
and these instruments, that perhaps people don’t disclose or don’t feel comfortable
disclosing, not because they’re afraid, but because they’re scared of disappointing you
and they’re scared of disappointing themselves. So, I do think there’s work around shame
and causality of voice issues, and I think it is complex, and I think the more we have
these tough conversations, the more we can arrive at a happy medium ground of
understanding that it’s just complicated.
Smith: Yeah, great, thanks. There was so much wisdom in that. I just got so much for my
own singing and teaching out of that, so, thank you so much!
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Med Subject 1: Absolutely, I’m so happy to help. And if you need anything follow-up
information or things like that…I will also tell you the most recent addition to our voice
team is actually a physical therapist named [omitted], who does myofascial release. So,
it’s hard to find these practitioners who do anterior, or front of the neck, work and so I
think you’re going to see physical hands-on work more incorporated past, you know,
more than laryngeal massage, incorporated into therapy. I think there’s going to be more
data behind that. So, if I had to tell you where I think the field is going, I would say it’s
probably toward acceptance of more body work. Now have singers been doing that
forever and ever and ever outside the medical sphere? Absolutely, but it’s been so crazy
to get this stuff covered by insurance for people, it’s been like life-changing so
sometimes when you’re going to a practitioner’s office, being billed to your insurance as
supposed to go somewhere, it’s just a lot easier to get people to try different things so
accessibilities been kind of neat.
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Smith: So, this is Brianna Smith on February 24, 2020, at 2:17 p.m. and could you just
verbally confirm that I have your permission to record this conversation?
Med Subject 2: Yes, you may record.
Smith: Thank you so much. Okay, so, thanks again for being willing to meet with me and
answer some of my questions. This interview is part of a pilot study, just so that I can
better understand the experiences of teachers of singing and speech language pathologist
and some other voice experts to hopefully compare and contrast your practices and some
of your training and methods to better understand the fields. And eventually, I’m hoping
to design a surveying tool to get some broader understanding of the fields. So, you have
these questions in front of you, but we don’t have to strictly stick to these topics and if we
don’t get to all the questions that’s fine too. I just want it to be, like, an open conversation
and just hear a lot from you. So yeah, in regard to how you either interact with clients or
people that you see on a regular basis, how would you define interpersonal?
Med Subject 2: Well for me, my favorite way to work with patients and clients is face-to-
face. Telehealth is big and I’m interested in going into telehealth with patients who are
200 miles away, but interpersonal builds trust. And a patient or a client has to have your
trust in your skills. Sometimes I have patients show up who are very skeptical, why am I
here, and it’s my job to build that relationship and listen to what they have to say. It’s a
listener not a talker be, and respond to what concerns them, not necessarily what concerns
you. until you’ve built that relationship and you have that easy give-and-take.
Smith: Okay, yeah great. So that kind of goes into number two, these all kind of play off
each other, but some of the things you’ve mentioned, do you consider to be necessary
skills in your line of work and are there any others that you consider to be necessary?
Med Subject 2: Well, the interpersonal is important and you need to be a people person.
You know there are teachers and there are teachers. What you want to be and what you
want to model is the natural teacher who just naturally knows how to listen, how to
respond to concerns, how not to brush off concerns, even if you don’t see them as critical
to their voice, but to address and listen to everything they say, which can make some of
my sessions very long because I am listening, but I’m also building trust in a relationship.
So, and then by the second visit, you want to lay the framework for what needs to be
accomplished, because you’ve listened to their concerns, and you’ve addressed their
concerns. So yes, the interpersonal, but some of it is personality, and you just have to be a
service person, a giving person, be willing to give and take, and be a good listener.
Smith: Right, so for number 3, could you give an example of how you would incorporate
some of these, not giving a name, but if you had a patient or a client with you here, how
some of these skills would play out?
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Med Subject 2: Well, I built my own template for voice evaluations and voice treatments,
and way up at the top are: what are your goals, what do you want, and I also may prompt
with questions: what do you want for your voice, what do you want, is breathing a
concern, is technique a concern, what’s important to you? If they go, “Well I just want to
go back to being normal,” OK so does being normal involve your pitch, your voice
quality, your breathing, so I prompt them as well so they know I’m listening and they
know that what’s important to them will be a goal that I will address, so asking them
what their goals is important. I also go over their medical diagnosis and say, “Did the
doctor explain vocal cord dysfunction to you, did the doctor explain muscle tension
dysphonia? Do you have any questions?” Of course, the doctor explained it, but it’s my
job to make sure their concerns, that they’re not worried about their diagnosis, that
something can be done and that they can reach their goals
Smith: That's awesome, thank you, yeah, we're going to talk more about goals, I think
that's wonderful, thank you. To kind of pivot towards the people that you're interacting
with, for number 4, do you teach or encourage interpersonal skills from their perspective?
Like an example might be punctuality, or something from your, it's just an example, but
are there skills you expect from the people you are interacting with?
Med Subject 2: I generally don’t have any problems with punctuality, unless they’re lost,
and on occasion I’ve had to go rescue a patient or two. Most often they’re early because -
they don’t want - they want to make sure they find my interesting home office location,
so then they sit in my living room and listen to music.
Smith: Yeah.
Med Subject 2: So, expectations, is there where we talk about expectations, beyond
punctuality?
Smith: Yeah, that’d be great.
Med Subject 2: What I do is I give assignments every visit, I tell them what their
assignment is every visit. When they come back for the next visit, that’s the first thing we
address: were you able to do this, was this exercise difficult for you, do you have any
questions, do you like this app, is this helping you? And then, I like to double check and
make sure technique is correct. I’m very picky on correct technique. You’re not going to
get the benefit of the exercise unless the technique is correct. So that’s one thing I do,
they get assignments. And I avoid the word homework, because you’re not in school,
you’re an adult, so it’s assignments, and they know every time when they come back,
that’s the first place I go is their assignments.
Smith: Are most of your clients adults?
Med Subject 2: Yes, I do work with children, most of the children I work with are vocal
cord dysfunction and that’s a breathing disorder, but I work with high school students,
junior high students, if singing is an issue and they’ve been to the ENT. I do not see any
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patients who have not been seen by an ENT or a laryngologist or a pulmonologist. They
all have doctors’ orders; I know what their medical diagnosis is. My plan of care goes to
the physician, so they know exactly what I’m working on. So, I have a few clients and
they’re private pay, the majority of my patients are children with breathing disorders or
school students who have vocal nodules or polyps from pushing their voices in an
unhealthy way.
Smith: Right. And do you find there's a certain, I'll rephrase that. Is there something that
drew you to having a home office? To practicing out of your home?
Med Subject 2: Well actually, I retired in March. I was on the voice team at [omitted] for
nine years, and I retired in March and then my quartet was auditioning to sing the
national anthem and I turn around and there’s one of the doctors whose patients I have
treated, and she was auditioning for the national anthem. So afterwards I said, “Can we
talk?” and she said, Yes” and I said, “Well I’m retiring, but part of me does not want to
give up singers” and she said, “Okay,” so now I’m up to 10 physicians referring patients
to me in at my office. So, this, I got to be retired for about two weeks, and I took a lot of
rocks and planted flowers, and enjoyed fresh air, and then got back to it. So, this was not
my intent, but this is what happened. And I’ve had a home office for six years because as
a speech pathologist who specializes in voice, under the umbrella of voice is accent
reduction, so I am certified in accent reduction for people who want to be more clearly
understood in English, because their primary language is from another country and that
can involve physicians, therapists, people who just want to be more social, and be
understood. So, I’ve had this accent reduction home office and business for six years so I
added voice. That’s why you see the American flag along with my chorus singing in
Korea, and the symphony, and the Broadway series, so I had to combine everything.
Smith: No, it’s great, it’s very welcoming. So, for the ways that you work with clients or
patients, for number 5, are there any of those, sorry if the print’s too small, are there any
of those approaches to individualized instruction that you use on a regular basis, or that
are familiar to you?
Med Subject 2: All right, so the body kinesthetic is important, musical, obviously,
interpersonal. I believe in a holistic natural approach head to toe, because you cannot
dissect the voice and fix it, it it’s a head-to-toe natural approach, so of the ones listed
those are the ones I would use the most.
Smith: Okay, and is there anything else going into number 6?
Med Subject 2: Oh no, I’m sorry, that was part A. Part B. Yes, auditory, visual, and,
kinesthetic because people are auditory learners, visual learners, a combination of
auditory-visual, and then there’s the kinesthetic learning, so ideally you would combine
all three, but you also need to know how that patient learns. Just because I am an auditory
learner doesn’t mean...
Smith: Right, that everybody is.

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Med Subject 2: Right.
Smith: Is there a certain way that you, do you just ask patients outright, or?
Med Subject 2: Yes, I ask them about their ear training if they can naturally, if they can
match pitch, do they have to see the keyboard, so what is their best way to learn. And
which, if they’re auditory learners, I will have them record on their smart phones, if their
visual learners they will get handouts, chances are they’ll get both, so they can go from
ear training to visual learning. And then of course, they have to be aware of what they’re
feeling and where they’re feeling it. So, then personality tests well, no, but there is a cute
saying I saw in my doctor’s office, and as far as personality goes, it’s a little plaque that
says, “Keep talking, I’m diagnosing you.” So, I find, and it’s not across the board, but
personality is very involved in voice disorders. It’s the perfectionist, high achiever, I sang
this way 50 years ago without warm ups, so why can’t I do it now, give me a pill I just fix
it. And again, that’s why the interpersonal relationship is so strong, you are the
cheerleader, you are the motivator because they, I cannot fix it for them, I can guide
them, I can coach them, I can tweak their technique, but it’s 100% on their shoulders. So
again, you have to build that trust, you have to build that relationship, and personality
types, Type A, we see a lot.
Smith: Okay, that’s very interesting. That’s good to know.
Med Subject 2: And as far as tests go, the test that I use are more related to acid reflux
and that kind of test. I do a lot of perceptual testing because I’ve done this for so long my
ears are fairly well trained. Now at, I would tell anyone who’s interested in voice do the
acoustic testing, use Visipitch, use Sonaspeech, use those, use the formal tests. And
you’re measuring shimmer and glitter, and what I use, well and I can give you a copy of
my evaluation and my daily visit report.
Smith: Oh, that’d be great.
Med Subject 2: A lot of what I do is matching pitch, finding it on the keyboard, and
knowing the mid-range of the female voice, the mid-range of the male voice, starting
there, and that comes with experience. My problem with formal testing, and I think it’s
very important to be comfortable with that, is that sometimes in voice, you may only see
the patient once, or they may stop, and you don’t know why. Now I’m finding in my
home practice that patients are coming back, and patients are telling me I can’t afford
this, maybe because they just feel more comfortable than when I was in an outpatient
clinic for 10 years treating voice in a hospital setting, so for me to do pre-and post-test
spend the session doing a Visipitch and then you don’t know if it’s going to be an
unplanned discharge or a planned discharge. On a planned discharge, you can repeat the
formal test, but what good is a formal test if you can’t do the exit formal test? So, what I
prefer to do is I spent half of the visit on, on my own evaluation template that I created,
and then the second half of the visit and the reason why they’re there. We go straight into
treatment.
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Smith: Okay. Right, that's great and that kind of leads into some of these other questions
that we've kind of already touched on. Yeah number 6, we've kind of talked about, so
maybe let's move to number 7, how do you measure success in yourself or in your clients
or patients?
Med Subject 2: Well, the biggest measure of success is when the patient goes back to the
follow-up visit with their ENT or their laryngologist and the vocal folds paresis has
resolved, or the polyp is 50% reduced, or the nodule is soft and resolving and they won’t
require surgery. The measure of success is in the follow up visit with the physician who
looks at the vocal folds. So, I’m always happy when my patients have had a video
stroboscopy from an ENT or laryngologist who specialize in voice, since most ENTs do
not specialize in voice, so those who do video stroboscopies, and I know who they are,
and then I get copies of the doctor’s report. And a lot of times, and my patients taught me
this, now they are videotaping the stroboscopy on their phones, and they are taking
pictures of the vocal folds. And that is what I tell my patients, you will teach me more
than I will teach you, I am in this, I’m working with you to learn, and you are my teacher,
and that’s a great idea, I’m stealing it. I do the same thing with their humor. Oh, that’s a
good one, I’m stealing it. And humor it is critical to helping someone heal, because a lot
of times when a patient goes to a doctor, they’re afraid they have cancer.
Smith: Right, right, that’s scary.
Med Subject 2: And that one of the reasons why I and I don’t get very many again in my
home practice, but I had some in an outpatient clinic, was there’s a relief that they don’t
have cancer that they’re willing to put up with a lousy voice and then they don’t show up
for their evaluation, which makes me sad. But I always do follow-up calls, number one to
find out are you lost and number two would you like to reschedule. And sometimes
they’re saying no I’m running a half an hour late can you still see me and if I can, I will,
and I try to be flexible with patients and that’s not always convenient for me.
Smith: Right, I’ve been there, I get that, right. So then we kind of already talked about
some goals, and you mentioned that you involve them in the goal setting process because
it's just understanding where they are or where they want to be or what they want to
accomplish, but for number 8, do you set any of the following types of goals, or all of
them, or would you like to explain?
Med Subject 2: Oh yes. Yes, I do short term and long-term goals, and my professional
goals are related to their medical diagnosis and personal goals are their personal goals.
I’m not happy unless they’re happy, it’s not about me. And a short-term goal would be
the patient will use amplification with correct technique; long-term goal would be this
patient will exhibit a voice quality, effective communication skills, and singing skills,
within normal limits, with no signs or symptoms of a vocal pathology, so that’s a long-
term goal, so I have many short-term goals. But again, they are customized to that
patient, there’s no cookie cutter.
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Smith: Right. So then, that sort of answers number nine, I guess, about how you form
them and also kind of number 10, so I guess we could flip over to number 11, unless you
have anything else you'd like to say about goals?
Med Subject 2: Well, I do ask for continual feedback from the patient and I give them
permission to not like something, for example, lip trills.
Smith: Yes, I have singers who do not want to do that.
Med Subject 2: Right, but sometimes, for example, I am currently working with a patient
who was a bilateral cleft lip and palate and it’s physically not possible for her to do lip
trills, so I give them permission to say “I gave it my best shot, I can’t do it,” and I’m
going, “you know what that’s OK.” Or if they look at, if they download an app I’ve given
them and they come back say I don’t like this that’s OK so I always ask for their
feedback do you like it and by the way it’s OK to say you don’t. So, I give them
permission to be totally honest with me and I think that honesty is critical, and on a
regular basis asking for their feedback. I can’t assume they’re happy with everything I do
with them, never assume.
Smith: Right. So, what are some of these, you mentioned a couple times, the apps, things
like on your phone that are specifically designed? Things like that? Could you talk a little
bit more about that? I think that’s very interesting.
Med Subject 2: Well, it depends on, again, what their diagnosis is. A lot of times if
there’s injury to the vocal folds, they have decreased range and sometimes it’s breath
support, so when I work with singers I always try to find them on YouTube. So that when
they, because I work with singers at all levels, I work with praise team singers, I work
with show choir singers, I work with a community theater, I’ve had the pleasure of
working with a Broadway singer, and singer songwriters, so I looked them up on
YouTube before they get here and I’ll also ask them are you on YouTube, but I always
look to see if they’re on YouTube before they walk in the door. So, I’ve looked at their
technique, I’ve looked at their breathing, I’ve looked at any upper body muscle tension,
I’ve looked at their alignment, if they do choreography. So, how did I get off on that
tangent?
Smith: Oh, this isn’t even on there, I went off on the apps.
Med Subject 2: Oh, the apps, the apps, they come with a toolbox of vocal warm-ups, but I
will add to their toolbox, and say now you have a choice. So, there are some apps that I
really like, but I never just hand them something: I explain the purpose, the reason why,
and we do them before, I don’t just say download this app and come back and tell me
about it. So, I always tell them what the purpose of the app is, and we do it with correct
technique, or if it’s a CD or if it’s YouTube. So again, not everyone gets every app I
have. But I like to add to their toolbox and it kind of revitalizes them when they have
something new and different to try to get to their goal. It’s all about having choices and
being able to say yes or no. And then I’ll have them prioritize it, because they’ll get so
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many things to do or I’ll look at the calendar and say, “Okay, now you have all these
exercises and apps and CDs and I want you to come up with a 15 minute warm-up
schedule every day because, your list, you’d be warming up for 2 hours, so let’s put some
variety,” and they kind of like that too. And if they don’t like it, we don’t do it. But when
they wake up in the morning, you know they can do lip trills in bed, to see if they have
sound when they’re in the shower they’re humming. When they’re in front of the mirror,
they’re checking their face and their breathing you can’t fool a mirror and if any time I
can make it part of their daily routine and not say, “Okay, you have to find 15 minutes
twice a day to do these exercises or you’re going to get a negative checkmark,” that
won’t work. I have them do them at red lights, because they’re not allowed to be a
distracted driver, not on my shift, but at the red light if you can focus, you can do your
prosody exercises or your straw exercises, but only at red lights. So if I can build it into
their daily routine because I also see a lot of teachers. Teachers are the number one vocal
abusers in the country, and music teachers are the worst, because they’re teaching all day,
they’re singing all day, they’re in community theatre, they sing at church, and they sing
because they love to, and it’s extremely hard on their voices. And they’re already doing a
show choir and musicals. You can’t tell a teacher, “Okay, now carve out more time for
warm-ups and cool downs and everything else you need to do,” so the more you can fit
into their daily routine the more buy in, it’s critical for them to buy in to what they’re
doing for them and for them to feel and hear the difference, if they can hear and feel the
difference. Another way to get there is to record their voice on their phones and mine
their first session, their last session, or in between because that’s how you can,
perceptually, judge progress. But the progress is completely judged, well not only by the
patient, but by the follow up visit with the physician and I am highly motivated for them
to do better when we get to that follow up visit. I want that vocal fold paresis to resolve
so that motivates me and hopefully the patient as well.
Smith: Right. That also kind of answered number 11. I was wondering about your process
for selecting student exercises or sung repertoire, so is there anything else you want to
say?
Med Subject 2: Yes, so depending on the physician, I pretty much know all of their
protocols and I tell the patient, “I follow your doctor’s protocol.” There’s one
laryngologist that I work with who sends every patient home with an after-visit report
with what she wants, and guess what we do have you done this, have you done that, have
you done this, and it’s not done in a threatening way. I have everything that physician
recommends. So, the patient can take a picture of it, so the patient can order it on
Amazon prime, or Walmart, but everything that doctor recommends I have. Now I also
asked the patient, I tell them I work with several different physicians, and I can share
those protocols with you if you’re interested. So, I will share with them, but number one
is following that particular doctor’s protocol.
Smith: Okay, great, thanks.
Med Subject 2: There’s also pre-and post-surgery protocols, because I do pre-and post-
surgical teaching. So, I have my own pre-and post-surgical exercises and warm-ups, and
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what they can do after they’re finished with total vocal rest, if that’s what the doctor
chooses, but I also follow the physicians. One of my patients had his surgery at the
[omitted] and that physician called the laryngologist in [omitted], and said, “Who do I
send my voice patient to?” So, that physician gave the doctor my name. He called and
interviewed me over the phone, and I said, “What is your protocol? Because I’m going to
follow it.” And then he said, “What is your protocol?” So, that, you know, measure of
success is when you have you retire, and 10 physicians are still referring you.
Smith: Right, definitely successful. So, we had talked, you had mentioned earlier about
feedback and I have some examples of feedback on a spectrum of never being used, or
sometimes being used, or always being used and I was wondering which types of
feedback do you provide in a session? And if you could provide a notch on the line I'm,
I’m just trying to gather a little bit of quantitative data in my qualitative.
Med Subject 2: So, this would come under what I have on my documentation as
subjective. So, at the evaluation, we determine their goals and the doctor’s goals. But
every time they walk in the door, we start with: how are you today? How is your voice?
What’s new? What’s different? Is your voice better, different, no change, or worse? And
it’s okay if you tell me your voice is worse, it’s okay. So, that comes under my
subjective, how are you today? What do you think of your voice? and they will tell me,
so that is hopefully always concurrent feedback from the patient. And yes, active
coaching you are literally their cheerleader. You are their motivator, because they have to
do all the work and if you don’t motivate them, if you’re not a cheerleader, saying, you
know, this can be done, I’m on your team, I know this is really hard, how can we tweak it
to make it easier for you, so, hopefully that’s part of every session.
Smith: And then, for the letters C, D, or E, are there ways that you handle…we could also
skip to number 13.
Med Subject 2: The negative criticism? Is that coming from me or them?
Smith: Yeah, from you to them, how do you interpret that?
Med Subject 2: Because I’m perfectly okay with negative criticism coming from the
patient. if the patient comes in and sits in that chair and they’re angry, and they’re angry
with me or with whatever, I’m perfectly OK with that. The one thing you have to have
are strong shoulders, you have to be able to take the burden of that person, the weight of
their world, they will throw it at you, they will put it on your shoulders, because they’re
angry and it may not even be their voice, they may be angry at the world, and it shows in
their voice if they’re pushing their voice and now, they’re just angry. So and the way I
handle negative criticism it’s just let them vent and I am the punching bag and it’s okay.
You cannot take things personally. So negative criticism, for me, I try to use humor. And
I also bring out, I am very good at pointing out my own mistakes.
Smith: Yes, me too.

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Med Subject 2: And I also tell them especially the type A personalities, “You know Mary
Poppins was only practically perfect, if perfection is your goal, it’s not going to happen.”
And I also bring up Beverly Sills, so this a way to get negative or constructive criticism
into the picture. Beverly Sills said, and this is a quote from her, that in her 40 years of
singing in every opera house in here and abroad, six times she sang the way she wanted
to. In 40 years. And my patients just go, “But she’s perfect.” And in my opinion, yes, she
is. But in her opinion, only six times. The other times she did her very best and she was
okay with that. So negative criticism, I just look at technique and I do it with them and I
smooth out the technique and I tweak it, but it’s constructive, it’s done with humor. And
yes, that was my, I hated lip trills not only that, but I taught myself how to do them
incorrectly with lots of jaw and muscle tension, and then I had to unlearn and relearn. So
hey, I am there with you.
Smith: Right. So then is that how you, for number 13, how you balance, or manage the
balance between encouragement and constructive critique? You kind of answered you
use humor, honest about your own…
Med Subject 2: But what’s different for me versus a singing teacher is I’m not getting
them ready for competition. I do get them ready for performances, but I don’t have to get
to the level of critiques that someone, I just want them to heal, stay healed, and go back
to what they love to do, or send them back to their singing teacher. But I’m also used to,
as a [omitted] we are competitive, and I’m also in a quartet. So, we are judged on
showmanship, we’re judged on sound, we’re judged we have four different categories
and there’s up to 8 judges so I also understand on, the importance of being the best you
can be. But I don’t have to be the disciplinarian the poor singing teacher has to be.
Smith: Right, right, it’s kind of different. So, great, thank you. So then, due to,
sometimes, the amount of time spent with clients or patients over long portions of time,
some may come to see their role as more than just related to the voice, but to the person
as well. So for number 14, do you see yourself as a life coach or therapist in any way? Or
do you see yourself as someone who helps with emotional or personal concerns? And
how much of that role do you take on as friend or nurture or mentor?
Med Subject 2: Right, and there’s where you are involved in being their coach, being
their mentor, and then if you need to draw a line, with. I am invited to performances all
the time and I try to go to as many performances as I can and I’m happy to do that. I’ve
been invited to birthday parties I’ve gone to funerals, so I like to be considered their
professional coach, mentor, and friendship does enter into it, but you cannot be a friend to
hundreds of patients and you also kind of sometimes need to draw that line.
Smith: Exactly, right. So then, you kind of listed some of these things, but at the bottom
of the page, number 15, are there any methods, either listed here or some others, that you
used to create report or healthy relationships? So, like, B. sometimes you would attend
performances or other…
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Med Subject 2: Yes and a lot of times when I go to like a show choir performance, I had
four high school singers from the same high school, all four of them had vocal cord
nodules, so I went to their show choir performance because I wanted to see why. Is there
a pattern? Is there, because a lot of what I tell my patients is you and I are detectives, we
are a team, we have to holistically look at anything and everything that could have
affected your voice to result in this lesion. And I tell them that voice is a puzzle, no one
thing is going to fix your voice, warmups and cool downs are not going to fix your voice,
water is not going to fix your voice, using correct technique alignment is not going to fix
your voice, but if we find all of your puzzle pieces and put them together, that’s when
you get the big picture. So, I very seldom tell them I’m going to their performance, they
have figured out I show up, and then I give them big hugs and support after the
performance, but those show choir students did not know I attended their performance. I
wanted to, I needed more information and if there was a pattern, we needed to address
that pattern.
Smith: So then, one more question about your methods and kind of how you interact.
This is number 16, do you take any specific steps to create a safe environment? There's
some suggestions below, but you could also speak to anything that you'd like to say.
Med Subject 2: Safe environment. Well, the one thing I ask every patient, and I asked a
patient this morning, if you’re having difficulty with your voice, I always ask them: “Do
you feel safe? If you were in an unsafe situation, can you scream?” And then I have them
do “hey” can you do that, show me, do you feel safe? And if you don’t, I’m going to
suggest a screamer, pepper, mace, and I show them what I have to make sure that they are
safe. And I’ve had multiple patients say if something happened to me I can’t scream. And
a patient this morning fell and her husband, in her home, and her husband was
downstairs, is your voice strong enough she said, “Now it is” and she said, “But when we
started, no. I could’ve been there all day until he came upstairs and found me.” So, but I
showed her a screamer and I said I always tell them, “You do not have to buy this, this is
all strictly choice, and you don’t have to buy this model, this brand. I’m not on anyone’s
payroll. You can go on Amazon prime, you can go on eBay, or whatever you like to
shop, because you will have lots of choices of safety things.” But I think it’s critical that
they know they can be safe with their voice. So, I also when I became more aware that I
was going to have a home office I had an extra guard rail put outside so I have a guard
rail outside but now there’s two guard rails outside, there’s a banister going up my step. I
do ask them if they have COPD or emphysema, “Are you okay with steps?” And I walk
beside them if they need my arm and they frequently, when they are having difficulty,
they will often come with a spouse or a friend. And the spouse or friend is always invited
to be here, if the patient wants them, the patient has to give permission. Now my husband
my wife can sit out there and read a book or then they listen to music. Or no, I really want
you in here with me. So that if there’s any safety instructions but I have had to work on
safety. Also, in the restroom I use germicidal wipes to wipe it down, so the spread of
germs is less likely. And I do doorhandles, but the germicidal wipes and the gloves are
behind me, there’s lots of Purell. I come from a hospital environment hand washing’s
critical, so that’s part of the safety. So, and the other thing is if my personal safety and
I’ve had all kinds, makes, sizes, shapes of people as patients. Only once, did I call the
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doctor and say I am not safe having this patient in my home, because I get their reports.
And I said, “I am alone, and I’ve read your report.” And I personally feel terrible, but if I
were in an outpatient setting like I used to be.
Smith: Right, it’s different.
Med Subject 2: With lots of people around and security, all I have to do is the 711 and
then the hospital security comes, I can keep my door open. With this particular type of
patient, I’ve only had to do that once. And I felt very badly about it, but my own personal
safety is an issue too. But I have never ever felt, and I have a huge variety of patients, and
I have felt very safe. I tried to help them feel safe and comfortable and, in a home, you
can sort of do that. And I offer them water listen to music they. So, there was one patient
I had to call the doctor and say I feel really badly because I read your report.
Smith: Right, but you have to protect yourself as well. Great, so then, it is 3 o'clock. I do
have some more questions, but I want to be respectful of your time.
Med Subject 2: Oh, my 3 o’clock cancelled.
Smith: Oh, okay, do you mind if I ask some more questions?
Med Subject 2: If you have the time, I have the time.
Smith: Great, because the next set of questions, I want to identify some types of training
in your practice, how teachers of singing and others are trained. So, I wondered if you
belong to any associations or held any memberships? There's a list, but you might have
some outside of that.
Med Subject 2: Well I am a member of the voice care network through [omitted] and
PAVA, I’m from [omitted] and PAVA going to be in [omitted] and my intent is to join
PAVA, which was initiated by Dr. Ingo Titze. And ASHA, of course. So what I have
done, oh, are you talking about belong to what associations, what memberships do you
hold? I also have a [omitted] license, I have to have CEUs for that. I have to have CEUs
for my ASHA, and I have received the, what do they call it award, the ASHA award for
over achiever and continued education. I want to say it’s the star award, but it’s not, but
I’ve had that award for seven years in a row. I am very big on, I am a lifetime learner,
maybe just because I can’t learn, but I also have a current [omitted] teaching certificate
and a current [omitted] teaching certificate. So, what I have to do in [omitted] is every
five years I have to go back to college, they will not take CEUs. I have to have post grad
work. So, this past summer for the second time in July I went to the Contemporary
Commercial Music Vocal Pedagogy Institute.
Smith: Oh yeah, I want to do that this summer.
Med Subject 2: Oh yeah, you’ll love it. And I was there three years ago, and I did the
post-grad credit, you don’t have to take it for a post grad credit, but I did because I have
to have six post grad hours every five years. So, I just get finished and then I have to go
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back again. And I was there three years ago, as well. So, who you will meet in
Winchester, Virginia are the vocal athletes, Wendy and Marci, the authors of those
books. So, sometimes I see who the speakers are, last time I went in July because Dr.
Ingo Titze, I was there and three years ago I wanted to meet Marci and Wendy because
they already had their program. Alisa Bobile was there, I already had her program. And
what’s really nice is you can talk with them, you can have private voice lessons, it’s. And
one of the laryngologist here in [omitted] just loves that group because she was recruited
here from the East Coast, so she knows Matt Edwards, all the people from. And you’ll
have 11 instructors from Berkeley School Music, from Catholic University, well that was
one year, LA, Illinois, all over the country.
Smith: Yeah, that sounds amazing, I’m very excited for that. So okay, great. Are there
any
personal or professional guides that influence your practice? So maybe guide set up by
ASHA or…
Med Subject 2: Well, I’m happy anytime I’m involved in continuing education. If I
learned one thing, I’m happy. I also spent seven years traveling the country and I go to
conferences that are for not just speech path and voice, I go to ENT speech path voice
conferences, so it’s physicians and speech pathologists, and I’ve been to Sin City
laryngology, San Antonio I’ve been all over the country on doing conferences and that’s
how I learn.
Smith: That’s great, that’s amazing. So, then I just want to better understand briefly what
it took for you, kind of playing off what you said about learning and taking classes, can
you briefly describe your training? And how your past training influences your current
practice?
Med Subject 2: I think it’s incredibly important, while experience is the best teacher,
what do you do when you don’t have experience and this is your passion? I was a
traditional speech path for way too many years I tell people I’ve been around the block so
many times people need to put me to pasture, but I did the schools, I’ve done private
practice, I’ve done for profit, non-for profit, I’ve spent 13 years in management, I
traveled the state as a manager for PTOT and speech, I’ve been the director of rehab for
PTOT and speech. So, it’s everything I have learned for many years has led me to where
I am now. So, 10 years ago, because I love to sing, I decided to follow my passion. And
that’s when I said, I am not going to do strokes, I’m not going to do swallowing, I’m not
going to do progressive diseases, because I have lots of experience in those areas, it’s
time for me to follow my passion. And I am a music addict. It’s a very expensive passion,
but because I love to sing. And now what’s interesting is, if you continue to follow me or
if you never come back again, I have, because of Marci, the vocal athlete, I had a private
lesson with her, so this last time I had a private lesson with Edrie Means at Shenandoah,
and this last time I had a lesson with Marci, the vocal athlete. And I said, “It’s now or
never [omitted], you chicken, you set up private lessons with these two. So, it took all the
courage I had because I sing in a chorus and I sing in a quartet, and Marci made me cry.
She said, after my lesson, she said, “You can do more than [omitted], you can do more
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than a quartet, when you come back to Shenandoah, I want you singing and performing a
solo.” So, then so I always thought of my voice as a blending voice, as opposed to a solo
voice. So, I came back, I finally, that’s from July till now, I had my first private voice
lessons from a singing teacher last week. So again, you ask where is the overlap between,
I’ll be able to tell you more and how we work together. And this particular singing
teacher I chose has sent some of her students to the doctor and she doesn’t know it, but
I’ve worked with those students you have to follow HIPAA, you have to follow privacy,
so I know she’s good, if she hears a voice in trouble, she knows to go to the next level.
She also knows she’ll get that student back. So, that’s basically, the last 10 years, I am
following my passion.
Smith: Yeah, that’s amazing. So then, with that in mind, is there any specific training you
wish you would have received in the past?
Med Subject 2: No, well more. More of the same, because I always learn something, but
it would have been nice if someone else had paid for it. I paid for Shenandoah, I paid for
Saint John’s, I pay for every conference. And when I started as a speech path, we were
sent to ASHA every year and now I have to pay, our licenses were paid for, now we have
to pay for our own, So, it’s a good thing, it’s a passion, I don’t know how many other
speech paths with my, I think part of me is defective, who’d be willing to spend their own
money for their own training. I decided independently to do that. I also became certified
in the Parkinson’s voice, because that comes under the umbrella. So, I am certified in
LSVT Loud, I’m certified in accent reduction, it all comes under the umbrella voice.
Voice is a huge umbrella, huge, but that’s all I’ve done for the last 10 years and I’m busy.
Smith: We’ve already talked about, sorry we’ve already talked about a bunch of these
things, but jumping All the way ahead to number 24
Med Subject 2: Oh, maybe I should add, BA in speech path is from [omitted], I grew up
in [omitted]. My masters is from [omitted], and I’ve been in college ever sense. So, I do
not have a music degree, I have a Music passion.
Smith: Right, awesome. And I guess I kind of skipped over 22 and 23, you kind of talked
already about workshops and clinics, is there anything else you want to say about…
Med Subject 2: The influence of workshops in general? Well, I sort of touched on it

earlier, if I learned one thing, I’m happy. So, I go to all these conferences and these post
grad courses with an open mind. I don’t have a goal when I walk in the door. And that
way, I am open to learn.
Smith: Yeah, I love that. That’s great.
Med Subject 2: So, I would never say, “I spent all that money, I learned one thing.” No, I
would say, “I learned one thing that I can use, that I will share with my patients.” And
that’s what I also tell my patients, what I learned from you is you’re making me a better
voice therapist, and I will share with my other patients, but you get the credit.
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Smith: Yeah, I love that. So then for number 24, I think it's on the next page, do you use
research-based practices? And can you describe any current practices you use? So, that
might be like reading publications, or conducting your own research, that sort of thing.
Med Subject 2: No, I don’t conduct research. I must prefer, I’m not interested, that’s
what’s different about me. I’m not interested in diagnosing the problem. A lot of speech
paths will do this video stroboscopy and work side-by-side with the laryngologist and
ENT, I’m not interested in this, and this just personal, 100% me and I’m old enough to
say, “This is what I am going to do.” And I’m not interested, I’m not. And a lot of speech
paths love the diagnosing part, they love doing the video stroboscopy. For me, just give
me the voice. I’m a treating voice therapist. So, research wise, I am certified LSVT loud,
which has 25 years of research behind it. And I read every day faithfully. I am on the
voice and voice disorders, although it now has a new name, section of ASHA. And it’s
where there’s questions and answers from all over the country from the top dog down to
the new voice therapist, and that’s how I got one of my patients she just had surgery in
Boston singer songwriter moving to [omitted], the day after her surgery: is there anyone
who can treat her? And I answered the blog and said, “Okay, I’ll take her.” And her post
op visit will be done by this physician. So, I learn on a daily basis, plus I also get the
ASHA journal. But the daily blog of voice and voice disorders is called SIG three, special
interest group 3, is what I read every day. And I have a voice folder on my laptop, so if
it’s something pertinent to patients, something I can use with patients, I will slide it over
to that folder.
Smith: Okay, that’s awesome. So then, do you still have time, are you good on time?
Med Subject 2: Yes, I do have a three-hour rehearsal tonight, so I’ll need to rest my voice
at some point.
Smith: Right, so, you kind of touched on number 25 already, so if you don't have
anything else to say about that, that's fine. But I'm just wondering kind of about how
students or clients come to you, and more collaboration between the fields. It sounds like
a lot of times they are recommended to you from a doctor. And then are there any factors
that play a part in matching those clients with you or is it mainly just the
recommendation?
Med Subject 2: It’s actually a doctor’s order. So, when I started out my private practice, I
started out private pay, but it got big so quickly and people would ask, “Will my
insurance pay for this” so I contracted with [omitted] to do my payment and billing. So,
all of my referrals go to them. All the doctors I work with know to fax to the referral, fax
the doctors order, fax the doctors report to [omitted], [omitted] schedules the evaluation
visit and we have an interactive calendar, and I schedule follow up visits, she schedules,
because I’m with a patient. But then and then you know it’s word of mouth, you know
there was an ENT who called one of the laryngologists and said, well this is a singer, this
is a voice patient, who do I send them to? So sometimes it’s word-of-mouth. So, a lot of
times they will already be connected with a singing teacher or singing studio, so then it’s
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important to communicate with her singing teacher and give positive feedback because
you don’t want the teacher to think this was their fault, even if it was. I mean you never
ever go there. And I also stress, if you’re not happy with your doctor, if you’re not happy
with your singing teacher, you need to change. It has to be a good fit. And if you’re not
happy with me, you need to tell your doctor it’s not a good fit. So, all of my patients,
they’re all doctor’s orders, they’re faxed to [omitted]’s office. I see her schedule and now
I either scan or fax my evaluation back to the doctor, because some of them have to be
signed if their Medicare or Medicaid, the physician has to sign them. Otherwise, they get
a copy of it and then anytime they have a follow up visit with the doctor, I send their
most current visit report. And the doctors’ offices are very comfortable with, “We’re
going to see Susie Q next Friday, can you send us your most current report?” And I
always ask the patient, “When do, do you have a follow up visit with your physician?”
And I always write down that date and I highlight it, because if the office doesn’t call me,
then I know to send it. And that’s customer service, customer service is huge, especially
with these doctors, especially with the patient. If you don’t have that customer service,
you’re going to lose business and you’re going to lose the confidence the doctor has in
you.
Smith: Right. So then, you already answered number 26 and kind of, is there anything
that keep you from taking certain students...
Med Subject 2: Just the one, and it was strictly safety just because I’m alone in my home.
Smith: Right, exactly, and then 27, Is there anything that draws you towards certain
clients?
Med Subject 2: Oh, my voice patients, and of course I love singers, and again many of
them are. And I have to admit, I’ve always loved whatever setting I was in. When I was
in the schools, I had 100 birthdays and 100 Christmases. When I traveled from nursing
home to nursing home, I’ve always found that I loved wherever I am and what I’m doing.
But in voice, obviously any voice patient, and there’s functional voice disorders, there’s a
certain amount of psych issues, there’s conversion disorders in voice, so they’re all
challenging, they all keep your creative wheels going.
Smith: Right, that’s for sure.
Med Subject 2: And you can see I have Dr. Ingo Titze book and he autographed it for me,
and you can see that it gets well used. I told him, I’ve seen him more than once, I saw
him in Salt Lake City, because he also runs the vocology institute, he’s also the director
of the National Center for Voice and speech in Denver, he was also teaching once a year
in Iowa and six months at University of Iowa, I don't know where he lives because he's
never in the same place. But when I saw him in Atlanta, he autographed my book for me.
So, when I saw him at Shenandoah University, I said you are my claim to fame I am a
very important person because you autographed my book.
Smith: That’s great. So, I just have a couple more questions.

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Med Subject 2: That's okay.
Smith: Okay, thank you. So, we could look kind of skip down to number 29 about
approaching diverse students and clients with understanding and respect. Not using
names, could you describe a specific time in which this was difficult to do or easy to do?
Med Subject 2: It’s never been difficult for me, and I have worked with Caucasians,
Muslims, black, white, transgender, gay, male and female. It doesn’t matter. I don’t seem
to have a problem connecting with, and I hope it’s because I make them comfortable
because I am comfortable
Smith: Good, right.
Med Subject 2: So, and I’ve had all kinds in my home, and I’ve treated all of them. No
judging. They can judge me; I would never judge them.
Smith: Good. So, then my last couple questions just help me better understand your
methods and a bit about your motivation. So, for number 30, how do you prepare for
sessions?
Med Subject 2: Excellent question, because I prepare for every session. And what I’m
doing is I have notes, I have a sheet that I call my lesson plan, so when I have my
treatment document where I put down what we have done, their assignments, but I also
have a sheet of paper that has were working together, I’m always thinking about what do
we need to do next time, depending on what they’ve said, what they need, or how they
did. So, I am doing my lesson plan for the next session during the current session.
Smith: Okay, right. And then how do you reflect on sessions? Is that part of it? Or do
you?
Med Subject 2: Yes, I can tell you right now, I don’t sleep at night. If I can’t get a patient
out of my head. Because I definitely don’t help everybody. I try to help everybody, I give
it my best shot, but there are patients that will keep me awake all night because I am
worried, you know, that they’re unhappy, they’re still angry, there still needing to vent,
their voice is still terrible, and I haven’t found the key yet. But you don’t ever take it
personally, you never take it personally. What keeps me awake at night is I haven’t, with
a patient, because it’s teamwork, it’s not me to figure out, it’s the team, the doctor, the
patient, and I, but if I don’t feel that there is progress and they’re still very unhappy, that
bothers me.
Smith: So then, for number 32, does reflective teaching influence your methods?
Med Subject 2: Mmhmm, because when I reflect, are they meeting their goals, are they
meeting their doctors goals, that’s what I reflect on, and then what’s missing.
Smith: And then, the last couple questions, thank you so much for your time.
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Med Subject 2: It’s okay.
Smith: What was your motivation for entering this line of work?
Med Subject 2: Excellent, well back a [omitted], when I was 18, and left [omitted], I
wanted to go into teaching and I was going to be a high school teacher and, believe it or
not, this was many years ago. It became apparent to me that teaching I didn’t want to
force things on, I didn’t want to have to teach values, right from wrong, consequences of
actions, morals, and discipline, I did not want that to be my job as a high school teacher.
So, at [omitted], in my sophomore year, I stumbled across speech pathology, which
answered my career goal. In speech path, people come to you because they need you,
they want you, they need to know how to help themselves. So, I went from teaching to
choosing a service career that was helping people, but people came to you because they
needed and wanted your help, and I wasn’t jamming it down their throats.
Smith: And then what continual motivation do you find in your work?
Med Subject 2: The people I work with, I just love my patients and I think they kind of
get that feeling too. They energize me, I get my energy from them, and the problem-
solving the back-and-forth of that was a really good idea, that was a really good idea,
how can we make that fit what you need? How can we modify this program to meet your
needs? Because there are programs that I use, I use a Parkinson’s program with my
singers, but I tweak it to meet their needs because it’s a great way to build breath support
and a stronger voice if that’s what they need. For example, the lady that just left one of
her diagnoses is presbylarynx, what that means is as we add years of wisdom and go
through menopause, we are less hydrated, everything gets dry, vocal folds are thinner, so
and the vocal folds, because they have empty nest syndrome, their children are grown and
gone, they don’t have to talk to their spouse because they can read each other’s minds...so
their voices aren’t in condition. And so, I tell them they’re on the use it or lose a program.
If you don’t use your legs, you lose them. If you don’t use your voice…So, a lot of times,
I do strengthening programs with that particular population. So, what continues to
motivate me is there’s always a challenge when it comes to voice. I’m going to be
evaluating a patient later this week that will be a huge challenge for me and my brain,
help.
Smith: Right. Yeah, well thank you so much. Is there anything else you’d like me to
know?
Med Subject 2: No, if I’m just going in the direction, you’re going in and how singing
teachers and speech paths who work with voice we complement each other. We help each
other. I’ll ask them, “What are your goals for the singer?” and they’ll say, “What do you
want me to work on?” when I discharge them back to the singer, you know, what do you
want me to watch for? And that goes back-and-forth. So, the singing teacher is a huge
part of the team, it’s not just the doctor, the patient, the speech path, but part of that team
is the singing teacher, and communicating with the team.
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Smith: Right, great. Yeah, thank you so much.
Med Subject 2: You’re welcome.
Smith: Yeah, this was wonderful.

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Smith: Do you mind if I hand you some of those questions that I sent in the email?
Med Subject 2: These?
Smith: Perfect.
Med Subject 2: I should have done my homework.
Smith: Oh no. Cause one of the things you mentioned in our last talk was paying for
continuing education. And some other participants expressed that being a barrier to
getting more education either because of funding, or yeah. But you said that even if you
learned one thing, it was worthwhile.
Med Subject 2: It was worth my money and time.
Smith: Okay, okay. So that was one question I just wanted to follow up with people
about, about funding. Have you ever, like, applied for a grant or any sorts of outside
funding for those things?
Med Subject 2: No, when I started my profession, we could go to the American Speech
and Hearing Association annual convention, our state license was paid for, our ASHA
certificate that we had to renew certification every year was paid for, and we could go to
continuing education and it was paid for. That has ended. Everything I have done for the
last 10+ years has been my own dime. And there are very few people who are willing to
spend a penny of their own on continuing education, they all look for the free stuff. And I
traveled. To be on [omitted]’s voice team 10 years ago at [omitted], as soon as he said,
“Is anyone interested in being on a voice team?” And it was that voice team, I
immediately started booking flights and the first thing I did was to get certified in LSVT
loud for the Parkinson’s voice. I went to Scottsdale, Arizona for that and never stopped
traveling for seven years. And I don’t know of anybody else who is willing to do that.
Smith: Cause you’re paying for the flights…
Med Subject 2: Flights, hotel, food, everything. I do tax deduct it, but you don’t get
much.
Smith: Speaking of taxes.
Med Subject 2: Yeah, right.
Smith: Okay, okay.
Med Subject 2: And through my employer I might want to add I asked because I got post
grad credit both times at Shenandoah University, and the three summers I went for voice
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care network at Saint John’s University in Minnesota, I got post-voice credit. So I applied
through education, but they still wouldn’t pay for it because I wasn’t going for a degree
and I said, “Well, I already have a masters degree and I have enough continuing ed and
post grad hours to have several masters degrees,” so they wouldn’t pay for it because it
wasn’t. But to keep my [omitted] teaching certificate, so I have a [omitted] license, a
[omitted] teaching certificate, a permanent professional [omitted] teaching certificate, and
an ASHA certification and you have to pay all of the money, which in the good old days
it was paid for you. For me to keep my teaching certificate in [omitted], I have to have 6
post grad hours every 5 years. So, I just got out of college and I’m back in college. But
being on the voice team in a hospital for 10 years, they didn’t care about my teaching
certificate.
Smith: Right, that’s what I was going to ask is what benefit does the teaching certificate
provide you?
Med Subject 2: Well, if the sky falls or a pandemic happens, and, you know, you lose
your job, I have, I live right behind a school. aAnd my teaching certificate in [omitted] is
a permanent professional, I never have to do continuing ed, but I do it on my own
anyhow. So, I could go back to [omitted] and teach, but I have a school right behind my
house. So, I keep my, and by next summer, I have three post grad hours to get so if you
hear of any good programs.
Smith: Yeah, I’ll let you know.
Med Subject 2: And they won’t except CEUs.
Smith: Okay, wait, what’s a CEU?
Med Subject 2: Continuing education unit.
Smith: Oh, okay.
Med Subject 2: So, it has to be post grad hours to keep your teaching certificate. You use
continuing education to keep your [omitted] license and your ASHA certificate of
competence, so. But the state won’t except CEUs for your teaching certificate.
Smith: Got it, thanks.
Med Subject 2: Are we having fun yet?
Smith: Right. So, could we talk about the pandemic a little bit?
Smith: And how that has affected, cause my whole focus is on interpersonal relation in
these one-on-one settings, how has that been impacted by everything going on.
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Med Subject 2: Oh, I thought you were going to ask me financially.
Smith: Oh, you can talk about that, too.
Med Subject 2: No, what I’ve gone through financially, yes, it has cost me to get, to
purchase medical masks, and I use hospital grade wipes that we used at [omitted], so yes,
that has cost me, but it has cost other people far more than it has me, so I’ve never
pursued any kind of business assistance because I own two businesses and they’re both
related to speech path and voice.
Smith: Right.
Med Subject 2: So, the pandemic. Well, I had to learn Zoom and I use a HIPAA-
protected zoom for both my accent reduction clients and for my voice patients. I still do
have patients come to the house and we do what you’re doing now, you know, everything
is wiped down before they come and gloves and masks. I am right now wearing a
singer’s mask, I’m not wearing a surgical mask, if you want me to switch, I will.
Smith: No, that’s fine.
Med Subject 2: So, I am finding that I am having, I’m surprised by the bonding I’ve been
able to achieve through Zoom. And as a voice specialist, much of what I do with patients
is super-spreading. You know, I can’t do the straw exercise, I can’t do the breather, I
can’t do the EMST 150, I can’t do warm-ups, I can’t work on technique that is
contributing to their voice disorder, can’t sing with patients because it’s all super
spreaders. In nice weather what I used to do with singers is take them outside. Can’t do
that right now, well maybe today. So, but I have been able to make some nice bonding
with people I’ve never met personally.
Smith: Right, I have a student who started over the summer, fully Zoom, never seen her
in person. Is there anything that you can put your finger on that helped form those bonds
over Zoom?
Med Subject 2: Well it’s important to know. They always say, “Hi, how are you
[omitted],” and I answer that, but I, you have to build some personal questions into it.
How was your week? ow was work this week? Oh, I’m really tired. I was up all night
with the baby, or my boss is just being impossible. So, you start out being a good listener,
but one thing I do and this is accountability but I don’t know if this helps with bonding, is
I write down their assignments and I don’t say homework because these are adults. So, I
write down their assignments every week, so before the session ends, I said, “Okay, this
week, you’re going to work on this and this and this.” The next time I see them I say,
“Well, how was your week? Were you able to spend any time working on your voice?
All right let’s talk about the things we talked about last time.” So, it’s not only
accountability, but they should, in ways because I also write down subjective: how
they’re feeling that day? Is their cough worse? Are they having reactions to their vaccine?
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So, they know that I’ve connected with them, I’ve listened into them, and I come back
and review at each session, and then I review at the next session. “So last week, you told
me that…” and so then we talk about, so it shows hopefully that I listen and respond to,
you know, “I understand last week was really a bad week, I’m sorry, was this week any
better?”
Smith: Right, right, yeah, yeah, that’s awesome.
Med Subject 2: And it’s all in my notes.
Smith: Right, that’s great. Cause yeah, last time we talked, you talked about, yeah, I was
just impressed by your note-taking system and attention to detail and making sure you
were meeting their goals or their desired outcomes. If I could kind of go in a different
direction. Back to what you said about the LVST-Loud, I was wondering if you had any
comments on, this is kind of difficult to word, but being an expert in one or two specific
disciplines versus being versed…I guess I feel a lot of singers expressed “I need to know
classical technique and musical theater technique and all these different styles of music
and styles of teaching.” And then I had people like you express the different things you
were certified in. So, does that question make sense? And do you lean one way or the
other? Like focusing on like accent reduction or focusing on multiple things, or
something like that?
Med Subject 2: I remember the day that I got my master’s degree at [omitted] and when I
showed my mother my diploma, she was standing right there, her only comment was,
“When are you getting your PhD?” So, and what I try to explain to her was it’s important
to me to be skilled in all areas of speech path before I decide what I want to specialize in.
However, when I look at my experience at [omitted], it was loud and clear that voice was
where I needed to be after some of my experiences working with patients there. But it
was important to me because I use everything that I’ve learned in these 8 million years in
my voice practice. My voice specialization in accent reduction. I was in the schools. I’ve
been a director of rehab, PT, OT, and speech. I’ve been a manager of rehab, PT, OT, and
speech. I’ve traveled to the east coast of [omitted], got on the nine-seater plane to go to
the west coast of [omitted] to visit nursing homes. I manage nursing homes all over
[omitted] and I’ve worked for profit, I’ve works for nonprofit, in multiple schools, but all
of that experience affects, how I, my specialization in voice. So now, I am very particular
about voice is all I do. And if you want, I no longer do the strokes, and now Parkinson’s,
yes, and Traumatic brain injuries, but I’ve done all that, I’ve done, I’ve done modified
barium swallowed studies. I spent a lot of time in education on swallowing, but now I’m
just voice, so is that answering your question?
Smith: Yes, yes, thank you.
Med Subject 2: I think it’s important to be well rounded.
Smith: Okay, yes.

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Med Subject 2: But then specialize in where your passion is.
Smith: Okay. Yeah, yeah. And you bringing up schools and nursing homes, because I
talked to a variety of different people who serve different age groups, one of my
questions relating to these interpersonal interactions: what is the role, if any, of the age of
the voice user with whom you’re working?
Med Subject 2: Okay, the age range I am working with are 18 and sometimes younger. I
mean the youngest voice patient I’ve had was five. But generally, I run 18 to 80.
Smith: Okay yeah, so like you said, all adults.
Med Subject 2: I do work with children if they have a vocal cord dysfunction disorder,
which is a breathing disorder, and I do work with children.
Smith: Okay, so is there anything you could put into words about how, if, relating to
children is different than relating to adults in your practice?
Med Subject 2: Well, after 11 years in the schools I decided that, after working with very
challenging difficult children for 11 years, that I would move onto adults. And I just
found out that they are very challenging difficult adults, they just wear bigger shoes. So,
but again, you learn from all of them. And, you know, customer service is what it’s all
about. I’ve had some really cranky adults to work with, but if I just listen, sometimes they
calm down, and then they can become your best patient. They needed somebody to beat
on, they needed a punching bag and here I am, and then the next time you see them
they’re just as sweet as pie.
Smith: That’s funny, but yeah, yeah, thanks for talking through that. And then another
question that popped up based on interviews, is there a difference between how you
interact with the voice users you see long term versus voice users you might see once or
twice or over a short amount of time?
Med Subject 2: Well voice, and it was just on my SIG 3, again through ASHA, which is
the voice disorders upper airway disorders that I read every day, for some reason with
voice, and this has been studied before, people will come once and never show up again
or they don’t show up at all. So, my philosophy is I have to get in as much as I can that
first visit, that’s why my first visit run 2-2 ½ hours and nobody else does that, but if I
don’t give the patient as much as I can or as many tools as I can, I have to assume I may
never see that patient again. And they may come back long-term, I may be seeing them
for a very long time, but I don’t know that when I meet them. So, every patient is treated
the same, because in my head, I feel that I have to do my best for that patient, assuming
I’ll never see them again. And I may end up seeing them 40 times.
Smith: Great, thanks! And this, it wasn’t written down anywhere, some, how does that
affect, how does your schedule affect your day-to-day focus? I’ll just give an example,
some of my voice, singing teacher, voice teachers said that, like, seeing voice students
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back-to-back can be very draining and they don’t have time to, like, process and think.
So, when you’re doing these long sessions, how does that affect your practice? Does that
make sense?
Med Subject 2: Okay, right, well, if you, that’s the joy, there’s pros and cons to having a
private practice. If you’re in it to make money, well. because if you work for nonprofit or
profit, whether it’s a nursing home, oh I also spent 8 ½ years in home care, nonprofit,
profit situation, productivity is a word you hear every day. and the PTs for example,
they’re seeing 12-15 patients a day for half an hour, and I’m going excuse me. So, I
fought that bumpy road for years. But no one that I’m aware of does two hour evals and
every visit’s an hour. And the nice thing is, I have an interactive calendar with [omitted],
who schedules my eval’s, I schedule all of the follow up visit, so she can see what I’m
doing, I can do see what she’s doing. So, the nice thing is that I have total control over,
well not total, because if the doctor says ASAP, so I have largely have control over my
schedule like I never have before, but it is draining on me to do like 4 2-hour evals in a
day. So, I’ve told [omitted], my voice can’t handle that and she used to schedule, bless
her heart, patients and evals over lunch so I would be talking nonstop, for 4-6 hours
without a break. And so, we I got all that worked out so did that answer your ?
Smith: Yeah.
Med Subject 2: So, now I have control, but if you work for for-profit, nonprofit,
productivity, and you’re right it can be very frustrating.
Smith: Okay, yeah, yeah. That reminded me of another question. I don’t know where that
was.
Med Subject 2: So, what I used to tell my boss is, when I heard that productivity word,
was I am all about outcomes, and if I can’t get outcomes, I’m not a good therapist. I have
to have time. I have to actually work with that patient to get outcomes. Can’t do it in half
an hour, especially if I only see them once. So, we had that conversation multiple times.
So, I’m very, very outcome driven I don’t look at the clock that’ll get you in trouble in
just about any productivity driven job.
Smith: Thanks, that helps a lot. That answers, kind of, my question on that. So, when i
first came in, you were talking about your singing experiences, you taking voice lessons,
you performing, and I was wondering what is the role, if any, of multidisciplinary
training in educating voice experts. So, for example, how much should teachers of
singing understand voice medicine or, like, practices of people such as yourself, or how
much should the medical/therapy side understand music and singing? Do you have any
opinions on that?
Med Subject 2: Well, I’m blessed in that I work with two laryngologists, as you know,
[omitted] and [omitted] who are musicians and he’s [omitted] and she’s [omitted], and
I’ve heard them both perform, so. But I have worked with patients of ENTs who are not
performers, who are not singers. But as you develop a relationship, you end up with all of
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their singers because you have that back-and-forth. So, the other wonderful things about
the ENTs I work with, I have their cell phone numbers, I can text them, they call me
back, I mean they’re incredible to work with. I don’t think that answered your question,
run that by me again.
Smith: another way I could phrase it…
Med Subject 2: Oh, like CCM. Commercial Contemporary Music, and you mentioned
this earlier, now to be a successful performer, you have to be able to perform in more
than one genre. Which is what they really stressed at Shenandoah University. And so, the
first night there, the instructors entertained us. So, Matt Edwards two of the instructors
sang with him, they sang this beautiful operatic aria, three of the instructors and Matt was
one of them. Well, after they finished, he got out his guitar and started singing hard rock.
So, they showed us how they have to, and Marci is a riot in musical theater, when she
performed. So, it’s important, again, to be not only well-rounded as a voice therapist, but
well-rounded as a singing teacher and Shenandoah University was for singers,
performing singers, I was a speech path, Marci and Wendy are speech paths, but they
were 120 performing singers, singers of teaching from Ireland and all over the world, so I
was definitely a minority. And Marci and Wendy, they get up and teach from a speech
path perspective in voice. So yes, there’s a lot of interaction. And I think it’s important,
and I also think it’s important that I don’t step on a singing teacher’s toes and vice versa.
Nothing irritates me more than when I look up vocal coaches on the Internet and the
vocal coach says, well number one you don’t even know if they can sing. I look into their
backgrounds, and there’s one out there and making a ton of money, a ton of money, and
her background is well I started singing when I was eight and I went to New York when I
was 18. Okay, fine. That vocal, I see vocal coaches advertise and talk about, “Oh yesm I
work with singers who have nodules and lesions and hoarseness, I can fix you.” And that
is unethical. Now, there, if you have a singer who has lesions and you’re ready to pass
them back to their singing teacher, because their singing teacher sent them to an ENT,
which is ethical, that’s how it works, the ENT laryngologist sends them to a speech path
who specializes in voice, then you send them back to the singing teacher ,and then the
communication starts. And then the singing teacher will ask me, “What can they do?
What can’t they do? What range? Do they need to sing at half voice?” So, then the
collaboration starts. But to say, to advertise, oh yeah I work with injured voices, I can fix
you.
Smith: Yeah, thanks for explaining that in your own words.
Med Subject 2: I have a real problem with vocal coaches on the internet.
Smith: Yeah, it’s dangerous.
Med Subject 2: Oh, they caused injury. I worked with an opera singer who ended up
having to have surgery and his surgeon was in [omitted], my alma mater, [omitted] and
his physician he contacted [omitted] and he said do you have a speech path? I have this
opera singer who has to have surgery. He called me and interviewed me to see if I, in his
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mind, if I was appropriate to work with his post-surgical patient. Actually I saw him pre,
I do pre-and post-surgical teaching. He’s one I ended up seeing 40 times. And he
apparently liked my approach to pre-and post-surgical teaching and what I would do, and
pretty much, I can. I also ask him the question, what is your protocol? Because I work
with, you know, well 10, my first six months in private practice, I had 10 physicians refer
to me. And I said I will follow your protocol. What is your surgical protocol? And so, the
doctor needs to know that I support them, versus what some other doctor, their protocol.
The other nice thing about working with multiple physicians is you can share with
patients nuggets from other physicians and so everyone benefits. There’s not just one
way, so it’s really nice having, building relationships with the physician and then you can
share their protocols with patients when appropriate.
Smith: Great, yeah, thanks. That was such a thorough answer.
Med Subject 2: Sorry.
Smith: No, cause a lot of, don’t be sorry at all, a lot of the feedback that I’ve gotten is
wanting more of that collaboration, but not knowing how to do it well. And I think you
just explained how we can do that better and respect the fields and not do the stepping on
each other’s toes, like you said.
Med Subject 2: Right, the other thing, I can tell you one thing doctors don’t like, because
they tell me, well I’d rather use you because so-and-so calls me all the time and says
doctor, what do you want me to do with your patient? That does not go over well. They
have to know that you know what you’re talking about, but on the other hand, and be
independent as a voice therapist, but on the other hand, they know that you will do it their
way.
Smith: Okay, yeah, that makes sense. Great. So, we briefly talked about this last time we
talked, but I was wondering, what is the role, if any, of the familial or personal
background of the voice user with whom you’re working? Like what they bring in as
their unique selves? And then also, if there’s any role of the voice user’s disposition? So,
you had mentioned, like, seeing a lot of people who are high achievers or perfectionists. I
know that’s kind of a broad question, how does the individual that you’re working with
influence how you approach them/
Med Subject 2: Well, it’s always a challenge when you have that type a, high achiever,
who is very hard on themselves. All they can focus on is what’s wrong with their voice.
So, you turn that around and say, “What’s right with your voice? do you hear that clearer
quality? Do you hear that better pitch (in their speaking voice)? And do you see you have
to tune into the baby steps?” And if they are not tuning in because all they can do, and
every time they shake their head, I go, “No, you’re not allowed to shake your head if
there something you don’t like. No, you’re not allowed to judge.” And that’s one thing
that my singing teacher really helped me with. When I was singing in ranges my voice
had no business being in and my voice would crack and crack and crack, and she’d say.
“I don’t care, I don’t care, I don’t care, sing it again.” My voice would crack, she’d go, “I
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don’t care if your voice cracks.” Well, I care but it’s. And now, I can sing that range and
my voice doesn’t crack. And there are some energizer bunny’s that are their own worst
enemies when it comes to their voice, and for them, “I’ve been this way all my life,” and
you just go “Oh hell, I will share with you what I know.” And, but I ask them every time,
“Were you able to do this? Were you able to take a voice nap, ever?” And sometimes that
personality is so strong, you just share everything, you build that bond, you support them
if they make a baby step that they haven’t seen, you have to know, you have to find in
that person’s voice what they’re doing right, because all they can do is judge what’s
wrong. So if that helps. But so, personality is huge. And not only that, but in voice there’s
a lot of psych.
Smith: Could you expand on that a little more?
Med Subject 2: A lot of psych patients. There was a time when all of my patients were
psych patients. Well there is a functional, it’s called functional voice disorder, so there’s
no physical reason for the voice that they have. Sometimes, when it’s psych, and you
never judge as a speech path, you never judge, but it can be to get attention. It can be
because they’re hurting so badly. It’s because, it could be because they don’t want to go
back to work. It could be because they want disability. There is a lot of psych and so. But
I have a minor in psych and, again, you look for the positive and you don’t judge. But
there, you deal with psych. And a functional disorder is a person whose voice is high and
squeaky and squeezing, and they can’t even get a word out. If it’s functional, that means
there’s nothing physically wrong and their muscles, their vocal folds have learned a new
normal and you can never blame them, but you have to get them out of, you have to, and
one of the techniques is re-positioning the larynx so they can get rid of that tension. But
they don’t realize that they’re doing it to themselves, and you don’t tell him that. You just
work to get the voice but some, I can remember [omitted] at [omitted] saying to me,
“[omitted], you can’t help everybody.” Hecause we had voice team meetings every
month, and we went over caseload and the other ENTs at [omitted] and I beat myself up
if I can’t get outcomes. That’s my personality disorder, talk about psych. And he’d just
say, “You can’t help everybody.” And that’s why, which is a sign of a really good
physician if [omitted], is stamped he’ll have [omitted] take a look at the patient. And
what he told me was they never read each other’s evals because they don’t want to be
influenced by what the other doctor saw. And [omitted] do the same thing. And ENTs
will refer to a laryngologist when they are stumped and go, “Well, I don’t know what to
do with this voice problem, can you take a look at them?” So there’s nothing wrong with
saying, “I’m beating my head against a brick wall” and bringing in that multidisciplinary
team. And I do, part of voice is recommending counseling, that’s part of the picture with
the psych.
Smith: Okay, yeah, yeah, thanks. So, I just had a couple more questions. What is the role
if any of gender in your field? I had a few participants express, I guess this was more on
like the teachers of singing side, that certain students would be given to male teachers,
just some, like, interesting interactions. And then I was also wondering if you had any
comment on why speech-language pathology is so female-dominated? Do you have any
insights on that?
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Med Subject 2: Well, okay. That’s a can of worms that you just opened up. Yes, speech
path is a female profession, PT is a male profession. PT gets paid more than speech path.
The very first therapy, 1920, University of Iowa, that’s where his speech path was born,
so speech path has been around longer than PT and OT, and we’re the lowest paid. We’re
a female profession, like I said this is a can of worms. And the PTs, I mean they took the
bull by the horns and they are taught in school, you do not except a job anything less than
this. And not only that, but they controlled how many people were able to get into PT
school, so there was always a shortage and then the salary goes up and then the bonus
goes up, the hiring bonus, so they got that figured out real fast. And but now there’s
almost as many women in physical therapy as there are men. And you will notice that in
my own association, the American Speech Language and Hearing Association, there are a
lot of men at the top, but there are also a lot of women at the top. It’s possible that if
you’re a male speech path, you will go into management faster than someone who isn’t
male, like I said it’s a can of worms. I don’t have, you know, any, I’ve never been in this
profession for the money, which is probably not real smart, but if I were in it for the
money, I would that would bother me probably more. Does that make sense?
Smith: Yes, yes. And for you, in your day-to-day practice, this is also a loaded question,
does gender play into your interactions with your voice users.
Med Subject 2: Well, I also work with transgenders, so I would hope they would treat
everyone the same, because I obviously work with men and women. With some voice
disorders, you will see more female patients than male patients, but every voice disorder
can involve both. So, I would hope that, and you could ask my patients, that I treat
everyone the same. I don’t care if you’re pink, purple, or orange. I don’t care if you’re
male or female or transgender, hopefully you get the same thing from me. And that’s
another thing that’s interesting about voice, there’s a lot of insurance companies like the
one I just got is Edna, Edna doesn’t pay for voice and now deductibles are so high, and
that’s another reason why voice patients don’t come back. And the way physicians see it
is they’re just so happy they don’t have cancer, and they say, “You need to see speech
path,” but they are so happy they don’t have cancer. That’s another reason why they
don’t show up or come once or. And so insurance is a huge issue in voice and getting
people to return. United Health Care’s another one that’s terrible with voice.
Smith: Yeah, yeah, that’s what I have through the university.
Med Subject 2: But now there’s so many different policies, but it depends on the policy
you have so it might be okay, your United healthcare.
Smith: Right, yeah. Okay, thanks, thanks for answering that, I know that was an
interesting question.
Med Subject 2: So, the other thing the doctors don’t know, oh and Medicaid patients,
being in private practice, and as you know, I contract with [omitted] to do my billing and
my taxes, not my forte, they get a third of what I make. And Medicaid patients, you get
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next to nothing, but I still see them for two hours and one-hour visits as often as they
need. The other thing I do is I do follow up. If a patient doesn’t show up, I call them, and
I tell them, “I just want to make sure, we had an appointment today at 1 o’clock I just
wanted to make sure that you’re okay, and would you like to reschedule?” if they don’t
answer the phone, call my cell, so I follow up.
Smith: Yeah, thanks. I think that was the main, those were all the questions I had based
on our last conversation. Is there anything else?
Med Subject 2: Well, one thing I didn’t finish, and I apologize for the long answers, on
bonding through Zoom is I have a very extensive telehealth handout, and what I do when
I screen-share is I pull up the handout on whatever it is we’re working on. Because I plan
every session, I plan every eval, I read the doctors, and that’s the nice thing about being a
medical speech path, I look at their medication, and I do a lot of medication teaching. I
look for reflux, and chronic cough, and I will ask them how do they sleep at night: left
side, right side, tummy, back, you know, it’s very holistic. Voice is not just here, it’s head
to toe and that’s one nice thing about having the doctor’s, about having the medical
history, the meds, so how, at every session I mark what handouts and what topics that I
need to send that patient. I don’t do it during the session because I haven’t figured out
how to do that. after the session I go through every patient I saw that day and I email
them their handouts and what we worked on. And then I always put something in the
email to help that bonding with like, “Great session today,” and “I hope next week is
better at work,” “I know you’re trying, keep up the good work.” So, I always, so that
increases the bonding. And so it consumes a lot of my time, but I am outcome driven,
darn it.
Smith: And so it’s more, like, clerical work sometimes, too? The writing, the paperwork,
emails.
Med Subject 2: And doctors dictate. Just when I got dictation down really well at
[omitted], they took it away from us. The doctors were still dictating, but it was taken
away from us. And we had to and so life is interesting. But you learn what to do, you
learn what not to do. There’s patients I still kick myself about and it happened five years
ago and I’m still kicking myself, but you learn, that’s how you learn. You learn what to
do, you learn what not to do, and then you learned that you need to learn more. You will
never know everything you need to know to help people.
Smith: Yeah, yeah, back to what you said about emails, do your voice users ever email
you during the week with questions?
Med Subject 2: Mmhmm.
Smith: Okay.
Med Subject2: On Christmas day, I get texts from my patients. They text me, they call
me, they email me, and I answer every one of them because that’s my job.
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Smith: Yeah, yeah, that’s amazing.
Med Subject 2: And I call them, if they don’t show up. I call them to make sure they’re
okay, that also helps with the bonding: “she cares.”
Smith: Great, thank you so much! Yeah, is there anything else that came to mind or
anything else you’d like me to know about your practice?
Med Subject 2: Well, if you think of anything, if you email me or call me…
Smith: I know you’ll answer.
[omitted conversation about names and locations]
Med Subject 2: So, one good thing, and I kind of wish other physicians would do this in
one area, is one of the physicians who is patients I see, if the person snores at night and
wakes up with a dry mouth, because I also ask them that, you know, because we
hydration is huge and if you’re snoring all night and your mouth is open, you’re drying
out your voice all night long. I don’t care if you drink 96 ounces of water during the day
it’s just, at night, it all goes down the drain. So, if the person snores, one of the physicians
will order a sleep study and I wish, and then if they’re put on CPAP, that’s hydrated air
instead of dry air. And then, of course, one of them wants a, even though there’s 44%
humidity in this room, that’s why I ended up buying a new furnace and a whole house
humidifier, I also have the one room humidifier in my bedroom at night and I am not an
open mouth breather, I do not wake up with dry mouth, but if there’s not enough
humidity, I’m dry and crunchy where I don’t want to be dry and crunchy. So, that’s
something, some of the patients I see of other physicians who are drying out their mouth
all night long, I kind of wish in their protocol they would think about is a sleep study
appropriate, but one of them does and I love it.
Smith: Yeah, do you ever feel like you want more open lines of communication, or do
you think there’s pretty good communication in your field between you and the doctors?
Med Subject 2: Well, I spent 10 years building relationships and basically, what’s key is,
and maybe that’s why I, you know, I’m so outcome driven, if that patient goes back to the
doctor and says, “You know, I think I’m doing better,” well, that patient satisfaction is
reflected on the doctor. So, if the patient goes back and goes, “No, she’s terrible, she’s
mean, crabby, and didn’t help me at all, and I’m worse,” that patient isn’t going to say
they’re happy with the doctor, because you sent me to that person. So, the doctor’s
patient satisfaction goes down. So, another one that drives me is I want that patient on
their follow up visit to say, “I’m doing a little better,” and then the doctor satisfaction. So,
that’s part of also what drives me as far as being outcome driven and if they go to the
doctor and say, “She’s terrible,” doctors are forgiving their human and they know we’re
human, and if you have built that relationship and some other patients are getting better
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that when you have one that complains or says they’re not better, they are understanding.
Does that make sense?
Smith: Yeah.
Med Subject 2: Because you’ve built that relationship. So, the physicians I mean, if I text
them, and because of HIPAA, I have to say, “If you have time, I have a question about
your patient, could you call me?” I mean they’re on the phone, they call back. They
don’t, and so again, that takes time. So, if it was my first year as a voice therapist, I
would not have those relationships built. So, one doctor, a pulmonologist that I worked
with and he is very good about sending me breathing disorders vocal cord dysfunction,
after his first patient went back to him and said, “I think he’s breathing better,” he said
his nurse down, he was down the hall and I was with a patient, she waited until I was
finished and I thought, “Oh my gosh, I am in trouble,” since this pulmonologist sent this
nurse down to see me and she’s waiting until I am. So, I said, “How can I help you?” And
she said, “Doctor wants to know what you do with his patients, because his patients are
breathing better, and he would love to know what you’re doing.” So, what I did was
prepare everything for him in a folder and all of the materials that I use for his patients
for vocal cord dysfunction. And he writes on his orders, “No one but [omitted] is to see
my patients.” And I thought I was dead in the water. Not all doctors say that, once in a
while you get lucky. And if I don’t do a good job, then because you’ve built that
relationship, then they say, “You can’t help everyone.” And you still beat yourself up.
Smith: Yeah, yeah great, well anything else.
Med Subject 2: Oh, so the things that the laryngologists [omitted], they will order
physical therapy, one of them orders sleep studies. They’ll have myofascial release,
which I have been trained in, but I don’t use it every day, I’d much rather they see
someone who uses myofascial release every day. And yes, I work with muscle tension
dysphonia, and yes, I do laryngeal massage, and if the patient is with me, laryngeal
manipulation, but I don’t do myofascial release on a regular basis. So, they’ll refer that
patient out, they’ll refer them out for swallowing. And they know my strengths, they
know what I do, and what I don’t do, and they’re very good about seeing that there’s total
care for that patient. That’s not here, it’s here, head to toe. So when they interviewed me,
they actually took me, [omitted] and [omitted] actually took me out for a steak dinner and
I can remember [omitted] saying to me, “All right, tell me about your continuing
education. What voice conferences have you gone to? Which ones do you like best?”
And I said, “Sin City Laryngology in Las Vegas was number one.” And it’s one of the
best conferences I’ve ever been to. So, then we compared conferences, so I was glad that
I spent those years traveling and obviously now I can’t. So, I spend my money on musical
theater, which I do anyhow.
Smith: Anything specific in musical theater?
Med Subject 2: I am a season ticket holder at [omitted], at [omitted] for Broadway, I’m a
season ticket holder at [omitted] and [omitted], but I also go to [omitted]. And I may have
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told you that two jobs is an enough with voice and accent reduction, I am also an audio
describer for the blind in musical theater. And I just started, another goal of mine, why I
do this to myself, I don’t know, but I’ve offered to audio described at church, volunteered
to do that, because you know they don’t know how beautiful this church is, they don’t
know, all they can do is hear. So, my goal is to start that at Easter.
Smith: Oh, that’s amazing, you’re amazing!
Med Subject 2: I have absolutely nothing to offer this world, I don’t cook, I don’t clean, I
have no skills all I can do is work and then all I do is complain because all I do is work.
Smith: No, no that’s so cool though. And what a good way to give back to your church.
Thank you.
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Smith: This is Brianna Smith on February 27th 2020 at 1:32 PM, could you verbally
confirm that I have your permission to record this conversation?
Med Subject 3: Okay, this is [omitted] and you do have my permission to record this
conversation.
Smith: Thank you. So, thanks for meeting with me today. This interview is part of a pilot
study to better identify interpersonal practices by teachers of singers and speech
pathologists and other voice experts. I'm hoping to compare and contrast these practices
to make recommendations for the fields, but also to see if there's any way for, like,
greater cooperation between them and that sort of thing. So, you have the questions in
front of you, but we don't have to strictly stick to these questions and the conversation
can go wherever it leads.
Med Subject 3: Okay.
Smith: But to begin, since I’m looking at interpersonal practices, how would you define
interpersonal?
Med Subject 3: I would define interpersonal very, very broadly, it’s just between
individuals, between people.
Smith: And do you mind if I take notes as well?
Med Subject 3: I don’t mind at all.
Smith: I’m just going to jot some things down. Is there any necessary interpersonal skills
in your line of work that you could point to?
Med Subject 3: Well, I think a lot of interpersonal skills are required in this profession,
primarily between the physician, since I’m a physician, as well as with the physician and
the patient. It starts there. But because we don’t take care of people in isolation and in a
vacuum, we need whole groups of other experts to assist us with that. We also need to be
able to have good interpersonal skills with other physicians, other healthcare
professionals, be it nursing staff care techs, you name it, and even down to the people
who are getting the ORs ready, people down in environmental, so those skills are
absolutely essential.
Smith: That kind of answers number 3 a little bit, about how you incorporate
interpersonal skills. Could you maybe give an example more geared towards that patient
interaction that you mentioned?
Med Subject 3: Okay, well quite frequently, patients are coming to me as a tertiary
referral, meaning that they’ve first, they have a problem that they perceive, they will
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typically go to their primary care doctor, or perhaps if it’s something that’s more urgent
go to an emergency facility, whether it’s an emergency department or urgent care, get
initial treatment, and usually when it fails they get referred on to, usually a general
otolaryngologist or ENT, who have basic training. The patients that end up coming and
being selected to be referred to me are patients that either the diagnosis eludes the
otolaryngologist, or they aren’t responding to the treatment, or there are certain resources,
whether it’s surgical skills or access to other allied health professionals, specifically
speech language pathologist to help the patient, improve the patient. So, patients who
have been navigating this are very frustrated. They were hoping from the very beginning
they could have had a solution. Even if they’ve been, by the time they’ve come to see me,
almost all of them have had cancer or some very serious condition ruled out. Yet they
have a bothersome enough condition that they take a lot of time out of their schedule
money effort to come and see me. And sometimes they have to wait a while to see me
since there’s such a scarcity of laryngologists in our state. Because they’re frustrated and
because, well, typically pretty smart doctors, PAs, or nurses have already seen them,
they’re starting to lose a little faith in the healthcare system and they need answers, they
require answers. So, interpersonal skills are absolutely required to first understand their
problem. I have to go beyond that, I have to understand also, well, what is it about their
problem that’s actually affecting them. The patient that is coming to see me versus a
patient who said, “It’s not a big deal, my doctor told me there’s, my ENT told me this is
not cancer, I’m just tired of seeing doctors and having doctors’ appointments, so I’ll just
stop seeing them.” So, that demands respect for their time. You can only respect that
through interpersonal skills, understanding the burden of the disease, and then, of course,
transmitting to them what you think is going on. And sometimes even telling them that
you don’t know right away, how will that be accepted by such a patient that’s already
frustrated by their experience and that happens more than I wish happened.
Smith: Yeah, thanks for describing that, that wasn’t something I’d ever really thought
about.
Med Subject 3: Does that answer the question about your example?
Smith: Yeah, that was a great example.
Med Subject 3: Yeah, those are my typical patients who come to see me.
Smith: Okay, so then this kind of relates to them, and it may or may not, you may or may
not have an example, but do you teach or encourage interpersonal skills from them in any
way?
Med Subject 3: Can you ask that question again? And them being the patient?
Smith: The patient. So, do you expect any interpersonal skills from their, from how they
relate to you?
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Med Subject 3: Let me, let me formulate my answer to that. Yes, I expect that, but the
majority of times it’s already given. They have been informed, usually by the referring
doctors, that this is the person that’s going to solve your problem, or something to that
effect. It’s high expectations, so there’s already a, still despite their frustration about their
problem they’re dealing with, they are still willing to express what’s going on and usually
if, as long as I am very respectful to the communication, they’re going to be also
similarly so. I’m also really hard pressed to think of a situation where they are not that
way to me. Even patients when they’re upset. So, I tend to think that they’re already
giving it to you. that kind of respect and you have to lead the way by doing the same
thing to them, and naturally it just it follows. So, I don’t explicitly instructed or counsel
them on interpersonal skills, they’re already motivated, they’re dealing with a terrible
problem, again, it might not be life threatening, but it’s affecting their life quite a bit, so
they’re already pretty primed to elaborate on their problem.
Smith: Great, thanks. So, then for number 5 in front of you, there are a couple of
suggestions for approaches to individualized instruction that we definitely see in
education, and I guess from my field these are prevalent. I'm wondering if any of these
are prevalent in your work or if you use any of these or if they're familiar to you at all?
Med Subject 3: So then, is the question, am I familiar with any of these specific concepts
and testing modalities as a way of instructing physicians that, my trainees, or are you
talking about patients?
Smith: Patients, like how you interact, or tailoring needs to your clients?
Med Subject Are those like premu said they were like interview technique classes so was
there like a set program or curriculum 3: I’ve never done any of these. The Gardener’s
Intelligence, I’ve heard of that. Modes, I am unfamiliar with. Personality types, I’ve taken
for myself and my sense of that is more holistic, rather than having them take tests, I tend
to read in a much more informal way: what kind of person do I have in front of me? Do I
have someone who is more extroverted, more introverted? And I don’t know if that
answers the…
Smith: No, it does.
Med Subject 3: And then Gallup Strengths Finders, I’ve taken that myself. I honestly do
not use those, even for myself to, I’m not actively thinking about my own strengths or my
own personality types when dealing with patients. It’s more of a holistic thing. And I tend
to come off as an extrovert, when in reality I am an introvert, and it surprises a lot of
people when I tell them I am introverted really.
Smith: Right, is that just part of expectations for your job, like you feel like you need to
be more extroverted? Or it just comes out?
Med Subject 3: It’s not a conscious thing, it comes out naturally, I think. It comes out,
again, from more of the strong desire to make a difference for them, and I think you can’t
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help it but put yourself out there. And what motivates me very personally, and it’s in the
word interpersonal, is that humanistic drive to make a difference for them. You can’t help
but put yourself in their position to understand where they’re coming from and it’s a
vulnerable place, at least from a physician, to be because traditionally, you’re supposed to
be more of an objective, maintain objectivity, so that you can make more objective
decisions, is a traditional way that we’re taught which I have, I mostly disagree with.
Smith: Okay, yeah. So, going back to something you said about reading them in a more
informal way, does that just come from experience and you kind of get used to the signals
people are giving you, or? Could you talk about that a little bit more?
Med Subject 3: I think I’ve had a knack for, for being able to interact with people in a
one-on-one setting. And I found that early in my training, I seem to get more kudos by
my instructors, even during the first year and second year of medical school, where we
had formal interviewing techniques classes. And probably the most meaningful
experience that I had that affirmed that was when I took a standardized patient, and he
played the role of an angry person. Well, he’s just a standardized patient, he’s not really
angry, but in playing roles, sometimes actors will tell you that they get caught up in their
roles and they actually truly feel the emotion that they’re trying to portray. And I could
see that in this one standardized patient, as he was just talking with one of my friends and
it kept on escalating, and it was really hard to put the brakes on that. He was visibly, the
standardized patient, was visibly getting more upset. Whereas for when I had an
interview with him, it seemed like, he said, “You know, I couldn’t continue to be angry
the way you were, you know, communicating with me,” and so disarming is the word I
would probably use. I wasn’t, I was given cues by my instructor to use these, but it went
somehow beyond just a canned response. So, I concluded that I had a knack for it
beyond, but I also had reinforcement from these techniques. These techniques really do
help, and I still continue to teach these formally to my residents to my students. I think
they’re very important, very valuable and even if you don’t have a knack, even if you
have those, it can help put things in your favor, for bridging gaps between the patient and
you, the health care professional. I don’t know if that answers your question.
Smith: Yeah, no, it does, that’s wonderful. Thank you, and those are, I think those sound
really amazing. Are those like pre, you said they were, like, interview technique classes
so was there, like, a set program or curriculum?
Med subject 3: Oh yes, they are, they include them in all modern medical, they’re
required by the I think it's the LCME, which is for medical students, versus the ACME,
which is for residents, and even resident education, now, it’s part of the curriculum.
There's a certain core curriculum that is set out. How schools choose to do it, well, is up
to them, but they have to fulfill that. So, they will have, medical students will have
classes, and just doing a history and a physical many times, just separate doing the
history and the physical and then sometimes doing both together. That is the most
important tool that we have in our disposal, it’s more important, in my opinion, now we’ll
get into my opinion, then, and I am a surgeon and I love to operate, but it’s even more
important than that, operating and knowing what tests to order. Because if you don’t
actually bridge the gap, that’s the term I would use, then it doesn’t matter how correct the
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pathway you want to lead the patient through, they’re going to have a hard time going
through that, because they feel like you don’t have their best interest in mind. And I think
that distrust of physicians is rampant and sometimes I think it’s getting better and
sometimes I don’t think it’s getting better.
Smith: Yeah. Could we kind of shift gears a little bit and I was looking at number seven.
How do you measure success? That’s kind of a broad question.
Med Subject 3: Wow.
Smith: In yourself, or in your clients or patients.
Med Subject 3: Well, there’s a lot of questions there and somethings that, wow. Me, how
do I measure success for myself? So, there’s how I measure success for me, how I feel as
what I do, and then there is how I know that collectively people are supposed to measure
success, which I tend to, how do I put this since I’m being recorded, eschew and think
that, well, that’s just not so important. So, I’m a little bit individualistic when it comes to
that. So, I can tell you how traditionally we measure success and I’ll tell you how I
measure my own personal success, and then I’ll talk about students and clients, and what
I think about the word client, because I have a little bit of a soapbox even about the word
client over the word patient. I don’t know if that’s part of this interview, but it’s one of
the things that I also feel passionately about. How do I measure success? This is very
holistic, it’s do I feel like I’ve really helped each individual patient that’s come in to my
door, and whether that’s with surgery or not, and whether it’s I’ve given them a positive:
“Okay, here’s what’s going on,” or whether the win is they have a better understanding,
they leave here with a better understanding, they leave feeling like for the first time
they’ve been listened to that success. And it’s really difficult to put point system, which
modern day assessment tools have been so, you know, put this on a scale of 1 to 10. We
even get Gallup scores, what’s that other score in the system, and you can almost rank all
your doctors and other healthcare professionals and even SLPs, well how good was this
clinician. I find that, I find myself going away from that. It’s too complex. It’s how can I
get another point, how can I get another 10th of a star, what are little things, and there’s
advice that’s given: here’s how you can get extra points, so that you’re doing, and I feel
like, so I can do this, and that’s great, and you know some people work that way. I find
that returning to the most simple thing, which is the person in front of me, is the most
motivating thing. I’m sorry that’s so informal.
Smith: No, no, that’s wonderful.
Med Subject 3: And not formalized, that’s very different from how we’re supposed to do
things and how we’re supposed to teach medical students these days, unfortunately. So,
that’s how I measure success in myself. How does one measure success in the current
institution of academia, academic medicine? Well RVUs, that’s relative value units, that
means are you being very productive? are you getting high Gallup scores? Or again, I
forget what the scoring system is. which I do get very good ones, but it’s really hard for
me to hang my hat on that, and say, wow I’m great. How many papers I put out, you
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know those kinds of things, they’re good, but I find myself not wanting to chase that. So,
I don’t know how much of an academic that makes me, if I tend to find that it just doesn’t
make me happy, it doesn’t. It’s nice, but I put more stock in how the patient feels about
the interaction, so that’s how I measure success. It’s patient-physician. Students, how do
I measure success? My bias is to put my values on how they, if they don’t get into ENT,
and getting into ENT is very competitive, it’s not the end of the world. And I always try
to mentor students in to try hard for it, put your all into it, this is a dream, but when one
opportunity closes, another one will open. You may find even if you can’t do ENT that
you are a great fit for you might be another specialty. Most people are like that. There are
very, very few outliers, I would estimate the 2nd-3rd standard deviation people really
know what they want to do and are able to stick with it from premed onward. Life
changes, so I don’t like to think of success only in isolation of how we do it
professionally, and I think that’s how I keep well-balanced. Clients, I’ve never liked the
word client for patients, in fact I hate the term, and I know that there’s a lot of push to
treat patients like clients and I think the well-meaning aspect of that is that patients have,
in the more traditional sense, feel very degraded, feel very dehumanized by the medical
process, dismissed even, a lot of negative things. And client, the term client holds much
more importance, kind of like an attorney and the client, like, okay, this is a this is
someone who’s important, who is paying my bills. Or say a masseuse with their massage
client. But I find that patients, if we really returned to that my overall feeling is that
patients are even more important than clients and they should be paid even more dignity
and given more time. I find that clients while the difference is that for things that I think
about clients, yeah, maybe I am unhappy with an outcome and I need to seek legal action,
but I don’t have to well something as intrinsic as my health suffer for not having that
legal opportunity or financial opportunity? Or the massage, some people might argue it’s
important to have, well no. I think that patients are, because of that vulnerability, there is
an extra vulnerability that makes the patient different than a client. And one should be
even more respectful and give the patient more dignity not less, so that’s how I use the
term. And so, plus, health is so intrinsic to how beyond just financial, that’s important, it
is, but still. Health is even, you can’t just win the lottery and have your serious medical
condition all of a sudden change like that. It doesn’t work that way so that’s my soapbox
about patients versus clients. I know you didn’t ask me about that.
Smith: No, that’s really helpful, and you will see client written here, but…
Med Subject 3: And I know, but I think it is directly related to interpersonal practices
because this is, how I see the term patients is again the center and the motivating aspect,
you know that relationship, beyond clients. I almost think like here’s a time I spent,
stamp that, well I can only spend one hour. Well, sometimes maybe I have to spend an
hour and a half and other people, I’m going to have to make a tough decision for the
other people, who are also important they have to wait for me. That’s a hard decision to
make. You shouldn’t do that to clients. You should consider doing that for patients.
Smith: Yeah, that makes sense, that differentiation changes your viewpoint, your actions.
Yeah, that was great, thanks! Okay, so it is almost two o’clock, I didn’t know…
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Med Subject 3: We can spend a little more time.
Smith: Okay, so, I had so questions about goals setting, like do you set goals with your
patients and number 8 there’s a couple of: none, long-term, short-term, personal,
professional goals. Or is it more like a treatment plan versus a goal?
Med Subject 3: I think they are almost one in the same. Treatment plan is a bit of, I guess
the way I visualize it, is an overall construct in general direction that we want to head in.
And goals may be more of ways that we used to get there. For instance, if I have a patient
who has smokers’ polyps and the patient continues to smoke, well one of our goals is to
be a non-smoker, realistically [snap] okay, you need to be a non-smoker by the time you
come in to see me. Is that realistic for the addiction of smoking? No, so you actually have
to have specific goals well, and the only way you can actually examine that, you’re going
through a lot of, is individualizing care. Someone may be having a sick parent, now is
really not the time to be focusing really on smoking cessation, although that’s really
important. So, goals have to have the filter of what is realistically possible in the amount
of time we have and with the circumstances surrounding the patient. It’s not a one-size-
fits-all plan. I visualize it, this is it’s more of this is what we do typically for patients with
smokers’ polyps, to use that example. As far as students, i individualized that as well
students have so many different strengths and weaknesses and sometimes, they are, if
their goal is to become an ear nose throat doctor, they may not have the academic
qualifications or the research background to actually get in and then I have to reset what
their goals are.
Smith: Right, yeah. So, I kind of want to skip ahead and talk about feedback. On the
other side of that page, question 12, there’s some different modes of feedback that you
might provide in a session with a student or a patient, and if you could, yeah, provide a
notch somewhere along that continuum, if you give any of these types?
Med Subject 3: Student or client?
Smith: Yeah, so sorry, that’s not easy to, cause there’s only one line.
Med Subject 3: And X or a V?
Smith: Yeah, an X would be good.
Med Subject 3: So, I tend to communicate a lot, a lot. So, I tend to not favor negative
criticism, although if there’s certain expectations that weren’t met, there still is,
especially for students and residents especially, that they need to know accountability,
that’s the job we signed up for. In the end you are going to be signing your name on the
line for hey, I take responsibility for this patient.
Smith: Due to the large amount of time spent with students, or maybe even patients, I’m
not sure, but some see their role as more than just related to the voice, but to the person as
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well. So, for number 14, do you see yourself as a life coach or a therapist in ways, or
someone who takes interest in emotional and personal concerns?
Med Subject 3: I do, my simple answer is yes. I wouldn’t say life therapist but more of a
coach. So. I am very blessed to be at this institution where a lot of the attendings do this.
they take very, very strong personal interest in seeing residents grow into becoming the
physicians that they want to be. And we’re all very, very approachable. This is not always
the case in medical training and it’s just the culture that we’ve adapted here. I think I fit
in well here. This is why I can actually profess out loud, without feeling embarrassed
that, when we talked about success, that I can say that without feeling, oh my gosh, I’m
not academic. If I were to try that at certain academic institutions, I might as well pack
my bags and leave. I shouldn’t be part of that. And it’s really that experience that I feel
like makes me a very good instructor and it makes it more, it makes where patients and
students or trainees, although what I’ll be teaching them is different, it keeps me very
invested in both of them and their own different ways.
Smith: Yeah, so then with that in mind, are there any methods that you use to create
rapport or healthy relationships? I’ve listed some examples, but you don’t have to talk
about those, there might be other things.
Med Subject 3: Well, one very obvious way is here’s my cell number, call it if you need
me. Stating multiple times availability, and if they didn’t reach out to me saying, “You
know, you can feel free to call me.” So, it’s really that mentality, that please reach out,
open door policy here. I’ve been through what you’ve been through before. It’s hard, it’s
supposed to be hard, but you don’t ever want to feel like you’re alone through that
difficult process. We, again, the culture here and what I’ve accepted as being part of here,
and which is why I’m staying here is that this is me just as an individual, but I also need
to be surrounded by that kind of culture. So, I think the culture is here, well actually, I
don’t think, I know it is. So, I don’t have specific methods, some trainees I click with a
little bit better I have more in common with what I’m very careful to not have a favorite
favoritism type mentality to one versus the other. I think that’s unfair to people who still
need your help to make it through this process. So again, I individualize how I do it with
each one.
Smith: So, then I did have another set of questions about your training and your beliefs,
but I also designed this study that we would have a follow-up interview, so I just want to
be respectful of your time. I don’t want to keep throwing things at you.
Med Subject 3: Well, I could probably go for another ten minutes, and then I’d probably
have to step away.
Smith: Okay. So, kind of flipping ahead if you don’t mind. Do you hold any
memberships or belong to any associations? Either on that list or extra?
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Med Subject 3: I do not, I don’t belong to any associations here. But memberships, our
main academy, so AAO is the current one that I am a part of, the American Academy of
Otolaryngology and Head-Neck surgery. I was with, well it’s currently, so…
Smith: Okay, and then could you briefly describe some of your training
Med Subject 3: Well, okay. I like to include even my pre-medical training, what I did
before, as part of my training because I think it shapes part of who I am as a physician.
So, my actual undergraduate degree is in music, music performance. I actually applied for
a master’s programs, got excepted to some, but I found that it was too steep really for me
to get into debt. And actually, exploring that, and going after it, helps me to understand
the mentality and the mindset for performing singers, which are some of my favorite
people to treat and to interact with. So, I include that with my training, even as a
physician. And then, of course, went through medical school. I was most interested in
psychiatry, of all things, I don’t know if you can tell by my interview, I am more of a,
sometimes it seems like I’m less of a surgeon’s mentality than a psychiatrist, but I feel
like there’s a lot of reading people and communication that’s necessary in my sub-
specialty. So, that I think has led to me, I think, doing pretty well taking care of people. I
did a, went into a residency an ENT in my home program it was a program kind of like
[omitted] one that was like you get solid training, not considered necessarily upper
echelon for research, where you have immediate access to research, research laboratories
basic clinical science but their main mission at [omitted] was to turn out outstanding
clinical otolaryngologists that’s one of our main goals here too and of course that was
modeled to me so I probably tend to also teach as well. And then finally I had one year of
fellowship and voice training in [omitted] and then got recruited out here and I’ve been
out here for a little over 6 ½ years now.
Smith: Okay. And is there any training that you wish you had received?
Med Subject 3: Oh boy, really hard to, I don’t regret really much in life, I don’t. I guess
borderline, if I wish I had better training, I wish it was in research, but again I don’t have
the passion for it. But again, that’s the satisfying success academically. I wish I could
also have a little bit more success with the research and scholarly activities, so I guess
that. But am I still happy with how I have shaped my practice? I think largely I am. I feel
like I’m well-adjusted to what I do best and it’s only really within the last two to three
years that I’ve felt comfortable in my own skin about that.
Smith: Okay, yeah, so that actually leads me to a question about research-based

practicing. So, even if you’re not doing the research, does research-based practices
influence your teaching? Or are there any current practices with that.
Med Subject 3: I really have no active research going on right now that is, has
momentum. I have some ideas and I have some collaborations with some groups, but my
primary research interests would be in education, and I haven’t been able to really focus
on that.
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Smith: Right, okay. So, then I mentioned at the beginning, I’m curious how our fields can
connect students or patients with teachers of singing or the more medical side if that’s
needed, so what is, and you’ve kind of already explained this, the process of patients
coming to you? A recommendation, they’ve probably already seen…
Med Subject 3: Another specialist.
Smith: And is there any process for matching them with you? Or because of how few of
you there are in the state of [omitted]…
Med Subject 3: It’s more of that there’s so few of us. And so that’s how they find their
way here. So, my practice partner, [omitted], I think we have very similar philosophies of
taking care of folks, and we both pay a lot of attention to our patients. And that’s
probably where, first of all I think it helps us get more accurate diagnoses, and number
two, I think it leads to a lot of patient satisfaction. And so, the word goes. We’ve done
very little advertising and so the advertising is more of patient word of mouth back to
their referring physicians. Occasionally we’ll get self- referred patients who have heard,
oh these are the otolaryngologists, these are the voice experts, and we’ve mentioned our
names to people who are in voice heavy professions, be it professional singing or even
telemarketing that kind of thing.
Smith: Oh yeah, that’s interesting, I hadn’t really thought of that. So, then I just have a
couple more questions about how you prepare and reflect for, reflect on more your
patient interactions. Are there any steps you take to prepare or reflect afterwards?
Med Subject 3: Is there any reflection I have? Well, there’s not any formal reflection I
have afterwards. Preparation before, I read through as many notes as I can that are
pertinent, the referring physicians, but so much of what I get, even if I don’t have that
available, is really the experience that the patient has had, so that’s probably the most
important thing. I will mention that because I feel like I put so much of myself into these
encounters, they can be emotionally exhausting. So, when it comes to reflection, I don’t
have a formal way that I reflect upon it, but to acknowledge that yeah, hey I feel really
exhausted here. And I guess that’s largely good enough. I don’t see patients at a very
quick pace, so it allows me to deflate. I have enough space to deflate, if that makes sense.
If I were going at a very rapid pace, I don’t think I’d be happy and that would come out
on the patients as well, as well as my staff and I don’t want that to happen.
Smith: Do you have time for one more question?
Med Subject 3: Of course.
Smith: So, what was your motivation for entering this line of work? And then it’s like a
two-part question, what continual motivation do you find?
Med Subject 3: If you mean laryngology and taking care of patients that I take care of, I
think it was a really good fit for me with my musical background. As far as the way that
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we get patients better, so a lot of the times medical students will get recommended by
physicians that you should pick this field this will be a good fit if you like doing this or if
you like doing that. For me, I think there was a really good balance of doing surgery,
which I love doing, but also intellectually stimulating. Where, okay, you’ve got to
basically a cold case. The doctors have tried to figure out and they can’t and then I am
able to go in and sometimes, in many cases, break the case open. And help the patient is
rewarding. So, I think it’s a good balance between those kinds of things. It fulfills my
feeling like I want to be the one person, or one of the few, who can figure things out, that
I’m specialized, the few the proud. At the same time, I also, it appeals to my need to see
the whole person, too. Many of the patients who come to me have life issues going on
and usually you can’t, even if they need surgery, for instance, okay, well, you know, I’ve
got [omitted] here, currently smoking. It was the behavior and life decisions well before
they got them into trouble, so it would be improper for me to treat the patients surgically
without actually doing counseling about their environment. Or a patient is a singer, but
also works at a bar where there is music that’s extremely loud. Well, that person may like
that job, but is that really the job, is it appropriate for me to just say, “Then quit,” and
walk out the door? That feels hollow to me. You have to address, I think, well, that job is
important and a lot of times for new musicians, they’re not really making all their money
in that actual field. So, you really have to look into their entire set of life events that are
going on. Well again, to go into the example of someone who has an ailing family
member, they’re the only person, the other siblings are maybe estranged or don’t want to
take care of, or help to take care, and those are stressors. This is where my pseudo
psychiatry skills come in handy. You can’t just say, “Well, just get them help,” that rings
hollow.
Smith: Right. Great, thank you. Is there anything else you’d like to say or any questions
you have for me?
Med Subject 3: No, no immediate questions, thank you very much for doing this, I hope
it answers the question.
Smith: Yeah!
Med Subject 3: I felt like they were a little bit amorphous answers.
Smith: No, no, thank you, it was wonderful. It helped a lot.
Med Subject 3: I don’t have any formalized techniques as you…I don’t one-size-fit-all
things, whether they’re patients, or whether they’re trainees or students. It’s, for me, it’s
more rewarding to be able to just see okay, what are people’s individual needs. Because
they’re all different, they have some similarities that I can put them through, but the one-
on-one mentorship is where I think I feel like I really excel.
Smith: Great, yeah, wonderful. and that’s why I wanted to do interviews, anyways,
because it was a little more open ended and tailored to each person. So, no, thank you so
much, this was wonderful.
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Smith: Okay, I’m recording. So, could you just verbally confirm that I have your
permission?
Med Subject 4: Yes, yes you have my permission to record.
Smith: Thank you so much. Thank you for meeting with me. Again, this interview is part
of a pilot study to better identify interpersonal practices implemented by people who
work with voices, and I'm hoping to compare and contrast practices in our field and
hopefully make recommendations. So, you have the questions or if I ever need to screen-
share the questions I can
Med Subject 4: I’ve got them.
Smith: Okay, but definitely feel free to go off that question list or you can expand on
anything. So, just to begin, how would you define interpersonal?
Med Subject 4: I think relationships and communication that you have with people is
interpersonal.
Smith: Yeah. And I might be just jotting down notes so I know where things are in our
conversation so sorry if you hear…And what would you consider to be necessary
interpersonal skills in your line of work?
Med Subject 4: So, I work with kiddos, but I also coach parents, so it looks and feels a
little bit differently between the child and the parent. But I do a lot of encouraging, a lot
of working on building a rapport, more so with the child than the parents. I do lots of
listening, there’s quite a bit of empathy towards the child at times, just so that they feel
comfortable with me And then, because of the nature of my job, communication. I mean
I’m just constantly communicating.
Smith: Yeah, so with those skills in your work, could you give an example, without
giving names, of maybe how you'd incorporate those? Or one of them?
Med Subject 4: Oh, one of them. So, I do lots of praise and encouragement, so that’s one
of the skills. So, I’m constantly giving feedback during a therapy session, letting the child
know if they are doing the right skill, praising them and encouraging them to try it again,
trying to build that self-confidence with them.
Smith: Could we actually skip ahead a little bit? If you want to look at the questions,
because feedback was something I was especially interested in. And on page, well I don't
know what page it is, but number 12, I give some examples of feedback that you might
provide. Are any of these ones that you would say you never do, sometimes do, or always
do? And you can have a second to look at those.
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Med Subject 4: Yeah. So, feedback, A, feedback given to the person during an action,
that happens always. Feedback maybe after an action, well, let me take that back. So,
after they perform, then I get feedback, so I guess it would be B, so after they perform the
skill then I would give feedback after that. I might give feedback during the action itself
but most of the time I would say it after they’ve done the task. I give praise all of the
time, just trying to build that self-confidence. And then I don’t do, I would say never, for
criticism, either positive or negative. Well, would you consider negative criticism like a
correction?
Smith: No, negative criticism.
Med Subject 4: Right.
Smith: But you can talk more about…Can you explain what you mean by correction?
Med Subject 4: So, if I am, let me say, if I’m teaching a particular articulation or apraxia
skill, and, let’s just say, I’ve got lots of kids that well front sounds, so if the goal is for
them to produce a K a hard C or a G sound that’s in the back, but they front it said they
replace it with a T or a D, so car might be tar or a go might be dough, so a correction
would be, “Okay, try again, keep your tongue down,” and so that’s how I would use
correction. I would say I, you know, suggestions for improvement, I don’t know that I
would word it that way I just encourage, I mean encourage a skill, so I don’t think I use
suggestions for improvement, other than just continuing the use of that correct skill.
Smith: Yeah. And so, do you ever find it challenging to balance encouragement and
correction? Or does that come pretty naturally?
Med Subject 4: I think the times when it’s trickiest to balance those two is when I’ve got
a particular student that frustrates easily. And so, if they struggle to perform a skill and I
correct numerous times and I see frustration happening, then we might just stop with that
skill or switch things up just a little bit. But I’m constantly, I feel like with a little bitties,
especially, I’m constantly giving praise, so that they get that immediate feedback that yes,
that’s what you do or yes, that’s right. So that they then will continue whatever that
action was. Does that make sense?
Smith: Yes, thanks. So then jumping back to what we skipped over, on number five, are
any of those approaches to individualized instruction used by you?
Med Subject 4: I would say modes, so the auditory, the visual, the kinesthetic, those.
That’s kind of where I live.
Smith: Do you ever have to adapt or use those modes in different ways based on a
student?
Med Subject 4: So, once I kind of get a feel for and, I mean, granted I’m talking about
three, four, and five-year-olds, once I kind of get a feel for what mode helps them best,
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then I might do more auditory prompting than I do anything else. But I’ve got a couple of
little ones, for example, this last week working on a particular, like, blending a sound, I
might use hands. We were trying to blend S, like S blends, so trying to get an S at the
beginning of the words, so I might use my hands stop, and they might high five me both
of those times, so they get both of those. Some kiddos I can point to the S, or the snake,
and then point to the stop sign, so that they do “stop,” and so then it’s just, that’s more, in
my mind, that’s a little bit more visual than fist pumps or high-fives.
Smith: Yeah. That's awesome, thanks for describing those practices. Because obviously, I
don't have as much knowledge at all about your field, so that helps a lot. For number 7,
this is kind of shifting gears, I want to talk about goal. setting and that kind of thing. How
do you measure success, either in yourself or in your students?
Med Subject 4: Do you want one or the other or you going to want both?
Smith: Sure, we’ll do both, thanks.
Med Subject 4: So, in regard to students, when they are first verified, they have a formal
evaluation. During the course of the year, I do an informal sound inventory, where it’s the
same 60 words that I asked them to say, and so that then if the sound is coming into place
or emerging, then I can see that on that particular assessment. Daily, I mean if one day
they come in and they need max prompting for a G at the beginning of words and the
next time they come in, and I’m constantly writing just kind of anecdotal notes off to the
side, you know, how much prompting was needed, whether or not they were successful,
and then the next day they come in and they can do it with minimal prompting, I mean
I’m kind of making notes as to the level of independence. So, that’s kind of how I
measure their success, how much prompting is needed and then are they able to do it
without, you know, with just looking at pictures or flashcards, can they say those words
with the correct sounds without any kind of verbal or visual prompt. In myself, I kind of
measure my success based on how they’re doing and so if they’re not getting it then I’m
thinking while I must try something new or different, talk to someone else and see if they
have any tricks that work for, you know, someone who doesn’t respond to what I found
to be the best way to teach it.
Smith: Yeah. Can I ask a follow-up question about that? Is there a large community that
you rely on? Are there a couple that, you said you might go to someone else to see their
tips and tricks, do you have a go-to community in your field?
Med Subject 4: Yes, so typically I would start with, I would start with, sorry, I just got a
message from a parent. I would start with the speech pathologists here in my building so
there are one, two, three, four, four others in my building all working at the early
childhood level and I would say I rarely go outside that group, but if I needed to, then I
would send an all-district or a district-wide email to all of the speech paths in the district.
On occasion I have reached out to a [omitted], he works with, largely, with a population
of apraxical preschoolers and so I might reach out to him if I have something unusual or a
pattern that isn’t seen often. Does that make sense?
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Smith: Yeah, yeah, thanks.
Med Subject 4: So, you kind of know who, once you’ve worked with people, who is the
best person to go to you know. If someone says I don’t like apraxia or I don’t do
phonology, then I don’t ask them anymore.
Smith: So, then on number 8, I listed a couple of goals that might be used in educational
settings. Do you use any of these goals?
Med Subject 4: So, for students, the, largely I see students that are verified so they come
in they do the formal assessment, we verify them, and then they have an individual
education plan. So, on that IEP, I will have a large goal, long-term goal, and then
objectives and those objectives, or overall goals, are for the year, so I write them for the
year. And then for myself, we as a district, all of the certified teachers set professional
goals during the course of the year and so each year we do that based on whatever is you
know most relevant for our position and so then I work on that for the year and track
data.
Smith: Thanks, and so that explains a little bit about how you set goals. And since the
students have an IEP, this may or may not apply, but are the students included in the
goal-setting process? Do you ever ask them outright, like, what are your goals?
Med Subject 4: No, not for threes, fours, and fives. If I were working with an older
population, I would certainly ask them, definitely, say if it were stutterers, I would
typically ask them because that’s something that people respond to, stuttering, differently
than they do if it’s articulation, if that makes sense. But yeah, for my population, no I
don’t include them. I do ask feedback from parents, but not the student themselves.
Smith: Okay, and then once you’ve set the goals or those objectives for the year, could
you talk a little bit about your process for selecting exercises, or what you actually do in
the process of speech therapy?
Med Subject 4: I don't know if I understand. Okay, so, I set the goals, so maybe one of
the goals is for them to produce a set of sounds. Okay, so for like the K and the G, I have
what works best for me, so I’ve taken over the years different therapy models and taking
bits and pieces of what I like from each of those and what kids seem to respond to. And
so, I start with just an activity to work on then producing the sound in isolation and then
I’ve got a little activity where we pair that sound with vowels and once we can pair that
sound with vowels, then will jump into words, and once we get it pretty consistent, and
accurate at the word level then we hop up to the phrase level and then to the sentence
level. So, I’ve got steps that I kind of follow with all kids, like that’s the continuum that I
follow with all kids, it just differs based on the sounds that those kiddos need.
Smith: Great, that was exactly, that helps me, yeah, a lot, visualize just your process and,
yeah, how you go step-by-step, that's awesome. So jumping to question 14, this is kind of
a wordy question, I put too many questions in it, but in working with these students, do
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you see yourself as, in any way, a friend or nurture or mentor or someone who helps with
emotional and personal concerns, in addition to educational?
Med Subject 4: I would say yes, I don’t it’s hard, not necessarily friend, not at that age.
More, you know, maybe mentor is the best word, but not really, just a caring individual,
you know, someone who cares for them. We deal with lots of social emotional
development at this age, so at the preschool level, the preschool kiddos that are in our
classroom, that’s one of the things that they are working on and sometimes that deficits or
difficulties in the social emotional area might occur in a therapy session. And so, then I
instruct or coach them as to how to handle something. I will give feedback and I think
that comes, my feedback for parents comes from, I get to know them pretty well and they
may mention something that their child is struggling with and just as a having been there,
done that, kind of a thing, I might say, “Well I did this, have you tried that?” I will offer
suggestions for books that we’ve got in our library. So, I am more of a friend to the
parent, but more that caring individual to the child.
Smith: Okay, thanks.
Med Subject 4: Nurturer that’s the word.
Smith: Yeah okay, so then with number 15, these may not apply because, again, these
may be aimed more at older clients, but you kind of talked about the formal assessment at
the beginning. Do you use any of these other methods to learn more about your students?
Med Subject 4: So, when they come in prior to an evaluation, we’ll do a screening
process and the parents or guardians will fill out an early childhood parent questionnaire,
talk about birth history, developmental milestones, medical history, sleep, behavior, I
mean it just kind of covers all of the areas of their development up until the time that they
bring them in. So, I will gather information in that way. There’s lots of small talk. I do
inquire about their lives their family, their pets, things they like to do, favorite toys, just
to kind of build that rapport. And I’m constantly asking for parents to share pictures, you
know send me, if they say, “I’m going to be Iron Man for Halloween,” I’ll go, “Oh, your
mama needs to send me a picture.” And then if I get it, I’ll share it with them because
they think that’s super cool that I’ve got their picture on my phone. I mean, I take a huge
interest in them as an individual because I think that them to feel comfortable and able
then to engage in activities that might be challenging. So, if they trust me, they know that
I am, oh gosh, what’s the word? I’m invested in them as an individual, then I can get a
whole heck of a lot more out of them than a working relationship that’s pretty sterile.
Smith: Yes, yes, definitely, thanks. So, then the other aspect of this study is to identify
and compare types of training, and include how the two fields approach education and
curriculum, etc. So, for number 17, do you belong to any associations or hold
memberships? On this list or others?
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Med Subject 4: Yeah, so ASHA, D, and then the Nebraska Speech Language and Hearing
Association. I also have a certificate to teach, some therapists don’t, but I do.
Smith: Okay. So, there are some professional standards set by, like, ASHA, for example,
and I'm assuming that you also have some personal standards for yourself in your work.
Could you express some of those things that influence your practice? It's kind of a broad
question, but whatever comes to mind.
Med Subject 4: So, ASHA gives lots of standards, kind of global standards that kind of
encompass medical speech therapy, as well as school based speech therapy. We have
quite a few, we have what we call department of education rule 51 for the state of
Nebraska, and so that decides standards for us regarding the verification criteria, am I
going in the right direction?
Smith: Yeah, yeah.
Med Subject 4: So, I use that largely for what I do here in the school setting. That kind of
trumps ASHA guidelines or standard. So they, I’m sure that they’ve taken that rule 51
from ASHA maybe and then kind of made it more specific to the state or the school
system but that rule is what I typically use. As far as myself give me an example of what
you’re looking for.
Smith: So, so like a personal standard might be to, I mean, I feel like this is always, so be
on time or something. But it might not be written down anywhere, but it's something you
hold important for yourself.
Med Subject 4: So, I mean, I think being on time, showing up for work, those are just
given. For myself, I try to maintain pretty open, quick lines of communication with
families because I have found that if I can build a relationship with a family member and
they buy in, then they will be willing to do what I’m asking of them. Snd so
communicate, those lines of communication with family members is huge for me, kind of
building. Oh, I mean taking time and making it a priority to kind of grow relationships
with them helps just further that. I mean if we have a relationship, then I feel like they
trust me, and they believe what I’m asking them to do and sees the importance of it.
Another professional, I don’t know if it’s a guide, but just trying to be trying to maintain
a certain level of professionalism and just I guess staying up-to-date on different things so
that I maintain that current level of knowledge and practice.
Smith: Yeah. Sorry, just jotting that down, thanks. So then, could you briefly describe
your training and what it took to be in this line of work?
Med Subject 4: Okay, so I did four years of undergrad for a Bachelor of Arts degree in
Communication Disorders, and then at the time so that was [omitted], it was a three-
semester long program, it’s longer than that now, but for my masters it was three
semesters. And then to maintain current skills and knowledge, we have to do 30 hours of
continuing education related to our field every year.
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Smith: And that’s what you did this summer, right?
Med Subject 4: No, so what I did this summer was to climb the pay scale ladder. And I
tried to pick classes that would, also, I could double up as a class for my continuing
education, but sometimes when you do classes at a college, unless it’s specific to your
degree, they don’t always, I can’t count them as both. So, the classes that I did this
summer were more for continuing education for school or for the district. The ones, the
30 hours are those that I do annually for my job to maintain licensing with ASHA. Sorry.
Smith: No, no, I interrupted. That makes perfect sense. So how did that pass training, or
these continuing hours of education, how does that influence your practice with students?
Med Subject 4: So, I will specifically look for continuing education that will, that touch
on areas that I specifically teach to. So, I have students with apraxia and phonological
disorders, as well as little ones coming in with stuttering, so those are the areas that I
pretty much hover around. I might do some on behavior or social emotional, you know,
how to address social emotional skills because behavior seems to be more behavior
issues, or parent concerns with behavior seems to be more prevalent as we move forward.
So, that’s how I pick them. And then depending on whether or not the information is
appropriate to my age level, then I can, or I choose to or choose not to implement it based
on whether or not I think it will work.
Smith: Okay, thanks. And then after your formal education, was there any specific
training that you wish you would have received once you got into the field?
Med Subject 4: I think formal training just hit on everything, and so it was little bits,
overall information in dementia and overall information in traumatic brain injury, so
you’ve got kind of a global look at all of the different areas that impact communication
disorders. I don’t know if I would have done it any differently, because I think that
overall training kind of helped me determine which path to take and which areas of
communication disorder I like best. I have done some geriatric therapy in the past I don’t
care for that, that’s just not my, and I was trained in those areas, but I think as I found my
most favorite population of individuals to work with, then that’s when I have pursued
additional training. So, I don’t know that I would’ve changed anything necessarily, and as
I look back if I were to do grad school over, it would look totally different because you
know, in the, I don’t know [omitted] years, I’ve been out of school, new discoveries, new
theory, new practice.
Smith: Right. So, do you, in addition to those 30 hours, do you attend any workshops or
clinics for that kind of new information?
Med Subject 4: Mmhmm, and they would be the same. So, those workshops or clinics
would be a part of those 30 hours. The district will send us to, like there’s a lottery you
can put your name in the lottery to go to ASHA, like the national conference. I’ve never
gone it’s always far away and it’s a large chunk of time away from work. And now that I
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have no kids at home it would certainly be more feasible, but I prefer state conferences if
they pertain to my area. I think my first preference is to pick and choose. So, if there’s an
apraxia conference, I’m going to go to that. I’m not going to go to the state conference,
where you got everything under the sun being spoken about and you might get one two-
hour speaker that deals with, you know, what I’m looking for. Does that make sense?
Smith: Yes, yes, it does.
Med Subject 4: If [omitted] is putting on a conference or if the Childhood Apraxia

Association is doing a conference, that’s what I’m going to choose because that whole
conference deals with what I do, as opposed to the two things that might hit or miss.
Smith: Right, right. So, earlier you mentioned staying up on new things. For number 24,
do you use any certain types of research-based practices or describe any current practices
you use?
Med Subject 4: So, in the school, we are encouraged, so everything kind of revolves
around research-based practice. And so, the different therapy techniques that I try or that
I want to learn about are coming from textbooks, you know, textbooks or articles from
people who have researched it and practiced it. So, I would say yes, that’s all I do. I’m
looking at journals and/or books that therapists have written to see what, you know, what
they are doing differently that I could be doing to improve.
Smith: Yeah. So then, in determining how students meet their speech therapists, you
mentioned that there were four other people in your building? Is there a process for
matching you with your students? Could you describe it?
Med Subject 4: So, there are two, so right now I am, they say, part B, which is 3, 4 and
five-year-olds. Two of the therapists out of those five are early intervention, birth to
three, therapists and so the kiddos that fall between birth and three years would be
funneled their direction. There’s a therapist here in the building who sees kiddos in the
classroom, I don’t go into the classroom. There’s one other therapist that does what I do,
but she travels. And so, when someone comes in for a screening, it’s just based on when
the parents can bring them in, and they’re just plugged into a spot based on parents work
schedule, etc. Once they go through the screening, then we look to see where that child is
during the course of the day and that determines largely who gets them. And so, if they’re
in a daycare facility all day long and the parents are working eight hours a day, then that
child will go to [omitted] and [omitted] travels to their location to see them. If parents are
part time or can bring them early in the morning or in the afternoon or they’re a stay-at-
home parent, if parents can provide transportation to the office, then I see those kiddos.
It’s more about where the services are to be provided. So, if they have it in the daycare, I
don’t see them.
Smith: Okay, yeah. So then, I just had a couple more questions. One of my questions is
how do you approach diverse students with understanding and respect? And without
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using names, could you describe a time in which that was difficult to do or maybe easy to
do?
Med Subject 4: So, we had a recent evaluation, I am on an evaluation team with a school
psychologist, so she and I will complete the screening together, and so parents, in a non-
Covid year, parents would come into my office and we include them, other teams don’t
necessarily involve the parents, but that’s one of those, I guess that goes back to
professional or personal standard, I mean I want to include the family as much as
possible. So, those families will come into the office, and we will work through the
screening they will observe the screening. We had a little guy come in who is Hispanic
and parents were concerned about his communication skills. They largely spoke Spanish
in the home, the only English that this child was around was television or older siblings
who were in school and that was their preferred language. So, he was in, he was taken
care of by grandma who spoke no English. In the home, the mom and the dad who spoke
very little English, that was what they spoke most of the time. And so, this little guy,
because of the language barrier not, not to the degree that that’s the only reason he
wouldn’t talk, but I’m sure he felt as if, you know, these people don’t speak my language,
maybe he was a little hesitant to try and communicate with us. So, just gathering enough
information from the family and the child when there’s a language barrier is very
difficult. And so, that was one of the classes that I took for the district that I can also
count towards my 30 hours of continuing education for ASHA. I took a [class on]
evaluating bilingual students over the course of the summer, just because that’s always
difficult. What else? You asked me something else. So, you know, just honoring that they
speak Spanish and encouraging them to continue with that language, because that is
considered their primary language, if that’s the language that they hear from birth on. I
mean, that’s probably the most difficult is when there’s a language barrier, even when we
have an interpreter. So, we’ll call an interpreter so we can make sure that we’re getting
accurate information, and the family that they’re giving us, it just never feels, I would
say, well I feel like it’s never the best evaluation that I could do. I mean I do what I can
do, and I do it just like I would any other evaluation, it just never feels quite complete.
Smith: Yeah, yeah, thanks for describing that. So, my last couple of questions just kind of
relate back to methods, and then I have a couple of questions about your motivation. So,
we talked a lot about your education and everything, but is there anything you do to
prepare for sessions, either immediately before or in the time before you meet with a
student?
Med Subject 4: So, if I’ve got time after I meet with a student, then I will prepare for the
next session right after. If I don’t have time, then I’ll prepare right before the session.
And typically, what that looks like is I look at how they did at the previous or the last
session, and then will gather materials based on their performance the prior session. So,
if, say for example if we were working on a vowel, trying to get a sound paired with
vowels, and I feel like they’re ready for words, then I will gather those practice pages for
the next session. Sometimes I know enough about the particular child that I’ll just pull all
of the materials and put them in their file, so that they’re already in there and then all I
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have to do is just pull out the appropriate pages. Therapy for me is a practice page and a
game, and so I’ve got, I don’t know if you can see, a huge shelf with games, and so that’s
how I kind of motivate the kids to work through the practice, is you do this and then we
play, you know, they will take a turn and then will practice and then will take a turn. The
next one, did I answer that enough?
Smith: Yeah, yeah, that’s great. And maybe that relates to how you reflect? Like if you’re
reflecting on one and preparing for the other, but is there anything else you want to add
about reflecting?
Med Subject 4: So, sometimes I have to kind of switch gears. And sometimes I switch
gears in the middle of a session. So, I might anticipate that they are going to do really
well moving from vowels to, when I say vowels, I’m talking about if we’re talking about
the K, vowels would be Kay paired with a EIOU so can they say [ke ki kai kou koo] and
if they’ve got that and I’m looking for words, and I’ve got that ready for the next session,
but I pulled that out and we just cannot do that, then I will look back at their goals and
see what else need to be worked on and in the middle of that session, I may just pull
something totally different out. As I say, I mean, I didn’t necessarily reflect, you know,
like I’m sitting pondering what am I going do in a short period of time, I have to go,
“Well, this isn’t working and what are we going. to do now?” So, that reflection happens
pretty quickly. Sometimes, I’ll give an example, I’ve got a little one that I’m doing
something with that I’ve never done with anybody else, just charter, going down a new
path with her. She is going to be in kindergarten next year, so we’ve done lots of like pre-
literacy kinds of things, so her area of difficulty is sounds with air and so, F, you know
bite and blow and then you push that air, or SH, where you’re pushing air or F and V,
same sound, one is voice off, one is voice on. She has none of those, and so any sound
where you’re pushing air, whether the voice off or voice on, she can’t use, she can’t
produce without max cues. I mean, I’m constantly, so if she’s counting and going, “One,
two,” I’ll go, “Oh, quiet tongue,” “Three,” “Mad cat,” “Four, five,” “Here comes snake
sound,” “Six, seven,” so I’m constantly, and if I prompt her, she gets it, but I can’t, I
joked with mom, “I just need to move in, you know, I just need to, do you have a spare
room?” So, we’ve been using lots of print and I’ll go, “Oh, look at the letter, what’s the
first letter in that word?” And so that, she, specifically, required more reflection because
it was like, what in the world am I going do now. Because nothing that I did with
anybody else, you know, the things that I find work with pretty anybody, they weren’t, it
wasn’t happening with her. And she’s moderate apraxic, so the motor planning from her
brain to her mouth, there’s a disconnect and for whatever reason, I’ve just not been able
to you know, it’s not, what we’ve done thus far, she can make the sound, she’s just not
making them independently, as fast. Does that make sense?
Smith: Yeah, yeah, thanks. So then, I want to know just a little bit about your motivation.
So, what was your motivation for entering your line of work?
Med Subject 4: Organic chemistry at [omitted] was the deciding factor. So, I was, well I
got a C. And so, I was a pharmacy major initially and I when things don’t come easy to
me, I’m not, like, I’m up for a challenge, but I just felt like if I can’t do better than that,
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then pharmacy school was going to be very difficult for me. And so, I was thinking the
medical field and so this kind of, it was very weird, I mean [omitted] years ago, I just
pulled out the catalogue and went, “Oh well that looks good, and that looks good.” I took
a few classes and really enjoyed it. Liked working with people more than I thought I
would. And so, that’s kind of where that all took place or how that took place.
Smith: Yeah. And then what continual motivation do you find in your work today?
Med Subject 4: I think the feedback that I get from families is what motivates me most.
When I get a letter that’s sent either to the director or myself personally praising, you
know, the work that I’ve done with her child or how I’ve…I got a letter at the end of last
year that I just opened their child’s world up to so much more because they could now
communicate. So, things like that are huge motivators, you know. Those successes with a
particular child. And then I’ve got families that once they’re gone, I follow or [am]
friends on Facebook with them or they have my cell phone number because that’s the
best way for me to communicate with them. They will reach out and send a picture or text
or I mean just those relationships and seeing those kids succeed once they leave and enter
elementary school, I think that’s what motivates me.
Smith: Yeah, great. Well, thank you so much. Is there anything else that came to mind
that you wanted to comment on or any questions that you had for me?
Med Subject 4: I'm curious about your research, but I will ask when you're closer to being
done. Like, I'm interested in your findings and the finished product kind of thing, like
what you learned or what your thesis, is it thesis?
Smith: Dissertation. Yeah, yeah, it's been interesting so far, but I haven't, obviously we
talked about this summer, I'm very behind, so there's still a lot for me to do to, like, yeah,
draw those conclusions or just to see what I’ve found. But as I'm doing that and when I
have more of a final product, I will reach back out and make sure nothing you said was
taken out of context or like misrepresented. And again, no names or school districts or
obviously the recording of your face or anything will be used or shared.
Med Subject 4: And certainly, reach out if you get going and you feel like you need more
information or whatnot. Let me know I can answer something or if we missed something,
let me know.
Smith: This was awesome. It was very helpful and it's so interesting just to hear more
about your line of work and your practice, it's awesome.
Med Subject 4: I wish you could’ve observed, that you could have done observations
across the board, cause that makes it, I mean then it comes alive, as opposed to me saying
it there’s a difference between hearing it and then saying it so, but yeah.
Smith: Yeah, maybe in the future someday.

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Med Subject 4: There we go, there we go.
Smith: Are you, I think you told me, but are you over Zoom, right, with your clients or
students? Or you’re in person?
Med Subject 4: Yep, one hundred percent in person. So, in the past, I invited, so early on
doing this, I was very self-conscious. I didn’t like to be observed, I didn’t like other
people, I would get totally worked up if I knew the principal was coming into observe a
session, which they would have to do on occasion. It just made me very, very nervous
and so I think over time, and with age, I just got to the point where this is it, this is what it
is, and I’m going to do my best and I just don’t even mind having someone else in the
room, I still don’t like my administrator watching, she’s a speech pathologist as well, so I
feel like that’s a little bit different. But I found that having parents in the room was a
huge help because then they saw exactly how I prompted or coached or cued and then
they could do that at home. And I kind of pride myself on making pretty quick progress
with quite a few kiddos because those parents will buy into and then continuing at home.
This year, because of Covid, parents aren’t allowed in the building. So, I feel like I do a
quick, I don’t know, 25 minutes of therapy with the kid or the child and then go out to the
parking lot and then kind of reenact a little bit of it. Especially for the new parents, the
parents that I’ve seen me in action before I don’t have to say a whole lot, I’ll just had to
say, “Hey, we’re working on the hand sounds, work on this this and this,” and they’re
like, “Oh, all right, we’ve got it.” But it’s just different this year because I don’t have that
part of the therapy. The only positive of not having a parent in the room is for those
kiddos who act up and so if I’ve got, I will find kiddos will get silly or will avoid or will
refuse to do what I’m asking them to do, because it might be hard, and if I’ve got a parent
in the room, they kind of trump me and respect that they’re the boss, I’m just the teacher,
and if parents don’t step in and say, “All right, you need to listen to [omitted], you need
to cut that,” if they don’t do it, then I have a hard time getting them back into engaged
into that activity. So, from that aspect, I have a handful of kids that they will avoid, or
they will just refuse, and you can’t make them make the sound. So, in the past, I would
ask families to sit out in the lobby and wait and maybe join us the last ten minutes. This
year, I just have to, you know, for those kiddos it’s good because I would’ve asked the
parents to step out, but now it’s, you know, parking lot. But yeah, in years past I would
not have even considered it, I would’ve just said, “Nope, parents are not allowed.”
Really, they can, but now it’s like, “Yes, absolutely I want you in here so you can do it at
home.”
Smith: Great. Well thank you so much. I really did appreciate this, and I will keep you
updated on my progress.
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Smith: Some you answered, but then if you had anything to add, you could let me know.
So, we kind of already talked about this, but I found that a lot of people either tended
toward being an expert in one or two different disciplines, so whether that was a
technique that they used or a specific disorder that they worked with, or they were on the
other side, where they kind of felt like they were versed in a number of different
disciplines. Do you feel like you fall on either of those sides?
Med Subject 4: I think it depends on what age group or the population that you work
with. I think that, just by the nature of the job, you have to be first in more than one
particular area. Say, for example, someone who works with geriatrics needs to be versed
in dementia and Parkinson’s and probably dysphasia, just because that’s those are the
ailments or the impairments that are typically seen with that particular population. As an
elementary therapist, I had to be versed in articulation and language and autism, those
kinds of things. I’ve narrowed that down even further now that I work with preschool,
and I only do, right now, I only do speech sound disorder and phonological processing, so
I’ve narrowed it down even further. I used to think that you needed to know more about
more, but given the job that you’re doing, I think it’s good to know more about less, I
mean more specific about the population that you work with, I am narrowed down to that
speech sound disorders and phonological processing and, as of lately, I have been, doing
more study and research in different techniques within those areas. Just because I found
that and especially now with Covid and having to wear a mask during a portion of the
therapy, sometimes things aren’t working as well as they seemed to have worked in the
past. So, I am open to different kinds of approaches, so I have done some more research
into things like minimal pairs or oppositional contrasts with sounds, just to see if there’s
something else out there that helps a particular student. So, does that answer your
question?
Smith: Yeah, that's awesome, and could you give me an example of a minimal pair or
opposite…?
Med Subject 2: Yeah, so right now I am big into minimal pairs. The previous therapy
approach I used was called “Cycle” and it was more phonological disorder-based, and so
you would pick a process and work on a particular process and cycle through different
sounds, so teaching different sounds. That’s worked for me. I’ve been in this job for
seven years and it’s worked very nicely. This year, for whatever reason, I’ve got a few
kids it’s not working well with and so I did some looking on “Teacher Pay Teacher” and
found a couple of different therapists that use it, and then, have since started following
them on Instagram. Long story short, minimal pairs would be someone who, say, has a
phonological process that they haven’t stopped using. So, I have lots of kids at the early
childhood or preschool age who front sounds, so they say T and D for K and G. So, K
and G, your tongue kind of comes back and up in your mouth is a little bit more open, T
and D, your tongue comes to the front, and it touches your alveolar ridge up at the front.
So, I’ll have someone who might say dough for go and that is considered a minimal pair.
Dough and go or take and cake, dot and got, those kinds of things. So, it’s more, it’s a
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little bit more language based. Before if they said, we’re playing a game, and they might
say, “Dough,” and I’ll go, “Dough?” And then I correct them and say, “Go.” Now, I can
show them a picture, or I could show them Play-Doh, and a green light, so that they’re
making sense of they said “dough” and dough is really a thing, or they said, “go,”
meaning it’s your turn, kind of a thing. So, that way it helps them a little bit more makes
sense of what they’re saying. In the past, it was just me saying, “No, keep your tongue
down, say go,” and maybe just showing them and queuing them verbally and visually.
Now, it’s I give meaning to what they said and they’re starting, it’s starting to click with
some of them. And they’ll catch themselves like, you know, like, “I didn’t mean to say
dough, you know, I want to you to go,” whatever. So, it, you know, it’s a simple, pretty
simple approach but it’s pretty meaningful for little bitties. And so that’s an example of
that.
Smith: Thanks, yeah, that was a really wonderful answer, thank you for explaining that so
thoroughly.
Med Subject 4: Sorry.
Smith: No, no, no, it was great. This next question may not apply. I have some, or I spoke
with some therapists who would maybe see an adult once and then that adult would drop
out or stop therapy. So, first of all, I was wondering if you ever had students that you saw
once or twice and then they dropped out or you only saw them over a short term?
Med Subject 4: So, I do a therapy approach called “Speech Aid,” so I don’t verify these
kiddos on an IEP, we don’t ever go to the evaluation process. They might have one or
two little things that need help, and it’s just a matter of me showing them, 6 to 8 visits,
which is short term for me, how to do something. And I read that question, so I might not
spend as much time building rapport with them. They’re typically older students, so they
might be moving on to kindergarten and I don’t have to invest so much time on the front
end. And kind of getting them to trust me or feel comfortable with me, they’re a little bit
older and I just say, “All right, this is what we’re going to do.” So, we jump into the
therapy process or the meat of it much faster than we would with someone who is a little
bitty, just getting started and I have to kind of convince them that this is going to be fun
and, you know, with the other kids, it’s like, all right, down to business.
Smith: Okay.,
Med Subject 4: Does that make sense? Did I answer you question?
Smith: Yes, yes perfect, thanks, and then that kind of leads into the next one. I had talked
with participants who saw, like, a range of ages and since you're mainly in that same age,
do you have any other comments on the role of the age of the person with whom you're
working with? I feel like you explained everything.
Med Subject 4: Yeah, no.

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Smith: Yeah, I sent everyone the same questions, so great, just wanted to give that
chance. And the next question you also commented on in our first discussion, talking
about, especially, English with Spanish speakers and bringing in a translator. Is there
anything else you want to say about the personal background of the person? Which could
include language or nationality, but it could also include socioeconomic status or disabled
status, anything that pertains to you?
Med Subject 4: Most of the time, the kiddos that I see that are Spanish-speaking or have
cultural differences, they are more language-based, and so they typically go in a
classroom to have their language needs met. So, really the only, I mean, I see a wide
range of socioeconomic kiddos on the on that ladder or whatever, so from some that are
just barely making ends meet to the, you know, more well-off families. So, not that that
makes any difference in how I you know, [treat them], is that? I don’t know if I know
what you’re asking.
Smith: No, that’s…
Med Subject 4: Just what the background is?
Smith: Yeah, yeah.
Med Subject 4: Okay.
Smith: You're not discriminating, basically. So then, the next question you may or may
not have an opinion on, but some of the speech therapists and otolaryngologists that I
talked to work with singers directly, so do you think there should be any
multidisciplinary training in educating voice experts? So, we should, like teachers of
singing, like myself, should I understand voice medicine and some of your practices? Or
do you feel like doctors should understand music at all? Any comments there?
Med Subject 4: So, voice is my least favorite area because I don’t feel like I learned, I
don’t feel like it was an area that we spent much time on when I was in school, and so
I’m not comfortable at all. And so, if I had someone with voice concerns, in the school
setting, if it doesn’t impair them educationally, then we don’t address it. So, it has to
impair their ability to learn. And so, most of the time, we would refer on, but it sure
would be nice if I knew more so that if, especially with little bitties who aren’t
necessarily going to see a voice therapist, if I could then give parents enough information
that they could work with their child that is abusing their vocal cords, or screaming, or,
you know, lots of kiddos come in and they’re growlers, or, you know, just, they have, I
don’t know, they have ear, nose, and throat issues that then irritate vocal cords, does that
make sense? So, if I knew a little bit more, I think that that would be in my best interest.
So, I think it’s important that we know enough to be able to make good
recommendations. That’s not the population that I serve, but I do see kiddos come in and
I feel like, gosh, I’ve got to get on the Internet and do a little research, so that I can, does
that make sense? So, I think it’s important, especially for doctors, to be able to recognize
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that so that they can make recommendations or, you know, recommendations for
treatment. So yes, yeah.
Smith: Okay, great.
Med Subject 4: I just don’t have that information.
Smith: Yeah. And then I feel like on the flip side, a lot of teachers of singing don’t have
the information you guys have, which. then leads to issues. Great. So then, this question
is kind of a loaded question, but what is the role, if any, of gender in your field. And I
was specifically wondering if you had any insight or comments on why speech-language
pathology seems to be such a female dominated field, at least historically?
Med Subject 4: You know, I don’t know. I know in [omitted], there are two male
therapists in the district. One is at a high school level and the other is at an elementary
level, and that’s probably, there’s probably 35 of us, so that’s, you know, not that many
men. When I was in school years and years ago, there weren’t any. So, I don’t know.
They’re more typically in the medical side then they’re in the education side, I don’t
know. I don’t know why that is, but sorry.
Smith: No, no, thank you. I was just curious. And then, the final question I had: what is
the role, if any, of funding in your field? For example, have you ever had to pay out of
pocket for your additional training or to attend a conference? I know you've done some of
that and then last time, you mentioned not going to national ASHA because of the costs,
and you've got flights and hotels. So yeah, any comments on how you finance your own
training?
Med Subject 4: Yeah, at the district level, it’s kind of a lottery, they won’t send
everybody that wants to go. So, if you’ve been then you kind of fall out of that lottery and
you just put your name in, and they will send a couple of people. Since I am pretty
narrowed down in what I do, a lot of the conferences are, we are doing a conference on
April, I think, the fifth of April, and it’s a half-day conference and I don’t even really
want to go, because it doesn’t necessarily pertain to what I do. So, there are lots of
opportunities to go to conferences, but if it’s not going to be beneficial for me, then in my
mind it’s kind of like, why am I going to spend a day or more collecting continuing
education credits, because that’s all it is, in my mind, it’s just me getting the hours that I
need, but they’re not benefiting me. I have, especially this year, paid for some trainings
that have been online, they are now online because nothing is in person, just because I
found it and it was last minute and I didn’t want to have to go through the district to get
approval, that kind of thing. They will pay if I submit it in advance. There are lots of
people that won’t do that. I mean, I can, I have the money to be able to do that and if it’s
something that I want to do that isn’t super expensive then I will pay for it. Not because
they don’t provide it, just because sometimes it’s a hassle.
Smith: Okay.
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Med Subject 4: So yeah, they will pay for us to get training or go to trainings, I just am a
little bit pickier about, you know, I want something that’s going to help me personally as
opposed to, I don’t know, a state or national kind of a conference.
Smith: Okay, yeah. And then actually, I had one more question that I forgot, that's not on
that page. So, I'm wondering if there's any, how do I want to say this? If there's a role that
your scheduling demands plays on you. And I can't remember, I was going back over our
last talk, if we talked about this, do you see, I mean do you see students pretty much
back-to-back?
Med Subject 4: Mmhmm.
Smith: Do you like that? Do you like that set up? Is it taxing? Do you feel like there's
enough time in between?
Med Subject 4: So, in years past, just because it was a learning curve, up until this year, I
saw kids back-to-back. It was just easier to schedule 8:30, I see the kids for 30 minutes,
8:30, 9, 9:30, 10, that kind of a thing because I’d rather have, I’d rather get my four or
five kids in the morning done, so then I have a block of time to be able to work on
something else, rather than schedule and have chunks, little chunks of time in between.
Because then, you know, if I’m working on lesson plans or report writing, 10-15 minutes
here or there doesn’t give me enough time to get anything done. This year, because of
Covid, initially I started at the park and so to give parents an opportunity to get away
from the picnic table, and the new family come in, and clean up in between, I scheduled
with 15 in between and that’s been quite nice. Because that gives me a little bit of time to
write my therapy notes or clean up in between kids, now that we have to, you know,
clean the therapy table and materials and all that kind of stuff in between. I don’t feel as
stressed, but I am finding that I don’t have as much time during the course of some of my
busier days to get much of anything else done. So, I have carved out, because of that, I’ve
carved out sometimes when I just don’t see kids, I don’t offer that up. So, maybe on a
Tuesday or a Friday, I have a bigger chunk of time where I know that’s what I’m going to
have to get paperwork and stuff done because I haven’t been able to do it any other time.
I mean, there are pros and cons to both. If we go back to, well we’ve been in person all
year, but if I go back to parents are coming in and I’m doing therapy, I probably will keep
the 15 minutes in between. Just because I am older, and I just can’t do what I used. I used
to just fly from one to the next to the next, I’m not moving near as fast mentally as I used
to. So, I like having a little bit of time, just a little bit of regroup and get ready so.
Smith: Yeah, thanks for explaining that. Cause I feel like teachers of singing that i have
talked to would like that little amount of time, but we sort of function on a very similar
schedule because we’re doing either hour or half hour lessons with students and
scheduling on the hours and half hours because that’s what makes sense.
Med Subject 4: Yes.
Smith: Which makes for a very tiring block of time, but.

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Med Subject 4: Yeah, well quarter hour isn’t, I don’t know, it’s worked pretty nicely this
year, so yeah.
Smith: Yeah. Well, those are all the follow up questions that I had, is there anything else
that came to mind?
Med Subject 4: I can’t think of anything, nope.
Smith: Great. Well, thank you again so much for your time and your willingness to talk
about all this.
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Singing Teacher 1, Interview 1 Transcript
Smith: So, this is Brianna Smith on Tuesday, February 25th, 2020 at 11:06 AM, and can I
just have you verbally confirm again that I have your permission to record this
conversation?
Singing Teacher 1: You do have my permission to record
Smith: Okay, thank you so much. This interview is part of a pilot study so I can better
identify some themes in these fields. And I'm hoping to maybe develop a surveying tool
to see how widely used some of the things I'm gathering from these interviews are. So,
I'm looking at interpersonal practices and, like I said, you have the questions, but we
don't have to stick only to those topics. But to begin, in regard to interpersonal practices,
how would you define interpersonal?
Singing Teacher 1: Well, I think any communication between two or more people,
whether it is verbal or nonverbal, is an interpersonal interaction
Smith: Good. And then what do you consider to be necessary interpersonal skills in your
line of. work?
Singing Teacher 1: Several. Number one, you have to be able to listen and be able to
reflect back to the other person in the communication loop what you’re hearing. So, if
you’re not hearing them express what they intended to express, that you can get across
that boundary, so I think listening is very important. I think empathy is very important
and being able to discern the subtext of the verbal communication because often,
especially with singers of the collegiate age, what’s being said is not always what’s being
intended.
Smith: Right. Is there anything that you’ve found, is it just experience or anything you’ve
found that's helpful to getting to that subtext or interpreting some of the things they say?
Singing Teacher 1: Well, I think the better you know a person, the more clear their
subtext becomes, because they have tells, for lack of a better word. But yes, experience
plays into that tremendously because the more people you encounter, the more
perspectives you encounter the broader your pallet of options becomes.
Smith: Right, great, so this kind of goes, plays into number 3, how do you incorporate
interpersonal skills into your line of work? or could you give an example?
Singing Teacher 1: I had a student yesterday, you know, I always greet them, and the
student is always chipper, but there was something on her face that did not match the
chipper tone of her voice and I knew that I had to investigate that before we could even
begin singing because it was going to impact the way that she sang, that is a normal
occurrence in the studio.
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Smith: Right, so do you, in working with your students, do you teach or encourage
certain interpersonal skills from them in any ways?
Singing Teacher 1: Yes, I am a big proponent of honesty and transparency, and learning
how to communicate honestly in a respectful way to others, especially in my advisory
capacity for upper level and graduate students, when they are having to apply for grants
and ask for committee members and deal with a broad range of personalities, and so
coaching in that way has become a more significant part of my job.
Smith: Okay, yeah, that’s good to know. And then, number 5, there are a variety of ways
that some may tailor instruction to teach students and clients, and are any of the following
approaches used by you? Are they familiar? Would you like to speak to that?
Singing Teacher 1: So, the one that I use is learning modalities. I pretty quickly identify if
my students are auditory, visual, or kinesthetic. And most the time they don’t know that
about themselves. And so, when we start approaching singing in that modality, it’s all the
lightbulbs go on, so it’s really satisfying for the students. I’m familiar with personality
types and tests because that’s part of my own research, but I’ve not used Gardner or
Gallup at all.
Smith: Okay, and going back to the modes, when you’re doing that, once again, is it like
a tell, or something that they are queuing you to?
Singing Teacher 1: Sometimes I just ask, but if I get an “I don’t know,” then we try the
same exercise in different forms and that usually tells me pretty quickly. It often
evidences itself in a problem-solving capacity.
#6 so knowing some of those approaches do you adapt to student styles or preferences
and could you expand or maybe give a time that you had to alter this?
Smith: That makes sense, thanks. So then, this plays into number 6, so knowing some of
those approaches, do you adapt to student styles or preferences? And could you expand
or maybe give a time that you had to alter this?
Singing Teacher 1: So, my students learn a series of vocalises over the course of the
semester, they’re the “Lütgen Vocalises” that are published by Schirmer. And there are
long strings of notes in varying patterns that are repetitive, but for those auditory learners
we talk about memorizing the harmonic function, if they struggle. For the visual learners,
we talk about marking beats or marking scale passages. For the kinesthetic learner, I
often have them play the passage with their fingers on the piano, and again they just are
like, “That’s amazing, I didn’t ever think of that,” well now you have a tool.
Smith: Right, and having those tools, things they can take into the practice room.
Singing Teacher 1: And we use the tool language a lot.

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Smith: Okay. Great so I'm going to shift gears slightly, unless you want to talk about any
of those things? And I want to know, for number 7, how you measure success in either
yourself or your students?
Singing Teacher 1: That is a really interesting question, because there are so many
criteria by which you can access what success is. I think for myself, a greater self-
awareness and a greater understanding of why I’m asking what I’m asking for is a teacher
and whether or not those requests adhere to what I really believe about singing, and that’s
the sort of a universal thing, is constantly challenging myself to make choices that reflect
my values as opposed to values that are imposed.
Smith: Okay.
Singing Teacher 1: For my students, I think a greater self-awareness is very important

and that is a measurable unit of success. Because the students I deal with are in quite a
formative part of their life, their learning how to be adults, and starting to understand for
themselves who they are and what they have to offer is really important to me. As far as
the act of singing goes, my syllabus says you know having a greater understanding of the
vocal instrument and how to affect change in that instrument, and I think that’s really
important. And I think the other goal in my syllabus is to demonstrate professionalism,
which isn’t as frequently taught, I think, as it should be. So, for me, if I hear that one of
my students was particularly respectful or particularly generous or helpful or responsible,
I feel like that’s a success.
Smith: Great. So, which of the following types of goals do you set with your students:
none, long-term, short-term, personal, professional, or any others?
Singing Teacher 1: I would say a variety of all of them.
Smith: Okay. Any kind of examples in these categories, or?
Singing Teacher 1: The way that I do it is when I meet a student for the first time I
always ask them what the dream is, you know, what do you want to do when you walk
out the door? And that sort of defines the long-term goal for us, and then we talk about
what steps do we need to take to get there, in terms of, and that also really revolves into
the professional goals, oh you, want to go to graduate school, then you need to make sure
you do a summer program, all of those kinds of things. Short-term goals can be as easy as
a student that I taught this morning, you need to observe this thing for the next month and
focus on that and reflect on that. Personal goals, again, vary by student, but I have a sorry
jar because for a while there I had students who would pre-apologize for their
performances.
Smith: Oh, that’s relatable.

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Singing Teacher 1: Right, or just apologize for ridiculous things. And so, that for me is a
personal goal, because they don’t need to apologize for themselves and so they have to
put a quarter in the jar if they unnecessarily apologize.
Smith: Okay. So, that kind of answered numbers nine and ten about how you set goals
and if you include your students in the goal setting process, it sounds like you do, that
you're asking their goals…
Singing Teacher 1: I think you have to.
Smith: Then is there anything else you want to say about how you set goals?
Singing Teacher 1: Sometimes I have goals that I don’t communicate to them on purpose.
And then after the goal is achieved, I will say, “Do you realize what you did?” And that is
a very conscious choice on my part because I don’t want them to get wrapped up in the
minutia of trying to achieve that goal.
Smith: Okay, that makes sense. So then, with, like, the goals, once you set the goals, I'm
curious about the steps you take to make progress towards those goals. So, describe your
process for selecting student exercises or their sung repertoire, and if they're included in
the process, or just kind of how it works for you.
Singing Teacher 1: So, I have all of my students, we pick a collection of vocalises every
year or so last year we did Vaccai, we do it first and second semester, this year we’re
doing Lütgen, we’ve done Marchesi, I have no idea what we’re doing next year. But it’s
standard vocalise repertoire that teaches a variety of technical skills, which is great. As
far as individual exercises, I will develop those to teach particular concepts of singing
based on a student, so that’s very one-on-one situation I always ask my students what
their favorite music is and try to figure out what they like and why. And that gives me
some direction to picking repertoire. I don’t have a catalog of this is freshman repertoire,
this is sophomore repertoire, my brain doesn’t work like that, and I’ve tried to codify the
way I pick out repertoire, but I will be honest with you, it is quite often just a gut instinct,
based on their personality and their vocal ability. I do try to make sure that there is a wide
breath of language and culture and style and skills required over the course of a semester,
sometimes to their chagrin, but I don’t care.
Smith: No, that sounds great, thank you. That's a lot of great details. So then, for number
12, it’s a little different/. I have some of these movable scales in front of you and
feedback is one way to confirm if a student is moving towards those goals or to correct
them if they're not. So, I just want to better understand if there's certain types of feedback
that you provide in a lesson, and if you wouldn't mind providing a little notch on the line
if any of these…
Singing Teacher 1: Do you want me to handwrite it?
Smith: Yes, that’d be great, thanks. a little quantitative with…

431
Singing Teacher 1: Absolutely.
Smith: So yeah, feedback during the action, after, praise, positive criticism, negative
criticism, suggestions for improvement.
Singing Teacher 1: Praise is a funny one.
Smith: Yeah, and if there’s any comments that you have, we can also, I’d love to talk
about feedback.
Singing Teacher 1: I think praise is funny, because while it’s necessary, that’s not why
they’re here. And I think my neighbor colleagues would tell you that periodically, a very
enthusiastic shriek will come out of this office because if there’s really something that
needs to be achieved and they have achieved it, I’ll jump out of my chair and shriek, and
everyone looks at me like I’m nuts and I’m fine with that. But I tell new students that
they need to be with a teacher that is going to respect their abilities but challenge them to
get better. And I don’t find a lot of benefit in empty praise, I just, I don’t, and I think
students know when it’s empty or when it’s meaningful. But on the flipside of that, I try
to couch criticism for improvement in a positive light, you know, 80% of this was great,
we need to work on this 20% though. Which I don’t call praise, but I do call affirmation
of what they were able to accomplish, but then acknowledging that it wasn’t flawless and
then here we need to fix this. So, I try to give them, “You did this well, this we need to
fix,” when I’m delivering criticism. And so, I don’t think I give a lot of negative criticism
because I don’t think it’s fruitful. I think it shuts you down. There will be days that I get
frustrated and just kind of blow everything up, but it’s very rare, it’s very, very rare. I call
those the “come to Jesus” days and I’d say maybe I have one, maybe two per student over
the duration of their career here, those are not typical situations.
Smith: Okay, so that also answers number 13, but do you have anything else to say about
balancing, managing the balance between encouragement and critique, or constructive
critique?
Singing Teacher 1: I think critique can be used in a very strategic way to empower a
student and that if you keep addressing the fact that this is their choice to make, that they
are the ones who are doing the work, and that they are developing a skill set and a
toolbox for their own future performances, that it’s received a lot more openly, than if it
were just a “you need to fix this.”
Smith: Okay, right. So then, due to the large amount of time that's often spent with
students over long stretches of time, some come to see their role as more than just related
to the voice, but to the person as well. So, do you see yourself, this is kind of a long
question, but as a life coach or a therapist in anyway? Or someone who can help with
emotional or personal concerns, and how much of any of that role as friend, nurture, or
mentor do you take on?
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Singing Teacher 1: Yeah, I do feel like that. I think my fiancé would tell you that I’m
definitely that. Because I think that the voice and emotion are so intimately intertwined.
There are days when emotions are so out of balance that phonating results in floods of
tears, and you can’t discount that. It goes back to that empathy that we talked about
earlier, I do consciously draw a line. I should have CAPS on speed dial because I have no
problem telling students who are struggling, “Go make an appointment, you know,
maybe it’s a one off and you just need to develop another strategy, maybe it’s for a longer
thing,” but I always couch it in the idea, “There’s nothing wrong with you, you just need
a skill set that you don’t have yet.”
Smith: Yeah, that’s terrific.
Singing Teacher 1: But my students also know that if they need to come in here and vent
about a frustration, they can and then it stays in this room, unless I hear something that I
feel is dangerous and that needs to be addressed in another way. But they also feel
comfortable sharing their successes with me, and if it’s not a musical success but it’s a
personal success, you know, I think that’s great. I think that builds trust and it helps them
understand that the work that we’re doing as musicians as artists is again coming from an
authentic place and that I value them as people, not just as instruments.
Smith: Yes, good.
Singing Teacher 1: But I tend not to share equally about my personal life, that’s one of
the lines that I draw. You know, they come over to my house for dinner, but personal
challenges I tend not to share those kinds of things. So, I guess I would call myself a
mentor, if I had to pick a label.
Smith: Okay, thank you. So then, are there any, for number 15, are there any of the
following methods that you use to create rapport or healthy relationships? Or any that
aren't listed here?
Singing Teacher 1: Oh, I think all of them. Probably the least would be attending
performances, simply because I have a problem with equity, you know, if I go to one but
I can’t go to the other, how do you explain that? So, I probably consciously avoid that,
probably. But I do have a student survey at the beginning of the year, just as a basic
information gathering tool, but it’s handy if I see things that I didn’t realize that I can
follow up on those. There’s always a little bit of small talk at the beginning of the lesson,
just to kind of get the lay of the land, take the temperature of the day, see how things are
going. They know that they can ask me about strategies for other classes, you know, “I
can’t figure out ear training,” okay, so that’s where I knew this student was kinesthetic, I
said, “Do you play the melody in your hand while you’re writing it down?” You know, so
they know they can come to me for learning strategies if they need to. And then I think E
kind of summarizes the whole page that we’ve talked about.
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Smith: Right. Great. Number 16 is kind of on the same subject. Are there any steps that
you take to create a safe environment? And I've taken some suggestions from a
Clemmons article, but you can also speak to other things that you do.
Singing Teacher 1: One thing that I do that isn’t on this list, and I would suggest that I do
all of these things, is you know sometimes in order to make a change physically when
you’re singing you have to do things that are a little bit ridiculous. And I make it very
clear to my students that I will not ask them to do something that I will not do in front of
them first.
Smith: Yeah, that’s great, kind of breaks down the awkwardness or the discomfort.
Singing Teacher 1: Oh, I’m sure that I’ve made the most bizarre noises and the most
bizarre gestures in this room, but, you know, if that’s what it takes.
Smith: Yeah, great. So then, the other aspect of this study that I want to get is identifying
and comparing different types of training in our fields by examining your individual, but
also the corporate experiences of these voice experts, so I have some questions about
curriculum and education, professional memberships, and other things in this realm. So,
for number 17, could you circle if you belong to any of these associations or add any that
aren't listed?
Singing Teacher 1: Okay.
Smith: And a lot of these are speech…
Singing Teacher 1: I see that.
Smith: And I can just type others if you don’t want to write them.
Singing Teacher 1: Nope, you’ve got them covered there.
Smith: So then, some of these memberships or associations set their own professional
standards, but I'm also assuming that individuals have personal standards. Are there any
personal or professional guides that influence your practice?
Singing Teacher 1: I’m sure when I applied for membership in NATS that I read through
all of those things and nodded my head yes, and signed on the dotted line, but I wouldn’t
say that I have them framed on the wall and I’m going through them every single day. I
think a healthy approach to teaching, in terms of professional boundary, emotional
boundary, and understanding the academic and artistic requirements of each person’s
development dictate a lot of what I do.
Smith: Okay, yeah. So then, could you briefly describe your training or like, educational,
anything that's relevant?
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Singing Teacher 1: Yeah, so I have a Bachelor of Music in Performance, and an Arts

Administration Bachelor of Arts degree, so a dual undergraduate degree. And then a
Master of Music in Performance and a Doctorate of Musical Arts in Performance. I was
also one of the NATS interns, which was really significant, significantly influence my
teaching practice, so I would definitely include that in my training.
Smith: Okay, and then with that in mind, are there any ways that these training
experiences influence you? Can you give an example, like, on a daily basis or your
philosophy, stuff like that?
Singing Teacher 1: I think it’s funny because I see, periodically, the influences of my
teachers manifesting in things that I say or approaches that I take, but with that I’ve also
found myself, as I gained experience as a teacher, really solidifying what I believe about
singing. And so, I am able now, having taught at the collegiate level for [omitted], to
really see sort of how I progressed from imitating teachers that I respected to owning my
own beliefs about teaching and that’s been a really exciting progression.
Smith: So, partly with that in mind, number 21, is there any specific training you wish
you would have received?
Singing Teacher 1: Yikes. You know, I don’t necessarily think that it has to do with the
actual act of singing, but I feel like when I have gaps in my knowledge it has to do more
with style.
Smith: Okay, yes, I think that’s probably common for a lot of teachers of singing, Just
depending on what genre you're in, what field. do you like for number 22, and kind of
playing off this, do you attend any workshops or clinics? And is there anything that might
help fill in some of those gaps?
Singing Teacher 1: Yeah, my primary attendance are NATS related events. I love hearing
singers talk about singing and hearing the things that they find were influential and
formative experiences for them. It helps me to reflect, it also gives me things to pass
along to my students as they’re reflecting on their own development. And ideas about
communicating issues of language and issues of style, those are the workshops that I tend
to gravitate toward.
Smith: So then, for number 23, could you rate or explain the influences of these
workshops in general on your professional development?
Singing Teacher 1: That’s a hard question.
Smith: Yeah.
Singing Teacher 1: I think every time, you know, you experience something, you take
something from it. I don’t think I could quantify if one was more important than the other
or expand on something specific that has revolutionized my teaching per se.
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Smith: Yeah. So then, just a couple more questions. Actually, it looks like a lot, but I
think we're okay still. Do you use any research-based practices in your teaching? Can you
describe any current practices that you use and I've given you a couple things just to
think…
Singing Teacher 1: So, I mean reading the NATS journal, of course, is standard. In terms
of conducting my own research, not explicitly, but in doing a project in the peer review of
teaching program, I’ve really employed the idea of backward design for my students.
What is the goal? Where do I want them to end up? And then how do I get them there
through a series of exercises, repertoire, experiences, that they need to have? And that
really has revolutionized my syllabus, particularly, because they need to have
professional, they need to see and hear professional singers, that manifested in a different
kind of assignment. They need to be able to translate text and talk about it in a 21st
century way, that changed an assignment that I am giving them. So, that idea backward
design and starting with the goal and then figuring out how I’m going to get there, rather
than sort of blindly going forward really made an impact on the way I teach my courses.
Smith: Great, so then, in determining how to, sort of, best serve voice users as a whole,
I'm curious how fields of singing and, like, speech pathology or doctors, how we can
connect these fields. So, for number 25, how do students come to you? Do they choose
you or are they recommended to you? Are there factors involved in matching teachers
with students? And is there a process for that? I know it's a little different being in an
academic setting, but…
Singing Teacher 1: It is, and it isn’t different. We have a pretty great level of autonomy
and choosing our own students. And so, there are students that are sent to me, there are
students that choose me, I certainly don’t want to teach someone who doesn’t want to
study with me, so if I’m not on their list then that’s fine. So, that is not infrequent. But I
think the factors that you’re talking about is actually pretty critical. I tell my students, you
know, I curate my studio pretty carefully, and when I am giving sample lessons I tell
students, “You know, you need to find a teacher whose personality matches what you
need to be able to grow.” So, if someone needs a teacher who is constantly giving them
praise, maybe I’m not the right person for them. Or if they need someone who maybe has
a more hard-lined approach, maybe I’m not the right teacher for them, but I really put the
onus back on the student to discover who they are and what they need in a teacher to be
successful.
Smith: Right. So then, for number 26, is there anything that might keep you from
teaching certain students and can you refuse a student?
Singing Teacher 1: Yes, we can refuse students because students are not assigned to us.
So, it’s a different kind of situation then perhaps a clinical situation. Yes, there will be
times that I will not take a student who wanted to study with me. It becomes apparent
pretty quickly whether or not students are in the art for the art or in the art for themselves.
And I find that students who are in the art for themselves become very difficult to teach.
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Yeah, I think that’s the biggest, there’s got to be a level of humility in an artist that says,
“I’m not finished.”
Smith: Right. So then, playing the other side, Is there anything that draws you towards
certain students?
Singing Teacher 1: On the most basic, basic level, of course you’re going to want to work
with the most talented students. But I think I am drawn to those students who have a
sense of who they are and what they want to say to the world. I’m definitely drawn to
generous and humble spirits. On a very practical scale, I like working with big voices
because I am one and I feel like my experience and figuring out how to make that work I
think I can offer that to students who are often told to sing quieter. Yeah.
Smith: Great, that’s wonderful.
Singing Teacher 1: Oh, and I am accused of collecting control freaks because I’m one
too.
Smith: So then, that kind of plays into that and what your studio looks like. Is there a
certain culture and does that play a role in what kind of culture you strive to create?
Singing Teacher 1: Yeah, there is definitely a studio culture. I mean there’s a certain level
of professionalism and demeanor that I require of my students, both for themselves and in
communication with one another. You know, we have ground rules in studio class, and
day one, get used to giving two compliments and one criticism. Because you know it’s so
easy, with others and with ourselves, to go to the bad place, and so I think it’s important
to recognize that there are things that are being done well, both in our own performances
and in others’ performances, but that we’re all here to get better, because if we weren’t
here to get better, you’d be singing professionally, and you wouldn’t need me. So, that’s
definitely something. I also encourage my students to be authentic to themselves and to
learn to be secure in that so they can be vulnerable. But because everybody’s doing that
together, it creates a safe space.
Smith: Right. So then, in regards to that safe space and having diverse students or
clientele, is there anything, without using names, any specific time in which you found it
difficult to approach a student or easy to? This is kind of open.
Singing Teacher 1: Yeah, I think this is something that I’ve been thinking about, because
as we are seeing a more diverse cultural representation in the students that audition, we
have to be respectful of their cultural musical heritage and the styles of singing that they
bring with them from their cultures. And some of those styles of singing are so deeply
ingrained, because they’ve been singing that way for their whole lives or because they
hear their parents sing that way, are not as conducive to the classical singing technique
that this institution teaches. So, I wrestle with that, and I haven’t come to a conclusion on
it yet. And it has nothing to do with the student’s talent, or their musical achievement
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level, or their intellectual ability, but simply is that cultural hurdle something that can be
overcome and, if so, how?
Smith: Yeah, that’s a very interesting thing to think about. So then, the last couple of
questions will help me understand methods and a bit about your motivation, so how do
you prepare for lessons?
Singing Teacher 1: This is actually a group effort. I’ve been asking my students to take
ownership of their lessons more in the past couple of years and so we establish, by two
major milestones in the semester: their midterm and their jury, what they want to have
accomplished by that point, and then I ask them to lay out for the lesson what they want
to accomplish in each lesson to achieve those goals, which gives them ownership over the
lesson and makes things, I think, a little less demanding because they’re able to tailor
their lesson schedule around other obligations they have, like major papers and major
exams. So, it manages some anxiety a little bit, which I think is helpful. So, I set the big
milestones and they fill in the gaps to achieve those milestones. We also have a pretty
standard lesson format. So, you know, we start with technical exercises, we do the
assigned vocalise, then we deal with any technical challenges in their rep, then we get the
pianist and deal with the team. That’s a pretty standard layout that they expect. I don’t do,
you know, 15 to 20 minutes before the lesson, sit down and think through it, that’s not
how my brain works, but I also have two hours of commute a day, where I do a lot of
reflection and thinking, and you know I take pictures on XM radio if I hear a piece on the
Met Opera channel that I think they should sing. So, it’s sort of a continuous flow for me
rather than a concrete “I am planning this now.”
Smith: Right and that kind of plays into number 31 about reflecting on sessions, is there
anything else you do?
Singing Teacher 1: I don’t keep a journal or anything of that nature, but I will write notes
to myself on their rep list, each of them has a rep list at the front of their repertoire
binder, and so as I am thinking of things for them, I will track that in an informal way.
Smith: Great, so then for number 32, how often does reflecting teaching influence your
methods, could you explain?
Singing Teacher 1: I would say almost always, you don’t want to start fresh every week,
you don’t want to reinvent the wheel every week. So, I had a student this morning where
I said, “What did you think about from last week?” And I knew what I thought about
from last week, and I wanted to hear what she had to say, and that directed the course of
what we did.
Smith: Great. And then the last couple of questions, what was your motivation for
entering this line of work?
Singing Teacher 1: I didn’t choose it, honestly. I thought I was going to be the chair of
the national endowment for the arts. I had a poly-sci minor, I was going to be a lobbyist,
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going to raise money, advocate, and then I kept falling into performance, falling into grad
school, falling into teaching and I had some great mentors that kept nudging me, which
was wonderful, but it was not anything I chose, consciously.
Smith: That’s interesting, yes. And then what continual motivation do you find in this
work?
Singing Teacher 1: I love helping people grow. I love helping people, and this is going to
sound really hokey, finding their voice. You know, helping them get to what they really
are trying to say and helping them to discover the tools to be able to do that.
Smith: Wonderful. Yeah, this has been wonderful. Is there anything else that has come to
your mind while we've been talking, anything else you want to discuss?
Singing Teacher 1: I don’t think so. Well, one other thing that we always joke about is
that we talk about are singing lessons are life lessons and I think that’s really important.
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Smith: Actually, I didn't include this in the email, but I was wondering if my participants
were okay talking about the pandemic and maybe how that has changed, especially with
my topic of interpersonal interactions, is there anything that you can put your finger on
with all this?
Singing Teacher 1: Yeah, I’ve thought about this a lot because, you know, not only am I a
voice teacher I’m sort of like the first line of defense, particularly for my undergrads, like
the babies. and it has been challenging to, for lack of a better term, read the room with
them. When you’re in the same room with someone, you get their energy, you get their
vibe, you understand very quickly, like even when they walk in the room, if something is
going on and so this virtual mechanism, as good as it is, you don’t get that energy. And
you don’t know if that energy has to do with what’s going on outside the lesson or if
they’re frustrated because of the technology that we have to use and the challenges that
come with that you know. So, that was really difficult and, in some degrees, exhausting,
because you’re also not able to feed off that exchange of energy and so, by the end of the
day, you have exerted so much that there was very little left. And I am an introvert
anyways, so by the end of the day, all I wanted to do was crawl in bed and pull the
blankets over my head. And I think that as appreciative as my students were for the
things that I was able to do, they felt a degree of isolation, too, which makes it difficult to
grow as an artist because we need that sense of community in order to take risks and take
challenges and have the safety net in which we can fail in the pursuit of excellence, and
this barrier has made that very difficult.
Smith: Yeah, yeah, thanks for putting that in your own words. Because I have, you know,
some similar interactions and some people that I'm talking to for this research have had
similar issues. Is there anything that you have found to be a positive change? Or no?
Singing Teacher 1: The voice area was just talking about this yesterday so it’s funny that
you asked. We were interviewing potential DMA students for next year and one of them
asked, you know, “what have you observed from blah blah blah blah?” If I was to find a
silver lining in any of this, it caused me to really think about what my priorities are as a
teacher, because I couldn’t do anything, nothing, the way I was used to doing it, and if I
was going to do anything I had to find a mechanism by which to make that happen, right?
So, for my own sanity for the sanity of my students for the possibility of actually having
those resources I had to sit down and say, okay, what’s really important? And I both
found things to discard, and I found gaps, which I hope I’ve been able to fill, but my
students have responded pretty well and like the changes I’ve made in terms of
modification of assignments. And I have them watching streamed professional recital’s
now because we can’t attend live performances right, so that’s been really interesting and
I have alumni coming back and talking to studio class, and alumni from all corners of the
country are able to zoom in and share their experiences about what they’ve done after
school, you know. So, those opportunities have been great, but we sacrifice community.
We sacrifice learning the art form face-to-face, I don’t have access to the entire body of
my singer, I’m teaching them from rib cage up for the most part, you know. I can’t lean
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in to see what their tongue is doing because I don’t have a zoom function on the camera.
It’s just, there are things that have been positive and that I really have been able to
streamline and refined my priorities for my students, but there are things that I think I
was doing that were valuable that I had to sacrifice.
Smith: Great, thanks. Well, I mean, it’s not great, but thank you for explaining, good
information and a good explanation. And I love the studio outsourcing, getting people
involved. I mean, yeah, that's a really cool part of kind of the global community that's
come out of this, but the local, I feel like is very…So, to kind of shift gears a little bit,
another question that I had after interviewing people on both sides of singing and then
speech language pathology and voice medicine, do you value being an expert in one or
two specific disciplines, and whether that be a teaching technique or a specific genre of
music, versus being versed in a number of different disciplines?
Singing Teacher 1: I think it’s important to understand a number of things, honestly. I

think I tend to teach more like Miller, but it doesn’t mean that I exclusively teach in the
manner of Miller, if that’s not working for my student.
Smith: Okay.
Singing Teacher 1: Is that what you’re looking for?
Smith: Yes, yes, that is great, again, great information. And then, this may not apply to
you, but some people see voice users or singers for a short amount of time, maybe to
prepare them for an audition or it's like a brief thing. Is there any difference with how you
interact with voice users that you see long-term versus some that you may see once or
twice or over a short period?
Singing Teacher 1: Absolutely. I think it’s a matter of efficiency and it’s a matter of
relationship depth. So, I’ve had singers come to me and say, “I’ve got four lessons and
I’m doing this audition and I need to get this ready.” I spend less time discovering their
emotional history with singing, which we know has a tremendous impact on the way we
use our instrument, and go more directly to fixing. And I think all voice teachers have in
their basket, those quick “this is how you fix this,” I’m not going to teach those singers
the depth of anatomical truth that I teach my long-range students. We don’t have time.
They don’t care why it works; they just want it to work.
Smith: Right, okay, great, thank you. And then, again, I'm not sure your experience with
younger or older students, but does the age of the voice user with whom you're working
play any role in those interpersonal interactions or teaching methods?
Singing Teacher 1: I will say that it can. Sometimes, chronologically younger students
come in with less awareness of their own body that more chronologically mature students
may have, this is not a universal statement, but that physical awareness goes along way
into understanding singing. I think you also have to determine the emotional availability
to change, which can be less flexible in a more chronologically mature student, but I have
plenty of chronologically younger students that, “I do it this way, this is the way my
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private teacher since I was eight taught me how to do it, and if I can’t do it this way I’m
not going to change.” You know, so yes and no, these are gross generalizations, knowing
that it’s going to change via individual.
Smith: Okay, thanks. And then I had a question that you kind of inspired, because you
had originally, I wanted to find the quote, so you said, “We have to be respectful of their
cultural musical heritage and styles of singing that they bring with them from their
cultures. And some of those styles of singing are so deeply ingrained, because they've
been singing that way for their whole lives or because they hear their parents sing that
way, and they're not as conducive to the classical singing technique that this institution
teaches. So, I wrestle with that, and I haven't come to a conclusion yet.” So, I'm not
looking for a conclusion but…
Singing Teacher 1: That was kind of smart, I can't believe I said that.
Smith: Yeah, a wonderful explanation, and I just wondered if you had any more
comments on the role, if any, that a person's familial or personal background plays into
the voice lesson? And this could include nationality and culture, but I'm also thinking
about, like, socioeconomic status, or sexual orientation, disabled status, if you have any
learning…
Singing Teacher 1: Challenges.
Smith: It could be religion, so just a little bit broader?
Singing Teacher 1: Right, first, if you haven’t read the most recent issue of the journal of
singing if there are two articles in there that you need to see that deal exactly with this, so
that’s why I think I’m so surprised that I said that because I hadn’t read these articles yet.
One by Patricia Caicedo and then the other is, the article is escaping me the author but
it’s about CCM and how all CCM music originates in the black American tradition. And
she addresses that really, really beautifully, so check those out because that speaks
directly to that.
Smith: Okay, thanks.
Singing Teacher 1: Yeah. The one time I open the journal the same day I get it, and those
two things pop out. So as far as, let’s see if I can break this down, so as far as learning
ability goes, I have taught students on the autism spectrum and that is interesting because
when you get learning challenges, and the ones that I have dealt with most directly have
been the autism spectrum, so I can really only personally speak to that, but I find that it’s
a little bit more difficult for those students to address emotional subtlety, both in the
interpretation and the execution of the repertoire, and I have to feed language much more
frequently and suggest experiences much more frequently. I also find that for those
students, because they tend to be so process-oriented, because that is how they have had
to learn to function successfully in the world, that any change to their process, it can be a
harder shift because it sort of rattles their worldview. So, that has been an interesting
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thing. I have had students not want to seeing areas from Julio Cesare because the
historical character was viewed as not Christian.
Smith: Okay.
Singing Teacher 1: That was an interesting situation to be in because even if I explain,

“Pedagogically, this would be a really great piece for you and it would allow you to work
on XY and Z,” and it wasn’t even anti-Christian content in the aria, the character was
enough to make the person go, “I don’t want to touch it.” So, as a teacher, that was really
a challenge to, I had to up and okay, what else can she sing that’s going to accommodate
the same thing. So, that was really interesting. I think my job as a teacher is to help
singers find their authentic voice, the voice that is the most honest to them. And whether
you know they have gender identity issues, I’ve had several students discover that they
are gay through their, you know, collegiate process and it’s amazing when they come to
their own truth, how the voice becomes more free. You know, it’s that vocal and
emotional connection and I don’t take any responsibility for helping them through that
process, but I see it in a way that may be the average collegiate instructor wouldn’t.
Smith: True, yeah.
Singing Teacher 1: So, that has been an interesting observation for me. Lots of tears, as
you know, gets shed in a voice studio because the voice I think is the most intimate of the
instruments. So, if there’s something unsettled or buried emotionally, for whatever reason
with a student, it is going to manifest in the voice. And, you know, I’ve had students who
were sexual abuse recovery survivors and they’ve had to work through that process and
as they were healing, their voices developed in a new, richer way. It’s fascinating to
watch. And I clearly don’t have the psychological background to analyze exactly why
that happens, but the thing that I have to hold onto is what is the truth of the students’
voice. And if it doesn’t fit the classical model, my role is to help them understand the
classical style as a genre, and what are the expectations of this style, whether or not you
choose to do that professionally, you need to understand what the expectations are. Just
like their expectations for jazz and expectations for spirituals, you know, singing
spirituals is different than singing lieder.
Smith: Right.
Singing Teacher 1: And you have to respect that and honor that and recognize that as
you’re teaching that repertoire.
Smith: Great, thanks. And a follow-up question to that, do you do you assign much music
outside of classical in your specific position?
Singing Teacher 1: I assign musical theater and I have, since I have started delving more
deeply into the spiritual repertoire, I’ve started assigning more of it. I think it’s so
important that if you’re going to assign repertoire you need to understand it at a very deep
level yourself, and it’s not something you can teach on the fly. So, until I had the
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opportunity to study singing spirituals with African American singers and figure out how
to put that kind of authenticity into my own body, I didn’t want to teach that repertoire.
Smith: Yeah, that’s a really, I think, mature response and good for yourself and for your
students to have that. Yeah, great, anything else on that topic or question? I feel like you
covered a lot, I kind of threw a lot at you.
Singing Teacher 1: If I missed something, tell me, because that was kind of a big
question.
Smith: No, that was wonderful. So, kind of changing gears, what is the role, if any, of
multidisciplinary training in educating voice experts as a whole? Since I'm looking at
both of these groups, do you think there's any amount of singing that voice doctors and
speech language pathologist should understand, or do you think that there's any part of
voice medicine and that side that you think singers should understand?
Singing Teacher 1: Oh, I think it’s an important, I think it’s important for both camps to
have an awareness of what the other camp is doing. You know, I am not in the business
of diagnosing vocal injuries, but I sure need to know when I hear one so I can help that
student get the help, the assistance and the support that he or she needs. I think it’s
important for voice doctors to understand the role singing can play in therapy, you know,
if, you know, I knew a middle schooler who had nodes because he was speaking without
enough breath flow in his speaking voice, which was crazy because his parents were both
singers, you know the idea of it was just crazy. But if you think about the Kardashian
affect and that very under-breath-utilized fry kind of voice that happens, I mean I’ve
already corrected that in my 10-year-old, I’m like, “Stop talking like that right now,”
“Why mommy?” “It’s not healthy, stop it.” But if that’s what the cultural and social
media models are showing to our children, you’re going to end up with more voice
injuries. And I think that if we can partner our skill sets and say, okay, here’s a vocalise
that I use, like an SOVT, that encourages breath flow, I can share that with the therapist
who may want to be encouraging those habits in a singer and just may not know enough
musically to design that kind of exercise, you know, but isn’t it easier to teach a little kid
to sing something then it is just to blow air?
Smith: Yeah, great, thank you. Okay, so another, maybe kind of loaded question, what is
the role, if any, of gender in your field? For example, are there any barriers or privileges
granted to voice experts or voice users singers based on gender? And I could give you an
example.
Singing Teacher 1: That’d be great.
Smith: I had a couple of participants, singing teachers, who said that male students were
given to male teachers for certain reasons, or one participant said that they had a student
given to a male teacher because the family thought, it was a younger student, might be
stricter than a female teacher. So, I'm not saying that you had to have had any experiences
like that, but is there any way that gender intersects with your field?
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Singing Teacher 1: Not at the undergraduate level, that I have experienced. I have not,
personally, had a student say I want to study with X because of his gender rather than
yours. I think at the graduate level, it can make a bigger difference. I don’t think it’s
necessary, but it makes sense for someone to want to study with a professor who has been
in the repertoire that they’ll be singing. You know, that, when you’re becoming that
specialized in a field, you know, if you’re studying voice science, maybe there’s a
particular injury that you want to study, you’re going to study with someone who
specializes in that industry, or in that injury. And so that’s kind of how I align those
things in my brain, but I don’t think of it as gender, I think of it is voice type.
Smith: Okay, right. Thank you, and then what is the role, if any, of funding in your field?
And for example, have you ever had to pay out of pocket for additional training, to attend
a conference, to do extra stuff?
Singing Teacher 1: Yeah, oh yeah. You know, it depends on your university, right? There
are some universities who pay NATS dues for their faculty, it’s just part of the
experience. I have to pay my own. I write it off on my taxes, you know. We have to apply
for conference attendance and there is a rule, “rule,” that in general, you’ll get 70% of
your expenses paid. So, in order to stay professionally relevant, there is a financial
commitment on my part. And we’re limited in the number of activities they’ll fund every
year, right? So, if I really want to stay professionally relevant, I have to budget for, you
know, a couple thousand dollars every year of my own funds to attend conferences
participate in workshops etc. etc.
Smith: Thank you. And then what is the role, if any, of voice user disposition? So, we've
kind of mentioned how the voice and emotion/personality are intertwined with what's
going on in their lives, but some people that I interviewed kind of threw out some
generalizations of like perfectionist tendencies, high achiever tendencies, high anxiety
tendencies. I'm laughing because that is, like, me.
Singing Teacher 1: You just described my studio.
Smith: Right, so Does that we kind of already talked about it, but do you have anything
else to say about the role of the singer and their personality?
Singing Teacher 1: Yeah, well, I jokingly call my studio the home for wayward
perfectionists, because I tend to recruit students who are like that because that is who I
am, too. And if you subscribe to the theory that the more problems you have the better
teacher you are in addressing those problems and being aware of those issues in your
students, I am right at the top of the list. So, I feel like I have a kinship with those
students. As far as the role of the singer goes, I think the singer needs to be ready to
acknowledge that those things are true in their lives. And I can, I’ve gotten pretty good at
telling within one or two lessons if my student has perfectionist tendencies and I call
them out on it. And then we have to talk about the issue of control and what it is, indeed,
that they are responsible for and what they can trust will happen if their plan is sound for
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the activity of singing. And for a lot of my students, that is their greatest challenge. They
have tremendously beautiful natural instruments, they are intellectually superior to their
peers, but aligning the intellect, the talent, and the trust in that triangle, it’s the trust that’s
out of balance the most. So, that’s been fascinating, but I’ve implemented strategies of
planning and post it notes of do XY and Z, or the permission to fail, and how you know
nothing is permanent – if you try it once and it doesn’t work, just don’t do it that way
again, you know. And that idea of lack of permanent, I think it’s comforting, because no
one wants their mistakes recorded for posterity, right?
Smith: Right.
Singing Teacher 1: And I think that perfectionists, in particular, believe that every
mistake they make is going to be recorded for posterity and it’s my job to help them
remember that no, it’s not. After you do your lesson reflection, you can delete that
recording and it will go away, you know. And the idea that perfection isn’t real, I think is
important to help them understand, which is hard to process with the recording industry
the way it is, you know. I recorded my first CD, I now understand how pitch can be
manipulated, but I didn’t want to do that, you know. Nothing was manipulated in terms of
pitch, but we did cut this phrase and substitute this phrase, and it’s just like, I can’t do
that in performance. And I would’ve been satisfied with any one of those performances
live, but because it was going into a permanent record, we cut and pasted, you know, it
was very interesting to go through that process emotionally. And I think my role as a
teacher is to help singers recognize what is true and what is temporary.
Smith: What did you record in when did you record it?
Singing Teacher 4: [Omitted].
Smith: And you had mentioned in our last talk about students taking responsibility or,
like, playing a role in their lessons. You let them schedule out what they want to work on
and then the reflection. I just wanted to come back to something you just now said about
once they filled out their reflection. So, they record all of their lessons, correct?
Singing Teacher 1: Right.
Smith: And then is there a specific process for reflecting, or like a sheet they have to fill
out? Or is it just…
Singing Teacher 1: No, in fact, I tell them, “I do not want to transcript of your lesson, I
know what happened in your lesson, but what I want to know from you is what you hear.
and what you experienced as you were going through that process.” And what’s
interesting is some students do it weekly, so they are able to gauge their progress from
week to week, and some students prefer to do it at mid semester and at the end of the
semester so they can see the larger trajectory. And I don’t prescribe which, when they do,
I just tell them they have to turn it in at midterm and at the end of semester.
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Smith: Great. And then I had one more question. and then if there's anything else we
want to talk about. but what is the role, if any, of scheduling demands? And I had voice
teachers, specifically, talk about the back-to-back nature of seeing students, kind of like
one on top of each other. Are there any benefits to detriments to how your schedule
looks?
Singing Teacher 1: So, that’s a twofold question given the situation that we’re in now,
because we have this mandatory 30 minute window that we have to have in between
students, right? So, that means that every student has to have a 90-minute block and with
the number of students I was teaching last semester that was 10 to 4, 5 days a week to
accommodate all of those students. And when I talk about emotional exhaustion, I have
never experienced emotional exhaustion like I did last semester. I joke to my students
that I spent the month of December curled up on the floor. Just because it was relentless,
right? On top of the teaching, then also the stress of making sure the technology worked
and all that, I mean, it wasn’t just teaching. In a pre-pandemic normal year, I have a self-
imposed limit of not teaching more than 2 ½ hours straight without a break.
Smith: Okay.
Singing Teacher 1: I need that physical and emotional break and I like that break to be
about an hour if I can, just sort of come down, to do something else, to use a different
part of my brain for a little while, or not use my brain at all for a little while, you know,
because I think, I don’t want to do a disservice to my student by being distracted or
exhausted emotionally or intellectually, because being a voice teacher is being constantly
problem-solving, not unlike a medical professional. So, you need to be on your game, and
you need to be aware of so many different blocks of sensory information coming in:
visual, auditory, you know all of it, so I think in that regard that’s really important. You
know, I’ve got drainage today and I had an incredibly long day yesterday and by the end
of the day, I was just like, “I’m not talking to anybody, I’m not talking anymore.”
Because I was just roached. And I didn’t want to speak anymore, I was singing as low as
my teenage baritone son and he was like, “Mom, you should record that and I was like,
no, this is not good.”
Smith: Okay, yeah, yeah. Thanks for putting that into words because I think we feel that
as teachers and as voice professionals, but then do you have any, so you have your self-
imposed block and break, but do you have, is there anything you would suggest to, like,
the field as a whole to help with some of that emotional and physical wear and tear?
Singing Teacher 1: Well, I think there is that old adage of you can’t pour from an empty
cup and that’s so important. I don’t care what field you’re in. It applies to parenting, it
applies to service, it applies to professional well-being, you cannot work so hard as to
completely deplete yourself, whether it’s in the short or the long term. And you’ve got a
find those things that you will create time for that fill you up, whatever that is. And if you
don’t prioritize that, everything else is going to suffer.
Smith: Okay.
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Singing Teacher 1: And it took me a while to come to that, but boy when I did, I am a lot
healthier and happier because of it, and I think I’m a better teacher because of it.
Smith: Yeah, great thank you. Yeah, I think all of this, thank you for your honest and
like, thorough answers. That’s all the questions that I had but is there anything else that
comes to mind based on what we’ve talked about or anything?
Singing Teacher 1: I don’t think so, except I’m dying to read this.
Smith: Oh thanks, I’m dying to finish it.
[Omitted conversation with personal identifiers]
Singing Teacher 1: This is the kind of thing that I like to do, this is the community of
teachers, this is the sharing about what we do and why we love it, and I don’t find
anything but positive about that.
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Smith: Okay, so I am recording, and could you just verbally confirm that I have your
permission to record this conversation?
Singing Teacher 2: You have my permission to record this conversation.
Smith: Thank you so much. So, I'm just going to start at the beginning and work through,
but again, it can go anywhere. So, I wanted to look at the interpersonal practices
implemented by teachers of singing and speech-language pathologists and other voice
experts to see this more specific side of what we do as people who work with voices and
individuals. So, to begin, in regard to interpersonal practices how would you define
interpersonal?
Singing Teacher 2: That’s a good question. I guess the relationship between two people
and working openly and, sometimes, vulnerably. I guess that doesn’t have to be a
descriptor of interpersonal, but it comes to mind to me when I think about my own work
in interpersonal relationships.
Smith: Thanks, and if you don't mind, I might just jot down a couple things so that when
I'm transcribing, I can see where we are. Great, I love that vulnerability piece and that
might come up later, because my next question was what do you consider to be necessary
Singing Teacher 2: This is interesting, a colleague of mine did a presentation on soft

skills at a National Opera Association poster session that I’m remembering right now, but
just talking about all of these soft skills that we have to have as singers or as voice
teachers. You know things like how do you communicate with another person, how do
you do time management, how do you…communication, email, how do you respond to
emails, I think those are probably the biggest ones, at least ones that are coming to me
right now, just how do you take care of those two big interpersonal skills.
Smith: Right, right. And so, and that that kind of answers my next question about how
you incorporate them, and you gave an example, so I'll move to the next question.
Smith: Do you teach or encourage interpersonal skills in your students, and if so, in what
ways?
Singing Teacher 2: A lot. One example is a platform I use called Trello, do you know
that? It’s this platform, it’s an app and it’s kind of like a pin board but you can have
boards and lists and we keep track of everything for lessons in that Trello board and I
really encourage my students to also utilize that tool. I always say it’s not just for me it’s
for you. Or I’m thinking about little things I did today, like sending an email to the
building manager and copying the students saying, “They are going to reach out to you
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about scheduling a time to record in the recital hall, thanks.” You know, I try to model a
lot of that behavior of how students should communicate or how we should record keep
and organize, all of those things.
Smith: Right, right. That’s awesome, no I hadn’t heard of that. Is it, like, a paid
subscription? I’ll have to look into that.
Singing Teacher 2: No, it’s free, if you want me to at the end, I’ll screen share and show
it to you.
Smith: Okay, I would love that. Also, I just realized this, this is so embarrassing, but I'm
wearing these headphones and the sound was coming through the laptop, so for your
privacy, I fixed it. Okay, sorry about that. So yes, I would love to see that. So, I, in my
questions that I sent you, I could pull them up and share my screen if you want me to,
there were a couple of approaches to individualized instruction that get a lot of, like, talk
maybe. I guess, did you want me to share or do you see?
Singing Teacher 2: I just pulled it up
Smith: Okay, so number 5, which of the following approaches to individualized

instruction, if any of them, are used by you? Or if there are others. So yeah, do you want
to talk about any of those?
Singing Teacher 2: Those first three are all thumbs up for me. Yeah, I use all of those.
I’m also thinking about Bloom’s taxonomy.
Smith: Yes. Could you, I feel like my, so my undergrad was in music education, and I
feel like I got a lot of examples of Bloom's Taxonomy in a classroom setting, could you
give an example of maybe how you use that with an individual student?
Singing Teacher 2: Sure, so it’s just thinking about, well, let me think about, yeah,
individualized instruction. How do I help them synthesize this knowledge that I’m giving
them in voice instruction? And a lot of times that may be one higher level, one way I get
them higher on the Bloom’s Taxonomy pyramid is to say, “Can you tell me back in your
own words how that…” that’s a synthesis exercise right? Or evaluation at the top, you
know, “Can you write about it in your weekly reflection to me, this specific thing you
discovered?” So, those are just a couple of quick ones.
Smith: Yeah, awesome, thank you. And just, I'm interested in that weekly reflections,
could you tell me a little bit more about how you do that?
Singing Teacher 2: Sure, it’s kind of morphed over my years of teaching but my initial
goal with the reflections was that I would find that students would come back the next
week and would not have practiced or would not have the same goals in mind for their
practice time that I did, and so, I found that if I made them write a weekly reflection, I
request that it be turned in 24 to 48 hours after their lesson, they don’t always do that and
I let that go if they don’t do it, I just keep requesting that they do it sooner because it’s
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fresher in their mind. And I’ve morphed it now to have very specific props week by
week, but at first it was just, tell me what you’re supposed to work on this week, what did
you discover in your lesson and then what are your goals and your own work before you
see me again next week.
Smith: That’s awesome, that’s amazing, thank you for describing that. That kind of leads
into…my 6th question was do you adapt to student learning styles or preferences? And I
feel like what you're having them do, make sure you're kind of on the same page, so can
you describe a time that maybe you had to alter your teaching methods to make sure you
were on the same page as a student?
Singing Teacher 2: I mean doesn’t that happen like every day?
Smith: Right.
Singing Teacher 2: let me pull up the question just to make sure I’m…what question was
it?
Smith: Six.
Singing Teacher 2: Adapt to student learning. Yeah, I mean, well, here’s like a very
simple one. I hardly ever sing, I try not to sing in my lessons, and I noticed that I had one
student that if I would model something to her she would like turn on [snap], so I started
modeling to her and her lessons because it really worked for her. So there’s, I mean that’s
a very simple example of learning styles and preferences, but yeah, absolutely. Each
lesson is individualized and tailored to that student. And I don’t know if you had the
experience, I had it as a student and I have students who will just come in and break
down and, okay that’s the lesson for today, we have to deal with what’s in front of us.
Smith: Yeah, and if I could actually jump around because that's a good segue. This is all
the way down to number 14 and we can come back, but with that in mind, because I have
had those experiences and I've had others express that to me, do, this is kind of a
multipart question, but do you see yourself as a life coach or life therapist? Or even if not
in those terms, how much of that role do you take on as friend, nurturer, mentor when
those kinds of things emotionally or personally happen?
Singing Teacher 2: Well, I’m there for that person, you know. So, I don’t necessarily, I
mean, I know I’m not their therapist, I’m not taking that on
Smith: Right.
Singing Teacher 2: But I do feel in those instances a responsibility to, for example, call
the counseling services and set up a session for a student or, or yeah, just try to help them
in the same ways that I’m asking them to organize their practicing, you know, if, because
our instrument is a part of our body and our whole being, we can’t teach that if there’s
something in the way of, in an emotional or personal concern.
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Smith: Thanks. Yeah, thank you for kind of letting me kind of expand on that. Yeah, I
think that is something a lot of, at least from my experience, voice teachers have, so that,
again, why I wanted to do this study, just to see is that common across the board, are
speech language pathologist seeing some of the same things in their meetings? So, thank
you for explaining that.
Singing Teacher 2: Yeah
Smith: So, this is kind of shifting gears, but maybe along the same lines, and we’ll go
back up, if you want to look, at 7. Or you don't have to, but how do you measure success?
And this could be in yourself or in your students, it could be broader it could be specific.
Singing Teacher 2: It’s interesting because I’ve been doing so much work on white
supremacy and just now thinking about how that word is entangled in some ways. But.
Smith: And that’s fine, you can go anywhere you want to go with that, and you can tell
me how it makes you feel.
Singing Teacher 2: Yeah, I mean I think success is totally individualized for me at this
point in my life and hopefully will become more so, I don’t think it was always that way,
and probably then not always that way for my teaching or what I thought measured
success for my students in the past. But here’s a great example. I had a student, I don’t
know this is maybe four or five years ago, that went to national NATS and she was
getting ready to walk in to her semifinal round and I said you could just walk in there and
stand there and not sing for eight minutes and I would be so proud of you still. You
know, so like it’s really not, to me it’s never about the competition stuff it’s about what is
that person’s goal and how can I help them get to it? And same for me, what really is my
goal and why and then how am I getting there.
Smith: So, with that in mind, do you set any specific types of goals? Short-term, long-
term, personal, professional, all the above, or others?
Singing Teacher 2: Yeah, I set both short- and long-term goals with students quite a bit.
Professional or personal, I mean, I suppose a personal goal would be call the counseling
services this week, here’s their number, so sure, I guess I do that. And then professional
does that just mean in a professional setting?
Smith: Right, like yeah competing, professional development, where do they want to go
with their career, those kind of, do you talk about those kind of concerns?
Singing Teacher 2: Yeah, we do. So, I guess all of them.
Smith: Yeah. How do you set goals? That’s such a broad question but do you talk about
them or write them down or how do you decide what’s worth investing in?
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Singing Teacher 2: That’s a good question. I think to your first question, both, we talk
about them and we write them down, hopefully.
Smith: Okay, yeah.
Singing Teacher 2: And then the second part of your question was how do we kind of
decide what’s…
Smith: What’s worth investing in, how you spend your time?
Singing Teacher 2: Well again, it’s all about what’s the next step for that person and their
path or their goals, so then it kind of comes easily if you listen to that, I think.
Smith: Right. So then, are your students very much involved in the goalsetting process?
Singing Teacher 2: I would say yes.
Smith: So, with that in mind, once you've set goals, from a singing perspective, do you
have a certain process for selecting student exercises or sung repertoire and again, are
they included in those kinds of choices?
Singing Teacher 2: Mmhmm. Not so much with exercises. We might have a

conversation, especially I’m thinking right now about some high school students that I’ve
worked with that will come in and say, “I have a specific goal. I want my voice to match,
my chest voice and my head voice to match,” and I’ll go, “Okay, I’ve got some exercises
for you.” But as far as the repertoire, again, back to this kind of trying to break down
white supremacy and all of that, I have started to really pay attention to how many dead
white guys I’m giving out in repertoire and this year I’ve started having conversations
with students about it to say, “Hey, you have three dead white guys in your rep and three
non-dead white guys in your rep for the semester, what’s your level of comfortability
with that?” And I have had kids say, “Yeah, I think we need to ditch one of these and add
one of these.” And I go, “Okay.”
Smith: Yeah. Sorry I’m just writing that down; I think that’s so important. Okay, so then
kind of moving forward to feedback, this was one of the things I was doing, I was doing
this in person, so people could actually mark if they were somewhere on this scale, but
we can just talk about these things aloud and it doesn't have to fall into this. I was just
wondering a little bit about teachers’ approach to giving feedback. If it's concurrent,
which is happening during the action, if it's terminal, after, is there a lot of praise,
criticism, suggestions, all of that kind of tied up, if you want to talk about any or all of
that.
Singing Teacher 2: Yes.
Smith: Thanks.
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Singing Teacher 2: Yeah, it’s harder to give concurrent feedback on Zoom, but I feel like
I found a way to do that. This week I’ve been doing this a lot, sing to the end of the line, I
call it my spider fingers. But yeah, of course, also terminal feedback. I, like you, have an
undergrad degree in music education and one of the things that stuck with me is, like, say
it in seven words or less and I totally fail at that a lot, but I try. And I didn’t used to give a
lot of praise, but I’ve gotten a lot better at that and yeah, positive criticism, yeah
absolutely. I very rarely do the negative criticism, but I do sometimes.
Smith: Okay.
Singing Teacher 2: And of course, suggestions for improvement, yeah.
Smith: With the Zoom being brought up I just wonder, is there any, 'cause this isn't on my
questions at all because I was trying to keep, you know, similar questions when I started
back in February. So, with the Zoom, is there change to the interpersonal relationship, has
anything been strengthened or diminished?
Singing Teacher 2: I will say that my students have learned their rep a lot faster this
semester and I attribute that to the fact that they have to be much more independent
because they know they’re going to have to come in and sing their rep a cappella for me.
So, those first learning blocks, I feel like they’ve worked harder at. There was a little bit
of an adjustment period, but now I feel like we’re just so happy to be able to see each
other and sing unclogged. It feels, to me, almost more personal because I’m seeing their
face up so close, closer than I would be to them in person, you know?
Smith: Right, that's interesting, yeah, I was just curious because I'm in the same boat and
it's definitely, it's interesting. And like you, I'm glad we're doing it, I'm glad we're
singing, I'm glad we're making it work, but it is different. And is there any sort of way
that you balance encouragement and critique? And you saying you didn't used to praise
as much, is there something that kind of shifted? Or…
Singing Teacher 2: I mean as far as a shift, it was probably just my own personal shift,
but also observing other colleagues and professionals giving praise in meaningful ways,
thinking yeah, why don’t I do that more? But that was the second part, what was the first
part again, positive/negative?
Smith: Yeah, just the balance, how you manage the balance to not be too one way, or if
you do.
Singing Teacher 2: Just try to be honest. But I will say that I had a very challenging
student in the last year and there’s a learning disability, I think, that is undiagnosed in the
situation and they were just unable to count, like completely, you know, we came at it
1000 ways, and I finally had to go, alright, this student just cannot do this, and there’s no
sense in me making them feel bad because they can’t do it and me continuing to be
frustrated because they can’t do it, so we found some rep that they can be successful in.
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Smith: Okay, yeah. That's helpful. So then, for the next couple of questions, I had some
more lists that I found more in the literature. So, in number 15, are there any methods that
you use to create relationships or to get to know students, either when you're first meeting
them or throughout lessons?
Singing Teacher 2: Yeah, I don’t really do a written-out survey at the beginning. I did
when I was teaching a private studio and then I kind of stopped doing that, I suppose
that’s their audition. But B, C,D, E, yeah I do all of those.
Smith: Any examples? It’s fine if not, I’m just curious.

Singing Teacher 2: I mean, just yesterday I got an email that a student has Covid, and I
said, “All right, let me know what can I do, can I bring you food?” So, that’s sort of E. I
always, yeah, I always talk with them about their other classes or coursework, I’ve been
sending a lot of emails this week saying, “Hey, I’ve been hearing you’re not doing so
well in this class, in this music class, can you prioritize that late work this week?”
Smith: Yeah. Can I ask a follow-up question about that? And if you’re not comfortable
answering, I’m not sure if this is confidential at all, but are you, as their voice teacher,
their academic advisor?
Singing Teacher 2: I’m not, sometimes I wish I was. I sort of act like a surrogate advisor
to my students.
Smith: That’s good though, keep them going. And some of those things can affect, like, I
have students who are very frustrated in aural skills right now and that affects their whole
trajectory, if they pass or not, so that…
Singing Teacher 2: Yup, theory, piano, and history, those are the…
Smith: We all gotta do it. So then, for 16, again, this is taking from something in the
literature about creating a safe environment. Do any of these stand out as something you
specifically were to do, or do you have an example of using one of these?
Singing Teacher 2: Something that just really flashed in my head what is the saying, they
don’t care what you know until they know that you care. I think that was part of a
training that I did when I was a high school teacher about trying to get students to invest
and I think it’s really true, so I suppose that’s A and B, in a way. Yeah, I work really hard
to create a safe environment, one of my university voice teachers in my own training
would not let us say any criticisms to each other, when we performed in class, we could
only say positives, two positives. And I always thought that was weird and now I sort of
understand it, like leading students to try to support each other instead of trying to tear
one another down.
Smith: Yeah, yeah. Did you teach high school for long?
Singing Teacher 2: Two years.

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Smith: Is it very different, do you feel?
Singing Teacher 2: So, I taught 9-12 choral music and it was a fairly big program and the
thing, one of the big reasons that I left was because by this [conducting] I’m just not
making any sound and it drove me nuts, and also, I didn’t like teaching all of the ways
that they had to function as a person as high schoolers. You know, and it’s funny, right,
because here I’m talking about how much I do this at the university level, but they
definitely come in with a different level of skill than a ninth grader would.
Smith: For sure. So then, the other aspect of this study is to identify and compare
different types of training in these fields, and this might include curriculum and training
and professional memberships, certification, beliefs and ethics, research-based practices,
okay, that was a long list. So, the next couple of questions will talk a little bit more about
you, as how you came to be in this career and how you keep staying in this career. So, for
number 17, again, a list, so do you belong to any associations or hold any memberships
either on here or additional?
Singing Teacher 2: I’m a member of NATS, and I think I let my other

memberships…Oh, and I am a member of National Opera Association. I used to do
College Music Society and NAfME but I don’t think I’ve paid those dues in a while, so
we’ll leave those off.
Smith: Yes, I used to be in NAfME as well. Great, so there are some guides listed on the.
NATS website, but are there any personal or professional guides that influence your
practice? And by guides, I mean standards set for how you do what you do.
Singing Teacher 2: Yeah, it’s interesting to think about NATS and how their ethics
statement has changed over the last, I don’t know 5-10 years, but of course I’m
influenced by that. And then I would say the other things that guide my influence in
practice are probably you know texts that I’ve read so that’s not from an umbrella
organization or anything like that.
Smith: Okay, any specific that you could point to, any reading or author that specifically
influenced you?
Singing Teacher 2: Well, so many! I feel like I’ll leave someone out if I go down that
road.
Smith: I won’t tell them.
Singing Teacher 2: I don’t know, I am thinking first about the McKinney, which is kind
of a weird place to start, but just that whole idea of diagnosing students or diagnosing
voices, I think that’s a really helpful concept that that has certainly has been influential to
my practice and then all of the you know well of course the Scott McCoy and then did
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you attend that session this summer? That preworkshop ditty with Ken Bozeman, did you
do that?
Smith: No, I did not.
Singing Teacher 2: Yeah, that was good. It just comes from so many places I’m not
gonna go, it’s just this one, because it’s not.
Smith: I think it's interesting you bring up the diagnosing and the McKinney because that
is kind of a speech language pathology approach too, so that's a nice little tie over. So, I
would like to better understand some of your training. This is, again, broad, could you
briefly describe some of your training?
Singing Teacher 2: Sure. I grew up in [omitted], I went to [omitted] as a clarinet

performance major. I decided I did not want to spend my life in a practice room with my
clarinet for eight hours a day and so I became a singer, but I didn’t think I was good
enough to be a singer and so I thought, well, I can be a choral Director and so I got my
music education degree and then I won a national conducting competition for undergrads
through ACDA, and then I taught high school for 2 years, and then I was like I really
want to get my masters in voice performance, I feel like I just, I don’t know, the universe
was calling me to do that. And so I did that and then I got married and then I moved to
this area and then I taught at [omitted] and then I took the job at [omitted]. So, that’s not
just my training, I guess, that’s my path for you there.
Smith: No, that’s so helpful. That was great you were very, very concise. And it's helpful
to see, I think that's interesting about singing and not thinking that you were good enough
to be a singer, and now do you ever come across students with similar self-images?
Singing Teacher 2: I think so, oh absolutely, but something that helped me is to think
about when, you know, I was their age and I had one student for three years and then I
had a different signature for the last year and that teacher had been my opera workshop,
or opera director, so I already had a relationship with her. And she was the one who
always said, “Well, I always wonder why you don’t want to do performance,” and I was
like “I’m not good enough, what are you talking about?” So, I realize that now, that was a
really important interaction and a really important thing for me to hear. And so, I make
sure that I say those things to my students too. Like, “I know you want to be a music
educator, but I think it’s important that you hear from me that I think you could
absolutely do performance if you wanted to.”
Smith: Yeah, yeah, that’s wonderful. And that kind of leads into how do you feel like
your past training has influenced your current teaching? Or your practices? And how, you
could point to something, or that kind of did, but…
Singing Teacher 2: Yeah, well there’s so many. I mean, yeah, I was working on [unclear]
with a student today and talking about those melismas and that’s just like playing the
clarinet, I mean there’s so much virtuosic stuff, that way that you sing through it with
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your airflow, you play through it with your airflow, so when I came to that rep I think I
just felt like ,oh I’ve already done this this is nothing different. But also just, I mentioned
earlier about being a choral director and really being aware of everything that I present is
something that they’re going to give back to me, seven words or less, the rehearsal
techniques from being a conductor, that really influences me.
Smith: Yeah. Is there any specific training that you wish you had received early on in
your career or studies?
Singing Teacher 2: No, well I do remember thinking when I was a senior, like wow, it
really would’ve been helpful to take voice ped when I was younger, but I sort of
understand why it is the way it is.
Smith: Right, right. I mean, you can only learn so much at once, but I remember thinking
the same thing.
[omitted conversation about locations and schools]
Smith: And then, I'm just checking the time, I wanna make sure we talk about, I might
skip ahead a little bit. So, I'm going to look at number 25 if you want to look at it, but in
determining how to best serve voice users as a whole, I'm curious how both fields can
connect students and clients with these different experts. So, do students come to you in
any certain way? And especially in the university setting, do they choose you? Are they
recommended? Is there any factors that match you as the teacher with them as the
student?
Singing Teacher 2: [Omitted]. I’m doing a lot of that matching. And yeah, like sometimes
a student comes and says, “I want to have a sample lesson with you right and then I want
to study with you” or just shows up and says, “I want to study with you,” or “I want to
study with so and so,” so yeah, that definitely happens and we try to honor that when a
student makes that request, but we also try not to make a big deal about requesting a
studio, because we feel like you can get a good experience with anyone at [omitted].
Smith: And then, this isn’t written down, but have you ever had to recommend somebody
to therapy or to a doctor or to an ENT and how does, do you have a process for handling
those kinds of referrals?
Singing Teacher 2: Yeah, with the ENT, just because I kind of have a relationship with
[omitted] and [omitted] at [omitted]. I’ll always recommend students there and it’s great
because I can just send an email with the student to [omitted] and say, “Hey, this person
is my student we talked about them reaching out to you to have a scope,” or whatever it
is, and you know, “Can you give them more information on insurance?” or something.
And then [omitted] has someone else email them so that’s really, really nice.
Smith: Yeah. Yeah it’s nice being, having those connections so it’s not so scary.
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Singing Teacher 2: Yeah.
Smith: Is there, this may or may not apply, and the way you described how you handle
matching sounds really good and healthy, but is there anything that might keep you from
teaching certain students? And can you refuse a student or have you ever?
Singing Teacher 2: I have never refused a student. Is there anything that might keep you
from teaching certain students…This might sound, you might disagree with this, but I
rely heavily on my intuition. If there’s something about, like, I’m very aware and open in
the audition, I am trying to pick up a lot of different things from them and I can usually
get a sense of like, oh this person I think will just work really well with this person.
Smith: Okay, yeah.
Singing Teacher 2: I’m not always right but…
Smith: No, I mean, that’s part of it. And then on the other side, is there anything that
draws you to certain students or anything that happens in the audition that makes you
perk up, I guess?
Singing Teacher 2: Well yeah, if someone comes in and quote, eats the stage, then okay,
yes we’ll get along. Or, I don’t know, there’s so much revealed about a person in the way
that they present themselves for an audition, you know, it’s really astounding. I find
myself often times being charmed by someone, you know, or just intrigued by someone
or I guess that’s the thing, you think about people sitting on audition panels at all levels
of the business and I guess that’s what everybody’s trying to assess, is who is this person,
what are they going to share, not just in this moment but in the future? Artistically,
musically, how are they going to grow?
Smith; Yeah, yeah, thanks. And then, is there, this is number 28, in terms of the voice
studio, do you meet, or I don't know what's going on, or prior or right now, do you meet
with an entire studio of students? And is there any culture, or a culture that you strive to
create in your studio?
Singing Teacher 2: Yeah, we don’t meet as studios at [omitted], we meet as an area.

We’re going to go to some studios and some divisionals or whatever you want to call
them, areas, we call them master classes, but yeah. But what does the role of studio
culture, yeah, there absolutely is a studio culture and I think the teacher does play a big
part in building that.
Smith: And then I really wanted to get to number 29, especially with what's been, I mean,
what's been going on in our history forever, but it's just now coming, I don't know, people
are realizing things. But it's likely in our fields that we will be interacting with just a
variety of different people, whether that be age, sex, gender identities, religions,
ethnicities, socioeconomic status, abilities. How do you approach diverse students, so
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individuals, with understanding and respect and was there ever a time that this was easy
or difficult to do?
Singing Teacher 2: Well, I’ll answer that by saying that I approach it by continually
working on myself. We just did the IDI, have you done any of this stuff?
Smith: I don’t think so.
Singing Teacher 2: It’s a survey related to diversity, equity, and inclusion, and it’s how
you identify on a spectrum of denial, polarization, minimization, acceptance, and
adaptation. It’s really fantastic, if you get a chance to do it, I really recommend it.
Smith: Okay.
Singing Teacher 2: So, I’m thinking of that because it’s totally relatable and it helps you
understand where you’re at on that scale of excepting all people and then even gives you,
lik,e how can you grow into, lean into, the next category.
Smith: Oh, that’s amazing. Did you do that with, was that a school-mandated thing?
Singing Teacher 2: It’s a college-wide thing for us right now, they mentioned that it’s
free for us right now, but that it won’t always be free, so I don’t know if, how accessible
it is for anybody who wants to do it.
Smith: And with your, kind of relating back to how you’ve gone through the music
selecting process, do you find that, I'm trying to find the best way to say this, 'cause this
isn't a question that I prepared for, but I'm trying to get at how do we use the actual music
in diverse ways, could you just talk a little bit more about that?
Singing Teacher 2: How do we use, like, how do we use Mozart in diverse ways, or how
do we use diverse repertoire…
Smith: I guess both. Because we have set up, like, if you're going to do this you have to
know how to sing Mozart, but do you really? So, either one, I guess, however you want
to address our field.
Singing Teacher 2: I am a huge fan of Brené Brown and I listen to her podcast
“Unlocking Us” and has an episode a while ago with Sonya Renee Taylor and her book I
think it’s called “Radical Self Love: The Body is Not an Apology,” and in it she talks
about the ladder and essentially, the ladder of white supremacy and ways in which we
uphold the ladder. And I am really questioning that right now, like, by assigning this
music of, essentially, people that made livings or their society made money from the
transatlantic slave trade and that’s why they were, part of the reason, why they were able
to make this music that we now put on this pedestal and keep perpetuating, yeah should
we just like cut that down? Should I just not be a thing? Also listening to articles, I was
listening to Hershel, another podcast of that same “Unlocking Us,” and I think the guest
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was Elizabeth Lesser, and she was talking about how her stories show our collective
trauma and her example was look at Eve: second born, first to sin, we give all that blame
to Eve, whether that’s right, no it’s not right, but that’s the way that our stories are, and
then she gave many examples of the stories in which the woman is bearing most of the
guilt or the weight and she’s making the case that because we internalize these stories, we
hear these stories over how many thousands of years, that that has to be kind of ingrained
in our bodies. And I just listen to that last night, and so I’ve really been thinking, sorry
it’s kind of a tangent, really been thinking about that today, like that idea of classical
music and the aesthetic of it, the control of it the very, it’s shaped in this way, it’s done in
this way, it’s devoted in this way kind of idea, like how much of that is really upholding
the ladder? So, I don’t know. I do think we are upholding the latter by continuing to just
look at those composers that we all were taught.
Smith: Right. And your continued use of the word stories makes me think of, like,
storytelling as part of the vocal art, and what are we asking students to pour themselves
into? Or, you know, if I become this character or emotion or subtext in the poetry, what
am I really saying?
Singing Teacher 2: Yeah, what am I upholding, what am I communicating, or what am I

perpetuating?
Smith: Yeah, yeah, that’s very interesting. And, like I said, that wasn’t part of my original
questions, but just based on some of the things that you had mentioned, and I think that
those are questions we have to answer when we're, you know, I'm pretty young, but
raising the next generation, what are we training them to do? So no, that's very interesting
Singing Teacher 2: We had a dean’s candidate a few years ago that said, “You can’t say
that you’re an institution that supports diversity, equity, and inclusion, and then turn
around and say that European Art history is required but African Art History is not
required.” And I thought, oh God, that’s so right, and we do that all the time. I mean look
at song literature, I don’t know, and then I left that interview and went to teach my song
literature class and said, “Oh my God, you guys, I can’t, we need to talk about this.” So,
there’s a lot to grapple with, but yeah, I don’t have all the answers for sure.
Smith: Me neither, definitely. So, I just had a few more questions, kind of on a different
tangent, just at the end Is there any specific way that you, this is number 30, prepare for
sessions or lessons?
Singing Teacher 2: Yeah, it used to be more like paper, but anymore it’s, like, all mental.
And a lot of that also is with the Trello work, you know, when I am helping them dictate
what they’ve done in the lesson, that’s also record-keeping for me, helping me, thinking
about how I can take them further with that concept or idea the next time.
Smith: Right, so then that kind of is the next question, do you spend time reflecting on
sessions in any way?
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Singing Teacher 2: Yeah, I guess it depends on the specific session, but yeah, that’s
always the question. We met, we had our time together, we hopefully grew, and then how
can I start next time and going forward with whatever the lesson is.
Smith: Yeah. And then what was your, you kind of already explained a little bit of this,
your motivation for entering this line of work? I know you didn’t want to do clarinet, you
were a choral conductor, and then you mentioned he just really wanted to go back for a
masters. Was there anything that motivated you to do teaching alongside performing,
teaching a little bit more than performing, do you perform more, I’m not really sure much
about your, I don’t know, do you perform a lot? Anything to do with, like, motivating
factors?
Singing Teacher 2: So, I, when I first got out of grad school, I was doing a lot of
auditions, a lot of coachings, like flying to New York a lot, and doing some summer
programs and some opera, professional opera performances, and things like that. But I
always felt like teaching and performing went so well together and I like to be busy, so I
think that’s another thing that drove me to teaching, because, you know, I’m not saying
that performers aren’t busy, but that whole life of waiting for the email to come with the
next offer and then biding my time in between, that wasn’t going to work for me.
Smith: Okay.
Singing Teacher 2: Yeah, and then I had a son in [omitted], and so that’s kind of
influenced my travel, I don’t travel as much anymore because I need to be home. But
yeah, I feel like I’ve always been a teacher, my parents were teachers, I am a teacher and
I think I found, too, that I prefer the one on one kind of interaction to being in front of a
choir.
Smith: Yeah, I mean, and that was part of my motivation, personally, too, and kind of
was at the heart of why I wanted to interview individuals who work with individuals, is
there something about the one-on-one that you, that you could put into words, that you
like better?
Singing Teacher 2: Oh yeah, because people take off their armor.
Smith: Yeah. And then is there any continual motivation that you find in your line of
work?
Singing Teacher 2: Continual motivation?
Smith: Yeah, if anything.
Singing Teacher 2: Yeah, it’s just helping people, you know, giving to people and that
cycle of gratitude towards one another, makes it all worth it.
Smith: Yeah, thanks.

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[omitted personal conversation]
Smith: Is there anything else along the lines of interpersonal skills that you want to
communicate?
Singing Teacher 2: No, just, I’ve really enjoyed this, thanks for making this study, I think
it’s really interesting. It has always seemed so evident to me that teachers are, voice
teachers are, invested in their students on an interpersonal level and so, yeah, I think it’s
great that you’re doing this.
Smith: Thanks. And I’m glad you think so too, because I think so, but I needed to ask if
other people think it’s true and if other people have the same viewpoint on it.
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Smith: Okay, so I am recording. And I feel like a lot of these questions were inspired by
conversations with you and with other people, so if there's not anything else that you
have to add, that's totally fine. But we had kind of already talked about the pandemic
because I saw you afterwards, but is there anything you'd like to add about how the
interpersonal interactions have changed between you and students due to the pandemic,
either positively or negatively?
Singing Teacher 2: Sure, I’ll say that I feel a stronger interpersonal connection with most
of my students now than I did pre-pandemic. And I don’t know if that’s because of the
ways in which we’ve had to shift, right, being on zoom every week, but then also I’m
always telling them, you know, “Just text me if you have a question.” And I think they
feel a little more comfortable to do that because of the digital age that we are living in, so
I think that’s been really strong. And a lot of students noted that on their student a
valuations last semester too, I was kind of surprised to see that mentioned so often, like,
“I really appreciate the way that [omitted] would adapt for Covid and adapt expectations
or adapt what we can and can’t do.” So, I think that actually we ended up doing okay.
The population that I think was the most negatively affected were our freshman.
Smith: Okay, just adjusting, Covid, new environment, that kind of thing?
Singing Teacher 2: Yeah, I think trying to build community was really tough and, you
know, they came to school and sat in their dorm room and didn’t know anyone and I saw
a freshman in the hall a month ago and she said, “Oh my God,” she’s a student of mine,
in my studio, and she said, “Oh my God, I think this is the first time I’ve seen you in
person, or maybe the second time, Hi, I am blank,” so I think they have struggled. But
most of them are slowly finding community online, you know, we’ve tried to help that
but that’s been the challenge I would say.
Smith: Okay, yeah that makes sense. And then, because I’m talking to teachers of singing
and more the medical, speech-language pathology side, and we briefly talked about this,
but do you value being an expert in one or two different disciplines, whether that's a
teaching technique or a genre of music, we kind of talked about that last time, versus
being versed in a number of different disciplines? Or maybe both depending on the
situation?
Singing Teacher 2: It’s interesting because my training was a very much western classical
genre and technique. And as I’ve taught and as I’ve watched the world morph and change
or see more conversations about diversity, equity, access, and inclusion, I’ve really
shifted to try, I don’t really consider myself a generalist, but I try to learn about all
singing styles, all singing techniques, and to be open to teaching all of that as I can, even
if that means I’m learning one step ahead of the student, and all that, so. But I do still see
myself as more of an expert in classical music and classical technique, but now I’m
starting to learn how to teach all of it, or more of it. Could anyone ever do all of it?
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Smith: Right, yeah.
Singing Teacher 2: Does that answer the question?
Smith: Yes. Of course, and then just a follow up question, maybe it's an obvious question,
but could you put it in your words how that influences the student in your interaction?
Singing Teacher 2: Sure, I’m going to kind of use someone else’s words. My colleague
[omitted], he says a lot of times, you know, if we’re only teaching one genre or one
specific style, is that really serving the student? And so I think that’s where a lot of this
comes from is trying to help students find their own artistry and their own interests and
passions in a format in which they can be successful and we can help them, right?
Smith: Yeah.
Singing Teacher 2: And so, I think that’s a big reason for the shift on my end is yeah, not
everybody has to do classical music right in an academic setting, why are we thinking
that, just because it’s the status quo maybe? And so, we’re trying to, we’re wrestling
we’re trying to shift as best we can. So, as a voice teacher, sometimes I see how students’
voices are more naturally inclined towards one technique or style or another and so that’s
exciting, too, when you’re exploring more genres that you see some of those strengths
that maybe don’t present in a certain style that they do in another style. So, it’s exciting to
be able to learn more about the students’ voices in that way and then help guide them
towards what I think will be their best fit and path.
Smith: Cool, yeah, thanks. Thanks for expanding on that a little bit. And then, and if
there's ever anything else you want to say you, can always come back, but I'm just going
to kind of quickly go through. I don't know if this applies to you exactly, but some
teachers, and then especially some speech language pathologists, mentioned seeing
students short-term, and then some indicated maybe getting them ready for an audition or
something. If that's true, is there any difference between how you interact with voice
users you see long-term versus voice users you may only see once or twice or over a
short amount of time?
Singing Teacher 2: I’ll start by saying I don’t have a lot of students or clients that I work
with right now that are short term, that’s just kind of the nature of my work at the
university and the fact that I am not taking on a lot of you know private clients I’m
thinking about I just saw a student last week who graduated from here after studying with
me for four years and I haven’t seen him for a few years ,so that sort of feels like a check
in but it’s still not a lot of the short term so will you ask the question one more time after
I’ve kind of qualified that.
Smith: Okay, yeah, and if it doesn't apply that's totally fine, but a difference between how
you interact with singers you see long term versus short term?
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Singing Teacher 2: I mean the biggest thing that’s coming to me is when I am interacting
with a student for a longer-term, it allows us to build trust with one another. And so, I
feel like in those relationships we are able to explore more and further. But I don’t think
of any of my short-term clients or students in any different way, but I do notice that those
interpersonal relationships, of course, are not the same if you’ve met once or twice versus
20 or 40 times.
Smith: Right, right, that makes sense. And then this also may not apply, but I had some
teachers who see much younger and much older students and is there any role that the age
of the voice user plays in the interaction? Or in your case, maybe freshman versus senior?
Singing Teacher 2: Yeah, definitely. One really obvious one is just length of lesson time.
Smith: Okay, could you explain how that works here.
Singing Teacher 2: Sure, I mean, well, I’m thinking like for high school students I’ll say,
high school or even a middle school student, I would recommend a 30-minute lesson,
maybe 45, I have a high school student that does 45 minutes and that’s like perfect for
her. Whereas, and then even for our freshman here, they take 30-minute lessons and we
have a one hour class with all of the freshman every week instead of them sophomores,
we’re seeing everyone for an hour lesson.
Smith: Cool. What do you do in the voice class?
Singing Teacher 2: Oh, it’s really fantastic. I’ll tell you all about it.
Smith: Please, I want to know.
Singing Teacher 2: I think it’s one of the best curricular things that we’ve done. So
essentially, we noticed that a lot of times when freshmen come into a program, they don’t
know what’s what, they don’t know how to study music, a lot of them don’t know how to
learn a song independently, so there were all these skills that we were teaching over and
over and over and over again to everyone in their individual lessons, and then we said,
“Well, this is silly, let’s teach this collectively.” And one of the best benefits is that our
retention has been so much better. I think it’s because we have all those students in a
room and they get to know each other, they sit in the classroom afterwards and do their
music theory homework together, you know, start a group text chat so they can remind
each other, we call it FVS, freshman voice seminar, what their FVS assignment is for
next week and so on. And then it also becomes a performance class for part of the
semester so they’re getting up and performing you know their songs for one another,
even if it’s just like phrases, and we learn a group song together, they do their first Italian
song together, we do, well this hasn’t happened every year, we try to introduce them to a
French song together, we go through IPA together. So, it just helps everybody feel like
they’re part of the family, or a part of the team I should say, and helps us to better
educate them on some of those really basic skills, even soft skills that you need to be
successful as music majors.
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Smith: That’s amazing. So, how long has that been in the curriculum?
Singing Teacher 2: Four years, I think.
Smith: Yeah, that’s awesome, 'cause obviously, I'm trying to make recommendations, and
I feel like that's something that more, especially universities should get behind. I
definitely did not have that. So, that would have been very helpful and very useful. And
you mentioned retention rates, I can think of a handful of students that dropped after
freshman year or changed majors and just didn't ever quite click in, or like get on board, I
guess. So, that's really cool.
Singing Teacher 2: And the other part of it is that all three of the voice faculty of the
applied voice faculty are in that every week, so it gives them access to us, too, so it helps
again to build community. I modeled it after a program at [omitted] that they started, it’s
similar in forma,t but I think their diction coach is the one that teaches the freshman voice
seminar so it’s a little bit different.
Smith: And do you have diction courses here?
Singing Teacher 2: [Affirmed]
Smith: So, it’s like a pre-cursor.
Singing Teacher 2: It’s like pre-diction.
Smith: That would also be very helpful.
Singing Teacher 2: Yeah, except now we’ve changed some of that, so that now, some of
them take diction right away, because of the way that the class sequencing works, which
is fine too.
Smith: Yeah, same at UNL, you have to fit it all in at some point.
Singing Teacher 2: I don’t mind if they have diction earlier honestly, like, okay, great.
Smith: Cool, that’s awesome. Then, so then, this next question I would say was kind of
inspired by you, about our conversation about the work you're doing on deconstructing
white supremacy and what that means for teaching, teaching song literature, that kind of
thing. But is there any role that the familial or personal background of the voice user with
whom you're working, maybe more on like a one-on-one situation comes into the studio?
It's kind of a broad question, but that could include some of the things we talked about:
nationality, culture, also socioeconomic status, or sexual orientation, religion even? Is
there any comments more on that?
467
Singing Teacher 2: Yeah, I don’t know if I said this the last time that we talked or not,
but I think this is answering our question or going a little bit more in detail about it. I’ve
started to ask each student when we meet about their repertoire if there’s a specific
nationality, culture, lived experience, sexuality, composer identification, anything like
that that they’re interested in exploring in the repertoire, just to a give them a voice. I’m
careful to make it to make sure it’s not me saying, “Okay, you need to advocate for your
own diversity in the repertoire,” right? But it’s been really interesting to hear students’
responses. I had one student say, “Yeah I’d really like to sing some music of Jewish
composers.” He said, “I had to do a project in choral literature on Jewish choral
composers and I really loved the music and I’d love to know what art song there was by
Jewish composers,” and I said, “Well, great, I’ve got resources for that,” you know. And
then some students will just say, “Yeah, I think it’s really important that I just sing as
diverse of composer background experience as I can.” And I say “Okay.” Or, you know, I
had a student say, “Yeah, I’d really like to sing, I think it’s important I sing something
French this semester, I don’t know how to do that.” “Okay.”
Smith: At least they recognize it.
Singing Teacher 2: Right. Or another thing that I’ll do sometimes, is to say, “Hey, just so
you recognize, our list here for our repertoire this semester is not very diverse. These are
all cis-gender, white, male, able-bodied people,” you know, and maybe Christian, may be
in there too, and sometimes that’s where the conversation ends, and other times we’ll say,
“Well, yeah, we need to do better with, let’s swap something out,” that’s usually how the
conversation ends. So, that’s kind of a, I found a simple way just to name it and talk
about it and try to make progress without having to feel like, you know, fruit basket upset
and then we don’t know where to turn or what to do.
Smith: Yeah, yeah, and giving them that power, and like you said, a voice in the
repertoire decision. I feel like that, in and of itself, doesn't happen as frequently in some
studios. It's like here's what you're singing. So yeah, yeah, thanks.
Singing Teacher 2: Yeah, and then of course the hard part is there’s a lot of research on
my end for things that I don’t know.
Smith: Right, right, yeah. Is there any sort of approach, do you just listen to a lot of
music, do you go to the library, how do you pull out those resources?
Singing Teacher 2: Yeah, usually not the library because, you know, music publishing is
also racist, so it doesn’t really help. This is a comp question to one of my master’s
students right now. She has to, I gave her 10 voice types and said, “You need to assign
two pieces to each voice type that you would give to like a high school or young college
age student, and you have to include marginalized composers, or it should be primarily
marginalized composers.” And she said, “I didn’t realize how bad it was until I went to
the library and I looked through all of everything and it’s almost all dead white guys.”
And I said, “Yes, the fact that you learned that is really good, that’s a really big step,”
right, but I’m getting off on a tangent.
468
Smith: No, it’s good.
Singing Teacher 2: Remind me of the question again.
Smith: Oh, just how you find this music or yeah, resources you do use.
Singing Teacher 2: So many ways. I actually did a presentation at the Bach Festival on
this and I’d be happy to share my Google slides with you.
Smith: I’d love that, yeah.

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Singing Teacher 2: I’m hoping it’s something I can do again in the future, but if it’s
useful to anyone that’s wanting to do this kind of work, then I want to share it. But I
talked about database resources, anthology resources, and then some basic songs, you
know, that I think are things that I don’t see or hear performed a lot that help. So, that’s
kind of where I go. And I am always listening, I mean even on Instagram, you know, I
found a piece for a student on Instagram. One of my friends that is a Mexican heritage
operatic singer posted a video of him singing [unclear] by María Grever and I was like, I
don’t know this song, it’s so fantastic. She’s a female Mexican composer and my student
was looking for something specifically that, and so there you go, it was handed to me
specifically by the universe on Instagram. But that’s not how most of it happens. It’s a lot
of research database, watching YouTube videos, trying to, you know, just getting curious,
and then spending a lot of time on this, on the computer.
Smith: Okay, yeah, thanks. Kind of shifting gears a little bit, because I am looking at both
sides, what is the role, if any, of multidisciplinary training and educating voice experts?
So, for example, should we understand voice medicine or the practices of speech-
language pathologists? Or how much should they understand music and how we sing, if
at all?
Singing Teacher 2: I think the more the better. Did I, I probably mentioned that
performing arts medicine course that I took. Do you remember?
Smith: I don’t remember.
Singing Teacher 2: not that you need to be responsible for remembering what I told you.
Smith: Oh, well I did transcribe it and read through it, but I don’t remember that.
Singing Teacher 2: Okay, well this was a really fantastic thing that people should know
about. It’s an organization that I think has this objective at its core it’s to bring together
specifically for the voice track, medical professionals, speech-language pathologist, and
voice teachers, voice artists, to realize that we can all function as a team, and in
functioning like a team we can better serve our clients and students and [omitted] at
[omitted] is the one who recommended that course to me and I took it, [omitted] took it,
[omitted] took it this summer, so we were all, usually it’s a I think an in person thing, but
because of the pandemic it was online. And I think it was 20 some modules that were a
half-hour to hour lecture each about a specific topic within, within this. And so, it was
geared towards educating. There was a lot in that there was educating doctors about what
the demands of a singer are, so that they can understand when they have singers that
come, they can help them. And same thing with this idea of the team of the
otolaryngologist, laryngologist, the speech pathologist, and the voice teacher to rely on
one another and work as a team. So, I think that the more that that happens the better,
right? Because obviously, a laryngologist is going to be able to diagnose things that I
would never have any business dealing with but that could be really important to be
diagnosed and have that information as a voice teacher.
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Smith: Right, great. And that was voice performance medicine? What was it?
Singing Teacher 2: It’s called Performing Arts Medicine Certification. And then there’s
different tracks, there’s an instrumental track, there’s a theatre track, there’s a voice track,
a dance track, and then I medicine track.
Smith: Oh, thank you. Thank you for letting me know about that. That's so cool. And
then, okay, this is maybe one of those loaded questions, so you can go with it wherever
you want, but what is the role, if any, of gender in your field? For example, are there any
barriers or privileges granted to voice experts or voice users based on gender? And I
could give an example, I don't know if this is true in your field, but I had some teachers
of singing say that, like, male students were going to male teachers, maybe because of the
repertoire. And not that that’s, I don’t know, so anything like that, yeah that’s fine.
Singing Teacher 2: No, I mean I think it’s more systemic than just voice teachers, I think.
Yesterday was equal pay day for women for white women, right?
Smith: No, see, I don’t know things, what happened?
Singing Teacher 2: I heard it on NPR.
Smith: Oh, so it’s like a nationally thing?
Singing Teacher 2: So, it essentially, I think was on President Biden’s Instagram too, not
that I just sit on Instagram, but you can find it there. But no, it’s the date that women had
to work to this year to make whatever white male made until December 31 last year.
Smith: Oh, what?
Singing Teacher 2: Yeah, that was yesterday, and the latest date was October 21 for a
Latina.
Smith: Oh my goodness, that’s blowing my mind.
Singing Teacher 2: So yeah, there’s a lot of gender and equity, and yes I do feel it and
experience it as a voice teacher, but to answer your more specific question about like a
male student studying with a male and female studying with females, I don’t really
perceive, I don’t really think that’s so. I certainly have male students and female students
and my male voice colleague has male students and female students. And I do wonder
sometimes if there’s just a comfortability with, you know, I know if a coloratura soprano
walks in the door, I know how to teach you. Because I feel like a kinship, that’s my voice
type, I’ve been through this, and so I wonder if there is a little bit of that that comes into
it. But it doesn’t mean that we can’t teach everyone and that we shouldn’t teach
everyone. When I was teaching 9-12 high school choral music, I was a team of two and it
had been two males, and it was important to them that that person be a female so that
they could model in a female voice for their female students, so there’s an example of.
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But I find it interesting how that sometimes considered a factor, but then when there’s
two male teachers, just sort of goes, it’s like it’s fine, oh they can sing in their falsetto,
but I don’t, I guess there are some female high school teams. Anyway yeah, it is a loaded
question and yeah, I’ll go back to what I said first, I think it’s all the systemic stuff that
we deal with as a nation, as a world that is trying to deconstruct the sexism and the way
that we view women. That’s the real work.
Smith: Yeah, yeah, great. Thank you. And then I just have a couple more questions. What
is the role, if any, of funding in your field? For example, have you ever had to pay out of
pocket for additional training or to attend a conference? Or like you did this summer, was
that all personal funds?
Singing Teacher 2: Oh good, I get to get on another soapbox today. Well, it’s funny I was
just about to pay $100 to the College Music Society out of my own pocket when you
walked in the door to become a member again, and then I will pay $300 so that I have the
pleasure of giving my presentation at the national conference, which I will probably pay
out-of-pocket to fly to Rochester and pay my own hotel, you know. So yeah, there’s a lot
of out-of-pocket. It’s something that I have grappled with a lot. I have heard people say
that they are still paying off loans that they took off to fund their tenure, so that they
could get tenure, because they had to go to all of these conferences. It’s so backwards. I
am hoping that we can make positive change. My husband is in business and just this
morning on the car ride here, I mentioned that we had been excepted to present, [omitted]
and I with our under-represented marginalized female composers recital, and he said,
“Yeah, that’s just so strange that you guys have to pay for the privilege to educate other
people about, you know, your research.” But I will say, like, as far as funding, I usually
get about $1000 from the department per year for any, for like any and all travel related
purposes, so by the time it said and done, that’s essentially one, you know, one
conference. Which is really great to have that support, but also when the expectation is
that you have multiple conference presentations and/or recitals of a regional or national
stature where you’re having to travel, then it’s it doesn’t really cover it. So, you have to
be smart about how you try to navigate all that, or how you get funding. And some
people are really good at that and some people aren’t and, you know, it just it’s sort of
individual, I suppose, for everyone.
Smith: Okay, yeah. Great thanks. And then what is the role, if any, of the singers’
dispositions? For example, I'm just going to totally label people, but perfectionism, high
achiever, high anxiety, or maybe on the flip side, like less motivated or like not
interested. Whatever their personality or their learning tendencies bring into the room,
how does that kind of play out?
Singing Teacher 2: How does it play out? How does it influence our time together?
Smith: Yes.
Singing Teacher 2: Those are absolutely things that we talk about a lot, and that might be
part of the instruction that’s even more important than what’s happening with the vocal
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technique or the diction or the phrasing, you know, because that influences how they are
approaching it, right. So yeah, there is, I would say that plays into it a lot. And the whole
idea of just meeting students where they’re at and then trying to help them, that’s part of
that equation, I think. It’s not just oh, you’re a human being with a larynx, right? But
you’re a whole person we have to talk about it all, I think.
Smith: Right, right, yeah, I agree. Great, and then my last question is what is the role, if
any, of scheduling demands? And do you see students back-to-back? Like 1 right after
the other? Like for your schedule, yeah.
Singing Teacher 2: Yeah, I do. I wouldn’t have enough hours in the day if I didn’t. I
found that four hour-lessons in a row is about my max before I have to have some kind of
reprieve, where it’s not, where I feel it’s not fair to the student because I am [unclear].
Smith: Yeah, yeah, and other teachers had mentioned that which is why I wanted to bring
it up. Is that true with Zoom, too? Like, are you’re ending one and, are you still on Zoom
lessons?
Singing Teacher 2: Mmhmm.
Smith: So, you’re like ending one and starting the next?
Singing Teacher 2: Mmhmm.
Smith: And is that any harder over the computer or just kind of the same?
Singing Teacher 2: It’s a little different because there’s always tech issues. So, someone
says, “Hey, my Internet is not very fast right now,” and then all of a sudden, they drop the
call. And then they have to come back, and so it’s been a different beast to learn how to
be patient through that, because I’m used to being in person, and that go, go, go, they
walk in the door and we try to get as much done as we can kind of work atmosphere, and
I’ve just had to allow more room for all of the issues that come. So, it has been different
to be on Zoom. I’m thinking of teachers that I’ve seen, like famous New York teachers
that will teach 12 hours, you know, just back-to-back to back-to-back. And I’m also
thinking about an interview I heard recently with Dorothy Danner, she was a dancer on
Broadway and then became a stage director. She’s quite renowned, she just got the
National Opera Association’s lifetime achievement award in January, I’m thinking. But
she was talking about working on Broadway and how, or for television, and how they
worked 16-hour days, you know, it was just what you did. And I’ve certainly been part of
artist programs that were that way, it’s like 12- to 16-hour days, every day and we had
literally one day off all summer. That was the pace. So, there is something cultural in the
way that musicians have worked in the past and singers and theatrical artist that is really
demanding, and so I think that factors into this idea of just teaching back-to-back to back
to go to go to go to go. I will say I think I’ve gotten better at managing all of that the
longer that I’ve taught and knowing my own limits. And you know, it is tough to teach,
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especially when you’re trying to teach and then you’re trying to also sing, do your own
singing, it’s hard to manage all that.
Smith: Right, yeah. Can I ask a follow up question? Last time we met, you talked about
the Trello app that you use with students, and that that was mainly, like, a good way to
keep you both on the same page and reflect and everything. So, that kind of is happening
after the lesson, right? So, it's not, like, in between? I guess what I'm trying to ask is, is it
difficult to shift gears from one student, and I'm thinking about all of their stuff, and then
a new student, I have to think about all of their stuff coming in?
Singing Teacher 2: I, anymore, am a very fast typer, so even as a student is singing

something, I’m in the Trello going [typing], so it’s essentially synchronous. But there are
sometimes that I get to the end of the lesson, and I’ll say, “Okay, we just need a minute or
two to reflect. Here’s what I’m writing on here, you need to work on this, you need to
work on that, and saved, there it is in the Trello.” And when I go to my next student, well
here I’ll just show you how it’s kind of, it’s just really easy to quickly, quickly see.
Sometimes I write more, sometimes I write less. :et’s see I’m trying to think of somebody
that…
Smith: I just don’t want to crowd your space, but okay.
Singing Teacher 2: So, like here’s all the all of our bookkeeping things, all of their
repertoire and contact info, and all their projects and things, and then I just keep a card
for each lesson.
Smith: So, this is one person I’m looking at?
Singing Teacher 2: This is one person. See here, I just wrote down what pieces we
worked on, that’s all I wrote that day, but hopefully I wrote something more next week.
“I’m Nobody” with new track or with track in the beginning, [omitted] should be learning
new piece. So sometimes, it’s just really simple like, I told you to learn this. Here’s just a
list, this is more common, a list of three things you need to fix in that piece, or three
things to work on. So then, when she walks into this lesson, all I’m doing is going,
“Okay, hey, it’s so great to see you. Okay, let’s pull out ‘Well-Behaved Women’ again,
and I can’t wait to hear how you’ve blah, how you’ve worked on this thing.” Because
otherwise, when, when I first started teaching, I could keep all of that in my head and
then as life has gotten busier, I’ve gotten older, I have a child to keep track of as well, I
can’t remember when somebody walks in, necessarily, what we worked on the week
before.
Smith: Right, and you have multiple students. How many students do you see?
Singing Teacher 2: I have 15 students this semester.
Smith: That’s a lot, yeah. And you multiple that by how many songs they’re all singing,
it’s a ton of information.
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Singing Teacher 2: It’s a lot to keep track. So, that’s why we have this.
Smith: Cool, yeah. It’s cool to see it laid out and then you can both access that person’s
thing? And then it’s all free, you said?
Singing Teacher 2: It’s all free and then you can do, here, you can put color labels on
things, this is when she had a pianist in her lesson, I was coding that last semester. You
can make a checklist of things that they need to do and it pulls up, you can put due dates
on cards, you can also like, here, I have a link, sometimes I’ll put like, oh here’s a
YouTube link that I wanted them to watch of a specific piece, it’s just easier to kind of
keep it all in one place.
Smith: Right, and then it’s all in one place and it’s not getting lost in emails back and
forth or anything crazy. Okay, cool!
Singing Teacher 2: So yeah, it works well for me and for the students. They do still write
reflections that goes, part of, we use Canvas, do you guys?
Smith: Yeah, yeah.
Singing Teacher 2: So, that doesn’t show up in the Trello, but that’s okay.
Smith: Okay, and yeah, you had mentioned that last time we talked about reflections, so
yeah. Great, so those were the main questions I had as follow-up. Is there anything you
thought of or anything else you want to comment on?
Singing Teacher 2: I’m so glad you’re doing this work.
[Omitted conversation about personal identifiers]
Singing Teacher 2: I hope that if I’ve learned anything, it’s that I should do the things I
want to do, and not try to, you know, go to this conference cause so and so I said I
should, but because I want to and I want to share that. And then it doesn’t feel like, why
am I going into debt to share my hard research, that I’ve worked so hard to…It’s the
same thing for performers, a lot of times performers aren’t compensated for their
performance in academia or compensated very little, you know, and I just had to make
peace with that.
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Singing Teacher 3: But I do think that this line of work really requires the ability to be a
little bit like a chameleon, in terms of, because we just have people from all different
walks of life. I don’t know about your student ages, but my youngest student is in third
grade and my oldest student is in his 60s, maybe his late 50s actually, sorry, so there’s
just no way that a third grader and a man in his 50s are going to have the same style or
preference of learning, so there has to be some kind of flexibility there. And actually, my
oldest student was the one I was going to bring up for this example. He, just to paint the
picture for you a little bit, he is an owner of a company, so he’s very much like, knows
what he wants done, kind of like needs to take control of the situation, but not in a way
that is disrespectful. But he’s the one that I’ve had to alter my lessons with the most
because we tried my style and he just wasn’t really progressing, you know, I tried okay,
why don’t you, you know, try the specific warm-ups every week, he got sick of them
really soon and I get it, it was like I tried different methods of my teaching that I first try
with everyone because they’re new and I’m not sure how they learn yet. But it got to the
point where it was like, okay listen to your playlist in the car, pick out a couple songs that
you like, old rock songs, and that you think are in your range, bring them to me, and I
will listen to you sing them. So it’s very much like he needs to be making decisions more
so than other students that I’ve had, and he’s progressed. I mean when we first started, he
had a lot of trouble finding anywhere close to the pitch I was playing, he would be maybe
a seventh under me, it was a very wide difference between what he could hear from me
and what he could produce back to me, and now he’s very, very aware of that and able to
find it maybe if not the first try, the second or the third which is a huge improvement. So
I use him as an example because he’s the one that I had to really step back and be like,
this isn’t working the way that I’m doing it, so I’m going to kind of follow your lead. I
am the teacher, but you have lived a longer life than me you know what you want more
than I know what you need and want, so I’m just going to kind of sit back and watch you
for a second and observe, and now we have great lessons. They run very smoothly, we
warm up, he does his songs, I give him feedback, that’s the best way to get through his
learning block that he had with the way that I taught.
Smith: Yeah, thanks for giving such a specific example. Yeah, that’s awesome. Shifted
gears slightly, and this kind of ties into this student, but also other students, how do you
measure success, if at all, and in yourself and also in your students?
Singing Teacher 3: I would say, I’ll start with myself, to me the most rewarding and
successful feeling that I have is when I see progress within a student. So that example is a
really good example of I knew where they came from and then I saw where they’re at
now and it’s a world of difference, it’s like night and day. So that to me is kind of
reassuring and affirming that I am, I don’t want to sound presumptuous, but a good
teacher. So to me, that’s my greatest measure of success for myself and when I can do
things that bring feelings of accomplishment to them as well as myself, like the master
class that we had last week was really successful in itself and made me feel successful,
because I’ve always wanted to do that and it, you know, there wasn’t, the building didn’t
burn down, nothing went wrong, which to me is affirming and means I was successful.
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That to me is the biggest, it’s honestly what I feel like I get back from students. So
especially, I’ll go into the students and how do I measure success their success, I would
say specifically, in terms of like how we have we expanded their range at all, do they
have better ear training than they used to, are they able to read the music off of the sheet
music, are they able to understand the language that I’m using – legato, staccato, you
know, eighth note rest – can they get a grasp on the language and use it to their
advantage. So all of those things. Oh my gosh, you came in on two and you were
supposed to, and 3 weeks ago you kept coming in on 1, and you weren’t supposed to, you
kept forgetting that rest that success to me, anything that they’ve kind of leveled up with,
I would say, in any level. Just like, you didn’t do that before, that’s okay, now you did do
it and I’m super proud of you, let’s move on.
Smith: Right, awesome. So then, number 8 there are some things listed. Do you
purposefully set any of these types of goals with your students or a different type of goal?
Singing Teacher 3: Yeah, I would say I set more than one of these. Definitely short-term
goals in terms of, “Hey, next week, I want you to have gone over this page, and
everything that we talked about today I want to hear better, I want to hear it in better
shape than it was today, because we worked on that for half an hour and I think you’re
ready to keep putting it in repetition and practice,” so short term definitely, in terms of
let’s have this ready by next week. Long-term, I always in the first lesson with a student
I’ll always ask them what their long-term goals are, because I like to know where I need
to project the lessons to, are we trying to get you to a level of competence where you can
go sing karaoke at a karaoke bar, or are we trying to get you to a place where you’re
auditioning for musicals, you know, where are you trying to go? Or is this just for you?
So long-term, I always ask that at the beginning and then we’re kind of shooting for that.
And I suppose, not so much at this studio, but at the other studio, long-term goals are
always going to be their recitals because they are already set in motion so, “What do you
want to sing for the recital? Let’s make sure we get this done for the recital next Spring,
and let’s pick something that’s going to really showcase your range and your talents,” so
long term for sure. And then I think professional kind of goes in what I was saying, are
they auditioning for something. I have quite a few students who auditioning for colleges
right now, online things that they maybe wouldn’t have normally audition for. And then
personal as well. So if they especially are having a lot of stage fright, even just in front of
me, or just confidence issues, you can tell that they’re a little bit insecure and that they
maybe are self-deprecating a little bit, like look within, what about this is making you
feel insecure? Is it because you’re in front of me and you’re afraid I’m judging you? Is it,
so you kind of have to crack open their shell a little bit for the personal one I feel. Like
it’s like, is there something else in your life that’s making you feel like this is too much
for you right now? Or you’re not enough for this right now? So I also kind of always try
to encourage them to kind of look within and think about what stemming, like what’s all
this coming from.
Smith: Right, thanks.

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Smith: So with that in mind, you kind of explained a lot about how you set goals, but in
number 9, do, and you’ve also kind of explained number 10, do you include students in
the goal setting process, do you have any other comments about 9 or 10? Like setting
goals or including students or, I feel like you’ve said a lot of great stuff so, if there’s
anything else you want to add.
Singing Teacher 3: Yeah, I would say just in adding number 10, do I include
students/clients in the goalsetting process, I think some goals I do have for them maybe I
don’t share with them right away. Like if it’s a range goal, like I know that they can get
to a higher note they’re just scared of it, or in a specific song maybe I have specific songs
for them that is a goal song for them that’s more difficult than what they’re doing right
now. I won’t always share that with them because I don’t want to make them feel like
they’re not good enough to try it now, or like what’s wrong with me that I can’t try it
now? But I’ll sometimes have those in mind specifically, like I know that they can do it,
they don’t know that they can do it yet, that would be the only thing I’d add onto that.
Smith: Great, yeah, thank you for explaining that. And you kind of mentioned some goal
songs and that kind of thing, so could you describe your process for selecting student
exercises or their sung repertoire.
Singing Teacher 3: Yeah, I really love working on technique that’s my favorite thing
more so than, you know, let’s go through this song and warm up. I just love someone
who comes in and says, “My voice is doing this,” and it’s like a puzzle I have to figure
out. So I really enjoy doing that and if I feel like I find a song that really focuses on what
they’re struggling on I’ll pick that song for them, but when I know that it’s achievable,
you know, I don’t want to pick something that’s way out of their realm or comfort zone
and have them feel like, I can’t do this. So I base it a lot off of what is going on that, I
don’t want to say it’s an issue, but that isn’t working for them and what kind of song can
I pick that will lend itself to working on that area.
Smith: Yeah, great. So feedback is one way to affirm if students are working towards
those goals or correcting them if they’re not. Or, you know, we’ve mentioned being on
the same page. So usually, when I first designed this, I had people mark notches on
number 12, but I couldn’t print it, it’s fine. So I was just wondering if any of these
feedback methods, and I’ll give you a second to read through them, if any of them or all
of them, if you want to explain how you use them, if at all.
Singing Teacher 3: So I’ll go and say right off the bat, I do try to avoid negative criticism
because I feel like a lot of my students, I don’t know if it’s just they’re drawn to my bio
because it speaks to, you know, I’m a sensitive person and I had teachers that had
negatively criticize me before and it really did didn’t do very well confidence for my
singing. So I don’t know if it’s because of what I project, but I find that a lot of my
students are also sensitive and I’m just, I’m not saying there’s anything wrong with that
teaching technique because it does work with some people and students, but I’ll say right
off the bat I don’t really use negative criticism. If something I heard is wrong, I’ll let
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them know that it’s wrong and then I’ll give them a solution. Or maybe you know do a
negative/positive like, this was wrong, but I really liked the way that you did that, let’s go
back and work on this though, that kind of thing, so I do really try to avoid being super
negative or anything like that. Active coaching definitely was something I used to do a lot
more before the pandemic, that is really hard online, I’m sure you know that, so that has
taken a little bit of a backseat for me. I’m more so definitely B right now, giving
feedback to the person after an action. Reflective feedback, sometimes I’ll even just jot
down little notes, like this phrase was too flat or check notes on page 3, something like
that and then I can say those things to them. I found that that, just for the time that we’re
in right now, is a lot more fruitful. And then yeah, I guess that goes in with suggestions
for improvement and then I definitely praise them as well, my students are spoiled.
Smith: Okay, yeah, nothing wrong with that.
Singing Teacher 3: Right.
Smith: So, kind of with that in mind, I’m going to jump to number 14. They tell you not
to right questions like this because it’s just a bulky, covering a lot of things. But because
of the one-on-one role that you play in lessons, does any of that lend itself, for you
personally, to friendship, nurturing, mentorship, coaching, any handling of emotional or
personal concerns, anything you want to say to speak to?
Singing Teacher 3: Yeah, absolutely, all of those. I would say a lot of times, because
singing is so vulnerable, that you really do have to make a personal connection with a
student or they don’t feel heard by you. And I have a lot of, you know, students that are
13, 14, 15, 16, still really finding out who they are it’s such a confusing time in life that
sometimes, they come in and they just need to like vent about something. And I just let
them because I was able to do the same with some of my vocal teachers and I feel like
that really is part of the work, be it not specifically music, but in the connection and the
vulnerability that you guys create together and I think that that really speaks to how they
progress, because then they trust you. So yeah, I’ve had a lot of students who come in and
they are just having a bad time and they’ll start crying and I’m just there for them and
that way, or something happened, and they just need to talk. I always make sure I let
them know as well in the first lesson, this is a safe space for you, if anything is going on,
please don’t be afraid to share that with me because I just want the best for you and I
want to make sure that you’re okay. So that is really, really important to me to be all of
these things to them.
Smith: Okay, great. And then, this isn’t written down, but with that in mind, do you ever
find that that is taxing on you? Or is it rewarding or both? Could you talk a little bit about
that?
Singing Teacher 3: Yeah, I would say absolutely, it is taxing. You know, as an instructor,
we don’t really work eight-hour days, I’m not sure as working at a university if it’s
longer or…
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Smith: No, I don’t work eight-hour days either, it’s sporadic.
Singing Teacher 3: Yeah, it’s a long, and so I’ll tell them, my family, a lot of times, you
know, they’ll ask, “When are you working today?” and I’ll let them know, you know, “4-
8,” and they’re like, “Oh, that’s not bad at all,” but what they don’t understand ,and how
could they because they’ve never been in a lesson, so I don’t blame them, but not only
am I teaching, I am playing the piano, I’m listening for their mistakes, I’m reading music,
I am being everything else for them, right? I am making sure that I am saying the right
thing, I have to think on my feet, what did I hear wrong? You know, it’s exhausting, it’s
absolutely exhausting. And when I first started teaching, I was so I was so surprised. I
was like, I don’t think I can do this, I am exhausted. And it’s weird, because I have been
a server, I’ve done 8-9 hour shifts on my feet, running around, like, sweating, but it’s
taxing in a different way. And I feel like the more that I grow into, you know, being
settled in this position, the more that I’ve found like, okay, I can lend myself and make
sure that I am that positive energy for them, but like in a way that’s not detrimental to
myself so it’s definitely a balance and I don’t always get it right, but yeah it is definitely
taxing.
Smith: Yeah, thank you for explaining a little bit on that. So number 15 is another one
that has some options. Do you use any of these or can you speak to any of these about
how you create rapport or relationships?
Singing Teacher 3: Yeah, I definitely, I don’t like small talk in real life, but I like small
talk in lessons because I like to hear what my students are doing outside of their lessons,
because they’re all so unique and they’re all just you know the sweetest people, I just like
to hear what did you do this week, did you do anything fun this weekend? Especially the
kids, the kids and the teenagers love to tell me what they did with their weekend, they
love that, and that helps them, again, trust me and build that kind of relationship with me.
Like, oh my gosh, me and my friends, like, went to the mall and we walked around for
hours and it was so cool, and then I can tell them, well, when I was a kid I used to do that
too, and then now we have that kind of similar bond. So definitely small talk. Sometimes
they’ll bring me maybe their music, if they have a music class at school and they’re not
understanding, they’ll ask me for help, so yeah D, as well, investment in their other
classes or coursework. And of course, E, of course I always take interest in them as a
person and care about them as an individual.
Smith: Yeah, and then 16 again has some suggestions that are taking from an article I
read about creating a safe environment. Do any of these stand out to you or could you
give an example for any of these?
Singing Teacher 3: Yeah, these are all speaking to me. I think these are all things that I do
to create a safe environment. Especially E, the positive language with a forward direction,
yeah like okay that, and sometimes they’ll do something, and they’ll go “Eww or ugh,”
and make a sound, and I kind of pause and like, “Why do you do that?” They’re like,
“Oh, I hated the way that it sounded, I didn’t like that, oh it was bad.” “Well, it wasn’t
bad. Let’s try it again, see if you feel better about it, but let’s not talk about ourselves that
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way.” I definitely, and if they’re saying sorry too, I always, always stop them and I’m
like, “There’s nothing to be sorry for, you need to stop saying sorry.” Just being a little
firm with them in terms of their inner voice and what they’re reflecting that they say
about themselves, that’s the most firm I am with them.
Smith: Yeah, I love that.
Singing Teacher 3: Thank you.
Smith: So then I’m going to kind of shift gears a little, because the other aspect of this
study that I want to look at is kind of comparing our fields in terms of types of training
and then also belief systems, ethics, certification, professional memberships, so these
next questions kind of go in a different direction, but do you hold any memberships or
belong to any associations, for number 17?
Singing Teacher 3: So, it’s funny you ask this because I looked into A and B, NATS and
then the American Academy of Teachers of Singing, and I really wanted the membership,
but I didn’t want to pay that much for it, so that was my hindrance with it. So I don’t
belong to any right now but I would love to someday.
Smith: Yeah, that totally makes sense. And I mean, I’m trying to make recommendations
for the field and there all things, there are barriers that are very real.
Singing Teacher 3: Yeah, one was like $200, I think it was the American Academy of
Teachers of singing, or it might’ve been NATS, I’m not sure, it was one of those two, I
was like, what?
Smith: So for number 18, there are some professional standards set by those groups that
you may or may not be familiar with, but I’m also making the assumption that you have
some personal standards for yourself, so are there any like ideals or expectations, or yeah,
personal or professional guides that influence your practice?
Singing Teacher 3: Yeah so I think that a lot of what influences how I teach is, you know,
I was trained classically, so I definitely direct a lot of my technique work back to that,
whether they know it or not. I’m not always going to be like this is how professional
classical vocalist do it, you know, I don’t always do that, but that because of the way that
I learned it, definitely reflects in my teaching. And I think that, you know, I don’t know
the professional guides of those off the top of my head, but I think because NATS was
around all 4 years I was in, you know, college for my degree, so I definitely was around it
and a lot of their guidelines were the same things that were being taught because,
obviously, we would need to match what we were being taught in our private voice or
vocal lesson. So if I would think of them off the top of my head, like specifically, you
know, correct diction, making sure that you are remaining professional on your song
choice, that’s a touchy one with contemporary music sometimes, and sometimes I’ll
honestly, like I’ll let them do a song and I’ll change the words, like we don’t have to say
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this bad word, or we don’t have to say something that seems a little offensive. Yeah,
those are the two I can think of mostly.
Smith: So then this kind of leads perfectly into number 19, briefly describe your training.
So you were trained classically, what else would you like to share with me about your
training?
Singing Teacher 3: Yeah, so I have a degree in vocal performance and musical

entrepreneurship. The musical entrepreneurship one was actually just starting when I got
it. So basically, it was based on the business side of music, you know, if you ever were to
like sign a contract with someone, so that you’re not getting wool pulled over your eyes,
so to speak, making sure that you know what you’re talking about, so that people don’t
take advantage of you. But yeah, so those are my training mostly. I never had a vocal
lesson until I went to college, I took guitar lessons when I was younger, but besides that,
my schools didn’t offer like music theory or anything like that. We had a kind of music
class when I was in grade school and choir when I was in high school, but I definitely got
a rude awakening when I got to college. Like oh, I need to know all these things that I
have no idea what you’re talking about, but everyone mostly already knows. That’s been
my training, mostly college.
Smith: So then, briefly you already talked about how your past training influences your
current teaching, like where you’re coming from and how that has influenced you, but is
there anything else you’d like to add to number 20 about ways that you see your training
affecting you today?
Singing Teacher 3: I would say if anything, a big part of my training in college was a lot
off stage. Like it wasn’t so much the performances, it was that I had crippling stage fright
and anxiety. And so even more so, I feel like making sure the student is comfortable and
confident with the song choice, because there were so many times where there was a song
chosen for me and I felt like I said I wasn’t comfortable, but it was kind of ignored and
then I still had to go perform it, and I didn’t feel good about it, and it didn’t go well
because I didn’t feel good about it. So that directly affects the way that I teach now,
because I will never put somebody on a stage to sing a song that they’re not confident
about. I don’t do that. I want them to have a good experience and not be traumatized. So
that specifically directly affects the way that I teach.
Smith: Okay. And then is there any specific training that you wish you had received, after
you got into teaching?
Singing Teacher 3: Definitely, I feel like even if you’re a vocal performance major, you
should still have some kind of education training or educational class. I never had to take
any kind of teaching class, so everything that I teach my students is either something that
I read in a book, you know, and ways to convey that to them, or something that I saw in
my own lessons or how I wish that my teachers would’ve approach some thing or how
they did approach something that was successful with me. And then I’ll also branch out
that if you don’t mind.
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Smith: Please.
Singing Teacher 3: I really wish that I’d had training in contemporary music because I
would say that it’s like 99% contemporary, be that rock, jazz, pop, musical theater,
especially musical theater, and like 1% classical, which was really scary to me when I
first started teaching, as well, it was like I never learned, I was never, I was in musicals in
high school, but I didn’t really do them in college, you know. I was never like, here’s
this, I know exactly how to do this, you know, let’s have you be the student and I’ll teach
you all these specific things about the genre. So and especially, I don’t know if this
reflects directly, but when I was in college I really wanted to explore jazz and my teacher
didn’t really want me to, so she didn’t really support it, but then I had a chance to sing
with the jazz band quite a few times and it was like I had to work twice as hard because
nobody was teaching me how to sing jazz. And it’s completely different than how to sing
classical music, they don’t want your perfect diction, they don’t want your intense vibrato
on every note. It is two different worlds. So I definitely wish that I had a class on that, but
it’s formed me into a hard-working person, so I guess.
Smith: And like we were talking about, them asking what key do you want to sing in?
Singing Teacher 3: Exactly, vocalists don’t think, “What keys am I good at singing in,”
vocalists think, “Here’s my range, does the song fit in my range?” You know?
Smith: Yeah, yeah. And that’s great for this research, especially because I would say a
large majority, and this is me just assuming, a large majority of our training programs are
in classical and then there are schools, like I can think of Belmont in Tennessee and there
are some other commercial contemporary schools…
Smith: But it’s almost like you have to go to a school in that style to get that training and
I don’t think that’s serving us as a field, necessarily, but I guess we’ll see.
Singing Teacher 3: No, I completely agree.
Smith: Do you attend any types of workshops or clinics, or have you?
Singing Teacher 3: So you and I had this discussion. I would love to, but branching off of
what you said, I would say that if you’re not in the right area, then they’re just not here.
I’ve been searching for like two years now, at least, for workshops and clinics to go to,
and there’s a couple in like Kansas City, the Lied Lodge, I think that’s in Kansas City,
there was a master class that I really wanted to go to with Joyce DiDonato, would have
been amazing, but it was while I was at school, so it was like weird later in the day and
again it’s just like placement, nothing’s here.
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Smith: Right. And looking at number 24, you mentioned reading books for information.
Do you use any research-based practices in your teaching or use any of these listed
things?
Singing Teacher 3: So yeah, I use a book a lot especially for the visuals of teaching, like
explaining the soft palate, tongue, how the, you know, the ribs and the diaphragm are
working in breathing. I use this specific book called “Anatomy of the Human Voice,”
which I love that book so much, it always has a good representation of what I’m trying to
convey.
Smith: Yeah, is that the, I don’t know how to say it, D-I-M-O-N, like Dimon?
Singing Teacher 3: It has like a person…
Smith: Oh yeah, and it’s white?
Singing Teacher 3: Yes, that’s the one
Smith: Okay, awesome. And I, honestly, I’ve gotten quite a few books, and this is another
one of my little bones to pick with this field is like, I’ve not really found many good
books about voice teaching like I found books about the vocal faults or this or that, but I
want a book about specifically things, like the most basic thing I can think of is I have a
young man who is going through puberty and his voice is changing, and his break is
changing, so that’s been really difficult like navigate, and aside from what I look up on
Google, I have not found a single book that covers that really specifically at all, which is
so weird to me.
Smith: Yeah, I’m going to send you another book, but you’re totally right.
Singing Teacher 3: Yeah, it’s like you really have to dig.
Smith: Exactly, and the information is not clearly out there.
Singing Teacher 3: Yeah, I’ve bought quite a few books and I’m not going to say they’re
duds, but the synopsis and what they looked like online is completely different than what
I was reading when I got them, so it’s like not even the information that’s online is
accurate to what I’m looking for.
Smith: So not helpful. Okay, so in determining how to best serve voice users as a whole,
I’m curious how teachers of singing and more like medical or speech-language pathology
can connect students with people who will meet their needs. So I’m wondering how
students come to you and I know you’re a private instructor, and some of those are given
to you, but do they choose you, are they recommended to you, and what factors play a
part in matching student with teacher?
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Singing Teacher 3: Yeah, so, usually they are recommended to me by another student.
Like, “Hey, my friend so-and-so wants to take with you,” it’s kind of like word-of-mouth
or they’re chosen for me. And I do have more freedom at this studio in regards to if it’s a
match, if it’s a fit or if it’s not a fit, like I can be like this is not really working anymore,
so here. My other studio, I could definitely do the same thing, it’s just that there’s kind of
a middle person there, which would be the lady that does all the scheduling and gives out
students, but actually both of my studios do a very good job of matching students.
Usually, I do hear that it’s somebody who read my biography and chose me based on
that, or it’s word-of-mouth, like my friend so-and-so goes to you. So it’s usually those
two things.
Smith: I should go and read your biographies, but with that in mind, is there anything
specific that you put in your biography and you mentioned you’re a sensitive person and
maybe they got that from the biography. Is there anything else you want to say about
what you wrote?
Singing Teacher 3: Yeah, so that, the newer student that I was telling you about that plays
guitar earlier, he said that he chose me specifically for one of the things I said in my bio
and that is that as well as a teacher I am also a student because I’m always learning from
my students. I have to learn how to be more flexible, I have to learn how to convey things
in different ways than I would normally convey them, even thinking about things, they’ll
say something and I don’t understand it and I have to ask them can you say that again.
Then I can realize what they’re saying, but it’s like, I’ve never thought about it that way.
So I think that’s a really good thing to keep in mind for all teachers, like we’re all still
students too, we’re all still learning, everyone’s learning.
Smith: Can we actually jump ahead, and we’ll come back because I do want to talk about
a little more about that, but with that in mind, for numbers 30 and 31, about how do you
prepare for sessions and how do you reflect, I feel like that kind of ties into, yeah, being a
learner and still learning, so can you talk a little about 30 and 31?
Singing Teacher 3: Yeah, so pre-pandemic I was doing really well. I will get to work like
half an hour early, go through, I keep a folder on each student, and I keep little bullet
points on each day, so I know where we left on each song, where we left off last day,
because I have 30 students so it’s really difficult for me to remember everything,
especially if some of them are working in the same song. So I was really doing good
about that right now I’m not so much preparing half an hour before lessons rather than
minutes before, and I find that I definitely still prefer having a half hour to just collect my
thoughts because I’m a little less frantic. But that being said, the students that I’ve had for
long enough now to kind of pick up where we left off in terms of where their lesson left
off last week and not feel like I need five minutes to get back into it with them, which is
really nice and that’s a huge advantage I have. And then the other thing I would say,
reflecting on lessons is difficult when they’re one right after the other, but maybe on my
drive home, you know, I’ll think about a couple of things pertaining to lessons, usually
it’s like the last lessons because those are the ones that are still very fresh in my mind, but
maybe stuck on a certain part of song, I’m not sure why that just wasn’t working today,
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like, what can I do better, you know, that kind of thing. But that’s one other thing that I
wish there was a little bit better of a system, and I completely understand, you know,
back-to-back lessons is just the most convenient, but I wonder if they were just even like
10 minutes in between each one, how much more present I could be instead of just
switching person to person to person, so that is definitely something I think about a lot is
like what could I shift, or what could be shifted in this practice to better assist the teacher
in terms of preparing and reflecting.
Smith: That’s awesome and I completely agree with you, if I’m allowed to agree with the
research. I’m trying to be unbiased but yeah, I also work in this field so I completely
understand.
Singing Teacher 3: So you know.
Smith: It is overwhelming when you have a lot of students and back to your previous
example of telling your family you work 4 hours, that could be 8 students if they’re half-
hour students, or if they’re hour long, four students
Singing Teacher 3: It usually is 30 minute, too.
Smith: That’s a lot of information and different people, different songs, to pack into a
short amount of time. So back to students and talking about how they come to you, is
there anything that might keep you from teaching a certain student or telling them, like
you were saying, maybe this isn’t the best fit?
Singing Teacher 3: That’s difficult, I’m going to be real with you, because I am a single
individual, so it’s hard to turn down money. Especially if you know they’re still paying
for each lesson and showing up, but I know that they’re not very invested, maybe it’s
because they’re younger and their parents really want them to do it, it’s really hard for me
to connect with those kinds of students sometimes, but I try my hardest. Yeah, I’ve never,
I mean, I’ve had a couple of students that I met [omitted], and it just didn’t feel right,
something was like off, and then in terms of that, honestly, they kind of lost contact with
me kind of a little bit too, so clearly it was mutual. I’ve never had to be like, “This isn’t
working, you need to find another teacher, I can’t teach you anymore.” I’ve never had
that, but I’ve actually had parents who, I had one girl who I guess I wasn’t being strict
enough, her parents switched her to a male teacher because he would be “stricter,” so
yeah, I guess that always kind of takes care of itself. I easily give up give up, though, I
always trying to like, especially if it’s like a lesson that I’m feeling a little bit of, I don’t
want to say dread, but I know it’s not going to go as successfully as I wanted to, I’ll try to
think of anything I can do and try different techniques to make it more successful. But
yeah, I don’t usually tell people I can’t teach them or anything like that.
Smith: Okay, and then, on the flip side, is there anything that draws you towards certain
students?
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Singing Teacher 3: Yeah, I’m definitely way more drawn to adult students because I feel
like I can, I just feel like I can teach them better, I just do. Yeah, I don’t know, it’s hard to
explain, but I just feel like the rapport and the, what they’re trying to convey, what
they’re trying to achieve and what their goals are are just more aligned with how I teach.
Smith: Yeah. And then, before Tuesday, do your students, especially at your other studio,
do they meet together? Do they know each other? Or why were they so supportive?
Singing Teacher 3: Yeah, so a couple of them knew each other from recitals previous and
I think some of them have the same show choirs or maybe go to the same school, but
that’s actually more on the rare side. I was so proud of the way that they were so
supportive towards each other. I just think the way that they’re taught by me is to be
respectful and encouraging, and so I really, and I’m not going take credit for them being
that way towards each other.
Smith: No, you can take credit.
Singing Teacher 3: But I feel like I definitely want to make sure that they are receiving
that in their lesson, so that they can pass it along.
Smith: Yeah, that was my main question with number 28 about creating a certain type of
culture and I really felt that on Tuesday, which is why I asked about that. Anything else
that you strive, like thinking, “This is the culture that I strive to create,” or just kind of
happens naturally?
Singing Teacher 3: I think it just kind of happens naturally, yeah. My main thing with
students is if you are learning something and having fun, we’re successful. If you’re not
learning anything or not having fun, like let’s figure out, you know, sometimes we’ll be
working on a song and I can just tell they’re so sick of it, like, “Do you want to choose a
new song?” and they say, “Please.” “Okay, we’ll do it. It’s taught you all it can. If you’re
not invested in it and you’re just going on auto pilot, there’s no point.”
Smith: Yeah, yeah. So then number 29, it is likely in our fields that we will be interacting
with a variety of different clients. This could be a different race or ethnicity, age, sex,
gender identity, religion, nationality, disability, socioeconomic status, or more. Is there
any certain way that you approach students with understanding or respect? Or without
using names, could you describe a specific time this was difficult to do or easy to do in
your teaching?
Singing Teacher 3: Yeah, so I have quite a few students that maybe identify as gay or a
few students that also I’m not sure, because they’ve never spoken to me about it directly,
but I have an inkling that maybe they are gender fluid or something along those lines, so I
try to remain as neutral as I can with those students, especially, because I want them to
know that I’m never judging them and I’m never wanting to create any kind of space that
isn’t anything but safe for them. And then specifically, I do have one student, and this
was kind of, I don’t know if difficult is the right word, it was just unsettling. She has
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epilepsy and the only information that I had gotten from the front desk was that I was
getting a new student and my boss needed to talk to me. Well my boss got really busy
and she wasn’t able to talk to me before the students first lesson, but I got an email from
the student’s mom, a really lengthy email that went into very graphic detail about what
she looks like when she’s seizing, and it really scared me, because I was like, oh my
goodness, I don’t you know want to be responsible for her getting hurt in my room, what
if I don’t know what to do? Even though she sent out a very lengthy email about what to
do, but she’s like, there’s no warning, she can be midsentence, she’ll just drop and like
start. So it was very in your face email, because she probably needs to be like that, like
here this is how it is, here it is, laying it all out for you. And it wasn’t like I was like, oh I
don’t want a student like that because it makes me uncomfortable, but it was difficult in
the sense that I had to remind myself that I am a person that is going to be accepting
students that have all types of different things going on in their lives that or something
more emotional, so I had to kind of step back and check myself, like okay, and then I
posted the email with all the details in her folder. So if it ever happens in a lesson with
her, all the instructions are there. I had to step back and be like, okay, you’re fearful
because it’s unknown and you don’t know what to expect and that’s okay, but you also
have a responsibility to treat the student the same. And now, honestly when I have her, I
don’t even think about it, it’s totally natural. It’s just like in the back of my mind, it,
obviously I correlate her epilepsy to who she is, but it’s like it’s not always, you know,
I’m talking to you, and you have epilepsy all the time.
Smith: Right, you’re prepared for it, but…
Singing Teacher 3: Yeah, it’s not like I forget about it, but you know what I mean? It’s
not anything different to me now.
Smith: Okay, yeah. And I know creating that safe space, you said that in a lot of ways, is
important to you. Is there anyway, this is kind of a vague question and maybe I’m kind of
leading the witness here, but is there anyway that the music itself helps you with that?
Smith: Like the music that they’re singing or the way that you choose songs for people,
does that tie into that accepting, safe space. Does that make sense?
Singing Teacher 3: Yeah, I think I understand what you’re saying. I think I usually just
want to choose a song that’s not too difficult in terms of, you know, I only usually play
the vocal part for them, but I tried to play accompaniment before and then I kind of had
to set a line with myself like, okay, you just really don’t know enough piano for that,
that’s not a safe space for you and then I’ll notice I’ll get self-conscious and then I’ll start
playing like the wrong notes or stuff like that. So that for me is like when I choose a song
for them, I just have to remind myself that I’m doing enough by being their teacher and
playing their vocal part. Sometimes I feel like I’m not doing enough, I’m not doing
enough. So I don’t know if that ties into your question.
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Smith: No, I completely agree with that. And with 30 students, you want to be your best
teacher for all 30 of them, and to play 30 accompaniments on a weekly basis…
Singing Teacher 3: It’s just wild.
Smith:….is not the same as teaching voice.
Singing Teacher 3: Thank you, agreed.
Smith: That’s what piano players do.
Singing Teacher 3: Exactly.
Smith: Great. So then I just have two more questions, thank you so much for your time. I
want to know what was your motivation for entering your line of work, originally?
Singing Teacher 3: I always loved singing and I always loved music. And for a long time,
maybe without even realizing it, that was like the main way I could express my emotions
without feeling like maybe I was being too much or too dramatic. So I feel like music
really helps me express myself in a way where I feel like it’s not too much for people or
too dramatic. I felt that way a lot growing up, like I’m being too dramatic or too much,
and so I feel like, I don’t know, music, to be cliché, I feel like music is always going to
understand you and it’s always going to give you a space to have a platform to speak on
really any subject. I mean there’s songs about everything under the sun. But, and I think
even though I was definitely steered away from trying to pick a degree that was in art, I
just never found anything that spoke to me the same way and I knew that I would be
doing myself a disservice if I didn’t choose that. So that was the ultimate reason why, it’s
like nothing makes me this happy, nothing speaks to me in the same way.
Smith: And then what continual motivation do you find in your work today?
Singing Teacher 3: There’s a lot of little things, but I think the main point of motivation
that I get is, again, from having successful lessons. Whenever I have one that I felt like I
really got through and they really had a breakthrough, I go home feeling like I’m on
cloud nine. It’s like, this feels so good, this went so well. But I think also personally
maintaining my own vocalism. So like I’ve really kind of fallen off practicing daily,
which is just difficult to fit in sometimes, but I feel like when I do that and maintain my
own vocal health, that motivates me to express that to others but also to make sure that I
am like, you know, when you are singing a part of the song for them, you’ll play it for
them, and they’re like, “I don’t know what, can I hear you sing it?” you’ve got to be on
your game, so it’s like that motivates me too. It’s like, okay, I am also kind of performing
for these four hours, like this is a performance, in a way, of itself. So I have to be ready
for that. So I have to motivate myself or usually like listen to maybe my favorite musical
theater songs on my way to work or if I’m just really musicked out I’ll just listen to
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podcasts and get myself ready or I’ll just be quiet. But yeah, those little things motivate
me just to be as present as I can be.
Smith: Yeah, awesome. Well, great, that’s all I had. Is there anything else that you want
me to know about you or your teaching? Or anything that came to mind while we were
talking that you didn’t get a chance to express?
Singing Teacher 3: I think that your questions were really well-rounded and covered a lot
of different aspects, so I think, yeah, I think you’ve got it all. Yeah, those were great
questions.
Smith: Thanks.
Singing Teacher 3: Really like thought-provoking and just honest and vague enough for
me to be personal about them, so I really appreciate that.
Smith: Yeah, no problem, thanks. Thank you so much.

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Smith: So a lot of the people I talked to I actually talked to over a year ago before the
pandemic hit, so I was asking if anything changed in interactions based on the pandemic,
virtual lessons, and we briefly talked about that last time, but I just wanted to give you
the opportunity if you had any more ideas about how and if the interpersonal relationship
between you and your students has been affected by the pandemic.
Singing Teacher 3: I feel like they come to me a lot more socially open now, if that
makes sense. I get a lot more updates on their days and their plans, whereas before I feel
like, I don’t know, I’ve noticed since I’ve been back in person, which was in July, is
when I went back in person, I feel like a lot more people have been super open about
more of their every day life, or you know what they’re going through. Which is been
really interesting to me because I just love connecting with people, not just on a musical
basis. So I don’t know if that counts, but I definitely notice. And somebody said too, I
don’t know, it might’ve been on a podcast, they were talking about how being a teacher
and being on Zoom, you’re seeing so much more into their personal lives because you’re
like in their home and it kind of connects you on more of a personal way, even though
it’s online, which I thought was so interesting. I wish I could remember where I heard
that, but that got me thinking. I was like, since I had heard that, I was noticing I feel like a
lot more of my students that are in person now or just able to connect with me a little bit
more.
Smith: It’s almost, like, a positive.
Singing Teacher 3: Yeah, in a way, it totally is. but I think in regards to the pandemic
affecting interpersonal relationships, did you ask with students? I think it’s a little bit
harder for them to have determination and drive. I think it’s a really awesome thing that
[omitted] is doing [omitted] concert, I’m so excited about that. But the other studio I
work at, a lot of the stuff that we would usually do throughout the year has been put on
hold and we’re actually going to be able to do a couple things this coming spring, which
has definitely gotten students super excited. But I feel like I had a little bit more of a
turnover when I was on Zoom because they were getting bored, there was just nothing
really to work towards, so I feel like that definitely was an affect that took place. Or
people that came back to in person and were like, “Oh, I feel like I don’t have as much of
a range as when we were last in person.” Totally, more than a couple students probably
say that. They’re just not singing at school every day, they weren’t like out driving
around singing their songs, you know all of that plays, you don’t think it does, but it
totally does, those are a couple things I’ve noticed.
Smith: Great, yeah. And then something that came up, especially because I talked to
teachers of singing and then speech-language pathologists and the more medical side, is
do you value being an expert in one or two specific disciplines, and whether that be a
teaching technique or a genre of music, versus being versed in a number of different
disciplines? And I know a little bit about your background, but I want to hear in your
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words, do you think you focus more on one or two things, or you want to be focused on
more things?
Singing Teacher 3: I think that the way that my skills are used in the places that I work
right now, they’re only being utilized to a certain extent and that’s okay. Most people
aren’t interested in singing jazz or classical, I’ve just come across that a lot and I’ve
learned to take that with a grain of salt. But I also feel like that’s taught me how to take
my skill set out of those two fields and apply to everything else. Because I know we
talked about this last time, when I was in college, I was never trained like how to sing
pop music or anything like that, how do you do runs or add distortion to your voice, all
that, so I feel like, I don’t know, being a teacher has also made me more of a student to.
What was the question though?
Smith: No, that’s great. Focusing on one or two things or multiple different things?
Singing Teacher 3: Yeah, I feel like if I could say that I focus on one or two things, it
would definitely be I talk a lot about vowel modification and just like openness, soft
palate, like very technical stuff, I like really like working on technique. That would
probably be one place where I’m super comfortable and confident teaching. But yeah,
everything else, I don’t know, I feel like it just depends on the person, the day, and the
time. Like really it does. I’m not definitely closed off to anything, I’m just kind of ready
whenever, just depending on what they bring to me that day, try to do the best I can.
Smith: Awesome, yeah. That’s great. I can’t remember if we talked about this last time,
to be honest, but some teachers of singing and then especially some voice therapists see
students maybe briefly to fix something or to get them ready for an audition or
something. Is there any difference in how you interact with students that you see short
term versus long term?
Singing Teacher 3: Yeah, definitely, that’s a really good question. I do have a lot of
audition preps this time of year, lots of people auditioning for show choir, so it’s a lot of
“My Country Tis of Thee,” and I feel like I do more of a fast-paced, jampacked lesson
each time. Because it’s like, okay, let’s warm up, this is a really quick explanation of
technique, here’s what they’re probably looking for, it’s like vowel modification,
consonant modification, maybe you should work, nice and open breath, continue to work
with breath, and I have like four lessons to do that. So it’s very much okay, today we’re
going to work on this and then let’s add on this, so it’s more like a juggling act, like I
know I told you to do this, but let’s try also with that as well. So it’s definitely more fast-
paced, jampacked than I would usually go, and I feel like maybe I build a little bit less of
a personal connection with them, but that just is what it is, you know. I’m super easy to
get along with and pretty open, so I feel like they still feel comfortable, and I do make
sure of that, but yeah, it’s basically let’s get to it so you can feel really confident.
Smith: Okay, great thanks. And then you already kind of talked about this the last time
we talked about, I can’t say it verbatim, but you said you can’t teach a third grader the
same way you approach a man in his 50s, or something like that. So if you don’t have
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anything you want to add, that’s fine, but is there any role that the age of the voice user
with whom you’re working plays in your interactions with them? Anything else you want
to add on that?
Singing Teacher 3: Yeah, let’s see, I do remember saying that last time, but I don’t
remember specifically. If I didn’t mention this, I feel like you have to change a lot of the
language sometimes, and that can be difficult. If I explain something one way and they’re
just not understanding, it sometimes it gives me pause and I have to think about another
way about it, and if they also don’t understand that, then it’s sometimes very difficult for
me to continue from there, like to try to teach the thing. It’s like okay, I don’t know what
else to do right now, so… but you know you just take a pause, you come back to it, so
yeah that’s the other thing, it’s just, I don’t know, it’s just hard sometimes, that’s it.
Smith: Yeah, I understand. And then we also talked about this, but I just wanted to know
if you had any more comments about the role, if any, of either the familial or the personal
background of the person that you’re working with. Like what they bring into the room
with you, basically all those parts of themselves. This is a very broad question. Ways that
you see that playing out in how you work with them, does that make sense? So that could
be nationality, culture, socioeconomic status, sexual orientation, disabled status, religion,
etc. Broad question, wherever you want to go.
Singing Teacher 3: I would say the thing that I think of right off the top of my head, but I
don’t know if it’s specifically under this broad spectrum, but I do have a couple of
occurrences that I’ve happened where I thought this song was appropriate and their
parents were just not okay with it. And so that kind of changed the dynamic a couple
times. Like, oh okay, there’s just one song that had the word kiss it and their parents just
weren’t okay with that.
Smith: Oh, okay.
Singing Teacher 3: And I honestly just, she had said she had listened to it a lot, so I
thought if she already knew it, it was going to be okay, but it wasn’t. And then that
happened, I find out a little bit later on, she was okay with her singing and lessons, they
weren’t okay with her singing it in front of her grandparents at the recital. So that was
interesting to me, that was kind of my first case of oh, if you feel like your background is
maybe a little bit this way, a little bit more conservative, they might not, you know, pick
the same music choices as they would in lessons.
Smith: I had something similar like that, but yeah.
Singing Teacher 3: That’s the main thing I can think of. I find that, honestly, everyone’s
so different, again, I have many different students of different cultures and different
sexual orientations that I feel like they all are just such their own people, that I just kind
of am a chameleon with them. I just kind of go with where they are most comfortable and
I’m just kind of that supportive system for them, as best as I can be,
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Smith: Great, yeah. And kind of like with that and choosing music, you gave that
example, you had to kind of switch the way you choose music, and we talked last time
about, like, students playing a role in choosing their music. Has there ever been a time
when you felt uncomfortable with a song that a student wanted to do? Or no?
Singing Teacher 3: I don’t think based on the subject matter, no. I think, yeah, I don’t
think so no, not that I can recall off the top of my head. I think generally, they pick pretty,
or we pick together, and it’s pretty sticking to musical theater or making sure that their
parents are okay with it, if they’re that young. Adult students, if they’re okay with it, I’m
okay with it, but no. I don’t think anyone’s really made me super uncomfortable. Maybe
just with like physically, sometimes students will get really close to me, come over to the
side of the piano, and I’m like, “Ah, no,” especially now, I did have one student who
wanted to stand right next to me, this was actually before the pandemic, which was super,
that made me a little uncomfortable, it’s like, you are too close to me. Yeah, I think she
just needed to see what I was doing, she wanted to see like the sheet music, and then she
played piano too, so I feel like she wanted to see my hands, and that like helped her with
the pitches. So that was a really interesting different kind of lesson structure as well.
Smith: Yeah, it is, that’s interesting. Thanks for explaining that. So, like I said, because
I’m talking to singers and then more speech-language pathologists, what is the role, if
any, of multidisciplinary training in educating voice experts as a whole? So for example,
how much should teachers of singing understand voice medicine or the practices of
speech-language pathologists or therapists, or how much do you think the other side
should understand music, if at all? Any opinions there?
Singing Teacher 3: I would’ve loved to take a class in any kind of speech pathology or,
you know, the book “Anatomy of the Human Voice,” if there was a class of that, I
would’ve been super, super interested in that. I do think that would have helped me a lot.
Most of the stuff that I talk about with students in relation to the anatomy is just stuff that
I’ve read, and that’s okay, you’re just continuing your own education. But honest, to be
completely transparent and blunt with you, I feel like a vocal performance degree didn’t
properly prepare me for being a teacher like I thought it would.
Smith: Yeah, and I think you’re not alone in that which is why I’m asking these questions
and thinking about larger institutions and training programs as a whole, yeah, they’re not
always…
Singing Teacher 3: A lot of what I do is think about back to my own lessons and how
they would teach me stuff and kind of use that as my example, but even just to sit in on a
master class isn’t the same thing, but to sit in on voice lessons before I started
somewhere, or an apprenticeship or an internship, maybe we need to take that a little bit
more seriously, rather than like you have this degree you’re hired, you know. I never
even had to sing for either of my jobs, which I thought was really interesting. And I get it
like I have the degree, so clearly I passed, but that always struck me as a little odd.
Smith: Yeah, I agree, and I love your idea about apprenticeships.

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Singing Teacher 3: I would’ve loved a little bit more preparation, and honestly, I can’t
put all the blame elsewhere. I didn’t really know what my career was going to look like,
aside from performing, and I don’t know how I thought that was going to make a living.
That’s the other thing there was no, where was the class that was like vocal performance
in real life? Vocal performance and voice school is so different, it’s so weird. It’s like I
was dumped out in the real world, and I was like, where are all the vocalists? Where is
everybody that wants to talk about music? And honestly went through a big bout of
depression when I graduated, I don’t know if you ever felt something similar.
Smith: Oh, yeah.
Singing Teacher 3: But I felt like I was so surrounded by music and everyone who
wanted to talk about the same things that I wanted to talk about, and sing with me, and
joke about music with me, they were all gone. And it was just like in the real world where
no one cares about that, really it just was like, oh my gosh it was heartbreaking.
Smith: And no one is there, like friends, teachers, spurring you on, it’s a lot of doing your
own, putting yourself out there.
Smith: What am I going to do? How am I going to find a way? It’s a lot to kind of keep in
mind, preparing…
Singing Teacher 3: Yeah, or you know like they have in high school, where they have
career booths, but those same things for college, like here are some things you could go
into. Some kind of preparing, I don’t know, in some extra way that just doesn’t seem to
be there, just something.
Smith: That’s a great idea, I’m going to put that in my dissertation, that’s a good idea. So
I have a couple more questions. One you were kind of the inspiration for, so you kind of
already talked about this, but what is the role, if any, of gender in your field? For
example, are there any barriers or privileges granted to voice experts or voice users based
on gender? So I don’t know if you remember, but you said that a student was given to a
male teacher because the parents thought he’d be more strict.
Smith: And it doesn’t have to be something negative like that, it could also be positive.
What role does gender play in your interactions with either other voice experts or your
interactions with students, like your female students, your male students, your
transgender students, anywhere you want to go with that. You’ve kind of already talked
about it, but…
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Singing Teacher 3: Yeah, that circumstance really threw me off. I think what, too, threw
me off is there was like nothing else said about it, but I get it, it’s like that weird client
thing where the client is always right, even when they’re not necessarily, that’s just their
preference though. I would say, as a female in this field, I feel like I offer a certain
amount of, like, nurturing to my students that necessarily maybe others, maybe male
teachers don’t in the same way. Just sort of like, I view them as, not my children, but kind
of as I am their caretaker a little bit during that time. And I don’t know if that’s the same
with anyone else, but I suppose I feel like I have maybe, I don’t know what the word is,
maybe a leg up in that area because I am a woman and I’m just nurturing in that way. I
don’t know if that helps at all with that question?
Smith: Yeah, for sure.
Singing Teacher 3: But as far as like, I don’t know, being a woman in this field, I’ve
never, luckily, come across anyone that’s treated me like I didn’t know as much because I
was a woman, at least not to my face, so that’s been really good. I feel like this field is
generally extremely excepting, whereas other fields like maybe the medical field, or the
social work field are not the same way. I don’t think, I have anything else to add, maybe
if I think of one, I can come back to it.
Smith: No, that’s okay. So then, you were one of my participants who mentioned how
difficult it is to find workshops, masterclasses, a lot of what you rely on comes from
books, which then you have to kind of seek out yourself. My question for everyone as a
whole was what is the role of funding in your field? For example, have you ever had to
pay out of pocket for additional training or to attend a conference, or I would add, to
purchase those books that you’re using, to purchase music? Just everything that, yes, this
is your job and you’re getting paid, but how much of that salary are you putting back into
the field? Does that make sense? Personally, what do you have to spend?
Singing Teacher 3: Absolutely. Well, luckily one of the studios I work at they’re really
good about encouraging like going to concerts, like we did stuff like. That the other
studio I work at doesn’t do that at all ,so everything that we put into our careers is our
own time and expense for sure.
Smith: Which I think is pretty common.
Singing Teacher 3: Yeah, I agree, I agree.
Smith: Okay. So then, just a couple more questions. What is the role, if any, of voice user
disposition? And I had a lot of participants mention teaching perfectionists, high
achievers, people with high anxiety. Or, even if you don’t want to put a label on it, just
how does the personality of the person and your personality, how does that kind of play
off each other in the voice lesson?
Singing Teacher 3: Yeah, I do have a couple students where I kind of let them guide the
lesson a little bit more than I would in ordinary circumstances. One of my students is an
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older male and he owns a company, he’s very much in a leadership role at all times, and
that’s just how his brain works. And so he really does lead the lesson and I just give him
feedback because that’s the way that he learns and he has improved so much since I
stopped fighting against that kind of way, that was a really kind of interesting learning
lesson for me. Because at first I was like, I’m the teacher, you’re not leading the lesson, I
decide what goes on here. But that’s just not the way that he learns, and when we were
doing that, he would get frustrated, he didn’t progress, so that was a really interesting and
special case. But I do have a couple off the top of my head that I can think of right now of
students that are, I wouldn’t say necessarily like OCD, but they have very much if I can’t
get it now I like have to do it again and again and again till I get it right and sometimes I
just have to draw the line with them, like if we keep doing this, it’s not going, you’re not
going to be able to fix it now, it’s been too many times, there’s too many repeating times
of this, that it’s not doing your brain any good anymore. It’s, you have to like come back
to it, you have to leave it there and I call it marinating.
Smith: Oh, I love that.
Singing Teacher 3: Put it in the sauce, try it out, okay, like it’s not working right now, let
it marinate and then will come back to it later, that is really how that works. But yeah, I
would say with students like that or students that have high anxiety, lots of students at
first or really, really scared to sing in front of me probably because they’re very anxious.
I have one student that just now, after three months, it’s finally opening up to me and like
smiling telling me a little bit more about her day and it’s hard as somebody who, I’m not
like an extrovert at heart but I am an extroverted introverted I would say, I’m extroverted
when I need to be.
Smith: Yeah, I’m very similar.
Singing Teacher 3: And so sometimes you know if I’m in my ego, then I might read that
as they were being rude or they’re being standoffish, but that’s so far from the case, it’s
just that they suffer outwardly with something that I could be suffering with internally.
Maybe I am uncomfortable and shy, but I’m not showing it because I’m able to put on
that kind of face, and they’re just not, and that’s okay. So that, I do have a couple of
students like that as well and it’s just lots of positive reinforcement, lots of letting them
know they did a great job at the end, just lots of compliments and, of course, honest
compliments. I’m not going to lie and tell them, “That was amazing,” if, you know, there
are things we need to work on, but it was amazing that they tried. So yeah, lots of
different stuff like that. You just, again, it’s like you have to take the individual and
assess, like, what works most for them in your lessons with them, and that might take a
while, but when you get it, it’s like uh! It clicks and we’re going, we’re good.
Smith: Yeah, great. Yeah, that’s a great way to describe it.
Singing Teacher 3: Thank you.

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Smith: So my last question you’ve already addressed and, again, you were kind of the
inspiration, but I’m asking other people, so if you have any other comments about the
role of scheduling demands. You had mentioned seeing students back to back to back
over an extended amount of time, typing notes as the next person is coming in, to reflect
on the last person, and you had said that maybe if there were even a couple minutes in
between to gather your thoughts, reflect on one prepare for the next. Basically, you don’t
have to say anything more, but is there any other comment you have on how scheduling
affects you as a teacher?
Singing Teacher 3: Yeah, I would say that absolutely hour five, you’re not giving as good
as a lesson as hour one, maybe, depending on the day. Sometimes if I just get up and use
the restroom real quick, I’m back to it, but it’s like your voice is more tired, you’ve been
multitasking for five hours straight, four hours straight at this point, that’s a lot to be
asking of your body and your mind continuously. I don’t think people understand, you
know, I’ll talk to my family, “Oh, four hours isn’t long, five hours isn’t long,” but five
hours of their job, they’re probably doing something and then they put it away for a
second, they’re doing different things, but they have that kind of mental time to process.
You’re engaged with somebody the entire time, there’s someone sitting right in front of
you, you don’t get to just, you don’t get to leave. So that is really hard for me because I
have ADD and there’s sound all around the rooms, I can hear things, so it’s like
absolutely at hour five, it’s so much harder for me to give you that same value of lesson
as hour one and I really, really do try as hard as I can.
Smith: Right, and you want to give your best.
Singing Teacher 3: I do think if I had just literally five minutes in between each lesson,
five minutes to respond to, because I’m also getting texts that whole time from students
and people that need to change their schedule or need to cancel their lesson and want to
make up, and just so many different things and I get those all day too, I’m sure you do as
well, it’s not just confined to those five hours.
Smith: Yeah, oh yeah.
Singing Teacher 3: You’re always on, you know. So I think if I just had a couple of
minutes just to like sit and breathe and recharge, it would probably change my energy
level and yeah, definitely.
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Smith: Could you verbally confirm that I have your permission to record this
conversation?
Singing Teacher 4: Yes, do you want me to say my name and everything?
Smith: No, that’s fine.
Singing Teacher 4: Yes, confirmed.
Smith: Okay, thanks. So thanks so much for meeting with me today and just a reminder
that this interview is part of a pilot study to identify interpersonal practices used by
teachers of singing, but also speech-language pathologists and other voice experts. So I’m
hoping to compare and contrast practices in our fields to design a surveying tool, but also
to make recommendations for how we can have better cooperation or practices with our
students or clients. So, to being, how would you define interpersonal?
Singing Teacher 4: Just the word interpersonal?
Smith: Yeah.
Singing Teacher 4: Basically, how you communicate with another person, that’s how I
would. So when you’re talking about interpersonal skills, how well do you do with
communication with other humans.
Smith: Great, thanks. And I may be taking some notes, I don’t know how loud my
clicking is.
Singing Teacher 4: That’s okay, it sounds very doctoral and very official.
Smith: Thanks. And with that in mind, what do you consider to be necessary
Singing Teacher 4: Listening and empathy, I would consider part of, you kind of need. I
guess we’ll start with those, so you have to be a good listener. I guess knowledge, you
have to have knowledge, obviously, if you’re teaching something. Oh, and interest, like
curiosity, curiosity that’s what I meant to say, being curious because that helps.
Smith: Great, no that’s great. Don’t feel pressure at all, what you say is great no matter
what. Could you give an example of how you might incorporate some of these
interpersonal skills into your teaching or your work?
Singing Teacher 4: Yeah, well usually when a student comes in, I kind of start it, I mean
it sounds like it’s flippant, but you’re like, “Hey, how is your day?” or “How is your
week going?” or “How is singing?” But it’s really to get the student talking and
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comfortable right away, and it shows that you’re interested, because you are ,you’re
always interested in your students, but it initially really engages with them on, oh they
really do care about me and stuff like that. And then the next important step is, no matter
what they say, you have to really hear what they’re saying and then kind of empathize
with them and respond in such a way that can keep the communication flow open, cause
that’s what’s so important, especially, with teaching someone how to sing because that’s
very personal.
Smith: Right, thanks, that’s awesome. So do you teach or encourage interpersonal skills
from the students in any ways.
Singing Teacher 4: I think so, not like I am, “You have to work on your interpersonal
skills,” but by getting them to talk, which with some students especially their first year is
very hard to do, [omitted] some students just don’t like to talk at all. [omitted] And you
do, you do have students that tend to be more listeners than talkers, and that’s not a bad
thing, but you do have to keep kind of that conversation, that kind of inquisitiveness
going, so that, at least at some point, the student does open up and offer. The other thing
is that you really have to, at least what I’ve tried to do it, is always tell the students that
there’s never a wrong answer. So if you’re feeling like your singing, the best way to
describe your singing is the color blue, then that is fine. Just to get them opening, because
everyone, you know, interprets things differently and kind of learning the students’
language and how they are describing things, I think it’s really beneficial and helpful as a
teacher.
Smith: That actually leads well into the next question. I had some approaches to
individualized instruction, and I can share those with you if that’s okay. Can you see the
screen?
Singing Teacher 4: Yes, I can.
Smith: So for number 5…
Singing Teacher 4: I see, okay.
Smith: There are some of these approaches that are familiar in education or common in
the teaching world. Are any of these ones that you’re familiar with or that you find you
use in those interactions with students?
Singing Teacher 4: Probably indirectly. I mean obviously, I’ve never been like, “Today,
I’m going to use the Gallup strengths finder.” My actual sister-in-law works for Gallup
and she developed surveys and stuff for people.
Smith: Oh, that’s cool! I’ve never taken one, but I’ve heard people like knowing their
strengths.
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Singing Teacher 4: Yeah, I’ve never, have I taken one? I don’t know, maybe back in the
day in college I took one, I don’t remember. Personality types test, so I know that one.
Modes, there’s like a test called modes where they figure out which one you are?
Smith: Not necessarily.
Singing Teacher 4: Because yeah, like I know that everyone learns on all those three
modes, but one is more present generally than the other. Like I’m a terrible, well, that’s
not true, with language I’m a terrible auditory, does that make sense, like if people read
something to me and they’re like, so what do you think about that, I’ll be like, “Can I see
it?” But like music, totally can learn fast aurally. I am fundamentally a kinesthetic
learner, though. I don’t know, do I know Gardner’s intelligences? I mean, I understand
what all of these are, but I don’t think I’ve ever heard of those before. Is that what you
mean? Wait, I’m supposed to be answering a question.
Smith: Yes. Could I phrase it in a different way? Can I go off of those modes?
Singing Teacher 4: Sure.
Smith: Do you find that students, that your teaching has to be either more auditory, more
visual, or more kinesthetic because of the student?
Singing Teacher 4: Sometimes. I try to do all three so that I can, especially the first
couple semesters I have students, because then if, especially if the student really starts
trusting you and opening up and maybe practicing, doing stuff, then you start really
learning what’s best for them, you know, you’ll find this student, it’s best we best learn
the song if I just play it a whole bunch of times, whereas this other student, another
student may have to study the score more, and then the other students are just singing it
over and over again, so that feeling of it. Does that kind of make sense?
Smith: Yes.
Singing Teacher 4: So I guess I do the modes thing, indirectly not specifically like, that’s
what I’m going to do. I know that I do kinesthetic is the one that a lot of students don’t
pay attention to when they’re learning singing, although they don’t realize that when
they’re actually singing especially exercises in a positive way that is the kinesthetic way
of them learning to do something, but they don’t make that connection. So I try to help
them make another connection, [omitted], but to play their parts, and I talk about that
kinesthetic learning and we talk about it briefly. So I’m guessing, maybe I use the modes
thing more indirectly than the others, if that’s the answer you wanted.
Smith: Yeah, that’s great.
Singing Teacher 4: What we’re looking for, I know you’re not looking for, I didn’t mean
it that way.
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[omitted]
Smith: So kind of to go off of that topic, could you explain a time that you had to alter
your technique to help a client or student? Like if it was they just weren’t getting it or you
had to take a different approach?
Singing Teacher 4: I am currently doing that, actually.
Smith: You don’t have to use any names, but yeah.
Singing Teacher 4: But I have had this before, not, I don’t think, quite to the extent I have
this currently. I have a student, and like I said, I’ve had students before who cannot match
pitch, that just sometimes happens, right, but I’ve usually been able to figure out like why
or maybe how they’re relating, maybe their ears just aren’t as developed. And relating
sometimes, I’ve like, once, a long time ago, it was a guitar player, for whatever reason,
could not sing and match pitch but knew where everything was on the guitar, so I had this
person sing with the guitar and then we’d kind of figure out notes and keys and we’d go
off from there, so just a little bit more time spent on that then working out in the song.
But I currently have a student who, like, they can match pitch, but they can’t sing it
correctly again and again, does that make sense? Like one week we can work on a tune to
a song, and they’ll get it down, and they’ll get it down pretty decently with the
accompaniment, and then next week it’s like brand new song. I don’t know why, I don’t
know if they can’t remember, I’m still baffled by the student. One thing that has helped
that we’ve worked on a lot is doing solfege exercises in the key of the piece before we do
it so that they really hone in that key before they try to sing it, that seems to be helpful.
The problem is when it goes harmonically away from the key for a bit and then returns.
And it’s baffling to me because based on the first song I did with this person, I thought,
okay, we are picking songs that the piano doubles the voice, that’s just going to be a solid
plan. I don’t know if they just can’t hear, I don’t understand.
Smith: And that didn’t help, piano doubling, necessarily?
Singing Teacher 4: No. And I even highlighted it for the student, I’m like, “It’s doubling
you, you just need to listen to it,” and then I even asked, “How do you get through choir,
I’m like here one on one helping you and you’re barely getting it, how are you getting it
in choir?” Well they say, “I just do,” but of course that’s not a credible comment, I’d love
to talk to the people who stood around this person to see are they really getting it, are
they even singing, I mean maybe it’s so quiet.
Smith: Are they singing masked in choir?
Smith: So you could hide.

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Singing Teacher 4: You could totally hide. Yeah, it’s currently, it’s baffling me. Usually
by now I’ve figured out a method, I’m good to go. They’re just slower with the ears or
they haven’t really felt their voice before because they’ve never really sung, because that
is the one thing that slightly odd about [omitted]. I mean, I’ve had percussionists,
bassoonists, people that singing was not their main instrument coming into music
education, and so they’re just not used to feeling it, and I totally get that ,because that’s
going to be harder for them, we have to get, you know, that’s a huge learning curve and
how to feel everything here instead of the positioning and whatever other instrument
you’re playing.
Smith: That’s interesting.
Singing Teacher 4: But yeah, this one this semester and I have enlisted all of my
colleagues that are just as baffled as I, because it’s not consistent, it’s like it doesn’t stay.
I probably shouldn’t scare her like this, but I’m just like, “You may want to just have
your ears tested, just to see.” Because I have noticed there’s definitely a range of notes
where this consistently happens that way, as you get a bit higher, easier to, like, hear I
guess, it’s easier for them to hear and to kind of it’s easier for me to get them to match
and be on tune in those notes, but not that middle Passaggio to low.
Smith: Yeah, weird. Okay, well thanks for sharing that and some of your approaches.
Because even if it’s not working now, at least gives me an idea, since I’m looking at how
teachers approach their students, the things that you tried with this student.
Smith: But shifting gears slightly, I just want to talk about goal setting and types of
feedback. So just a broad question, you can answer however you want, how do you
measure success? And that could be in yourself or in your students, or both.
Singing Teacher 4: Well, I guess in my students is if their voice is growing, right?

Because they’re going to screw up on songs, although they’re, you know, I know most
students feel like I feel like they should sing everything perfectly or they’ve failed me,
which I keep trying to tell them, that’s not the point, you have to work hard and perfect,
so that the singing will be fine. It doesn’t have to be perfect, but I somehow don’t get that
across. I am a bit of a taskmaster though, so that might be why. But yeah, if they get up
and recital, jury performance, any other performance, and it goes well and they feel like
their breath was really strong especially compared to the beginning you know things have
progressed from the beginning of when we started working on this piece to when they’re
starting to perform it, that’s how I measure their success. Understanding it’s probably not
going to be perfect. My success, I guess I really measure my success from the choir
directors telling me how much better their choirs sounds. Because you can’t really
measure your success, I mean you can senior recitals you can, getting a student to that
point of getting up and singing 45 minutes to an hour by themselves, making it through,
being successful, consistent breathing and tonal quality, wonderful performance, then I’m
like, okay, we did well together yay, so maybe that’s a thing. But little performances here
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and there, that’s hard because so much is impacted by the day you can be distracted for
one song in a recital, but the rest of the recital is great, but if you’ve got one song and
that’s it and that happens to be the song or distracted on that’s an unfair assessment of
both the student and the teacher so.
Smith: Yeah. How do you set goals? Either for yourself or…
Singing Teacher 4: Oh, for myself or students? Well, the students, it’s kind of all
timeline-based because, it’s also because there’s a grade associated with it. When I have
private students, it’s kind of, I take my goals for them what they tell me they want, right,
so if a student just wants to learn the music to sing for their moms retirement party or
something then, you know, that’s our goal and we kind of break down how we’re going
to achieve that goal. If it’s to get into something, like [omitted details about specific
choirs] and they want that me to help them, you know, set those goals. So then we decide
what, well, you’ve done an audition, what did you do well, what did you not do well,
what can we work on, and then we work on their tonal quality, as well as often at sight
reading, you know, none of them feel like they do well on the sight reading. And with
that, I just kind of tell them, “It’s not really about the sight reading if you get all the notes
right for the choir directors because you’re never going to have to sight read a song in
concert,” and they kind of look at me, but it’s all about staying in tune. If you can just
keep track of tonic, it probably won’t matter as much if you screw up some notes.
Smith: That’s really great advice.
Singing Teacher 4: If you go away from tonic, oh, the choir director doesn’t think you
can keep in tune, so.
Smith: I’ve never heard that before, for some reason this is blowing my mind. I feel like
sight-reading wasn’t the most difficult to me. That’s really good advice.
Singing Teacher 4: But you probably stay in key.
Smith: Yeah, mostly. So once you’ve set those goals, can you tell me about how you
select exercises, or vocalises, or the sung repertoire? Like you mentioned that one student
you chose repertoire with voice doubling and yeah, how do your selections relate back to
the goals?
Singing Teacher 4: Okay. First semester, even first year that I have a student, I don’t
know their voice, right? They don’t know my technique, so at that point it’s picking basic
material and you have to pick it so quickly because you have hardly any chance to get to
know the student before you’re choosing songs. But basically, it’s just kind of let’s just
do some songs, let’s figure this out, let’s hear what you got, we’ll start working on basic
exercises. It’s very generic to start with, just until I can have a little bit of that you know
lesson by lesson assessment, so I can see what are their strengths, what are their
weaknesses, what do we need to work on, what do they respond well to, what do they not
respond well to, things like that. And so then based off that, once I have that, let’s say
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after the first year, then I start figuring out, you know, what they kind of need. Because
there are singers that are like the coloraturas of the world that can sing all of this little fast
flitty stuff clearly for days, but can they hold notes for like eight beats on a slow song?
Not so much. So you have to kind of, you give them a little of the stuff they can do well,
so they feel successful, and then I also give them those challenge pieces. Or I notice
pretty much across the bat, I usually give this in the first year anyway, I try to give them
something wordy because I’ve just found Americans in general have lazy articulators and
we should just work on that as a country just that because, so I tend to then find, you
know, if they continue to have trouble with that, as they are getting older and older I keep
giving them more songs. I’ve even given like juniors and seniors patter songs if I feel like
they really haven’t, although they’re getting by doing the languages and stuff, they really
haven’t found it, I’m like, okay, it’s time, you’re getting some fast Gilbert and Sullivan,
so it’s things like that. Or if they’re a voice that is that beautiful lyrical, long, big, legato
but can’t do the fast stuff, I give them the fast stuff so that their voice is more versatile, so
working all sides of their voice. And then exercises are really based off then that
literature. So and that’s why often I’ll ask, especially the younger students, what are we
working on today before we do any vocal exercises because if they tell me that we’re
going to work on my Handel aria that’s you know very slow and drawn out, then I will
probably do some more longer exercises, maybe that has some runs in it just to challenge
the movement of the notes, but also that has some holds in it, some longer things in there.
Also if they, same Handel, but different aria, like “Rejoice” or something has crazy in it,
and then we do lots more of those exercises to kind of work the voice towards that.
Smith: Awesome.
Singing Teacher 4: Does that help with that?
Smith: Yeah, that’s awesome. And it’s just great to have things in your own words.
[omitted]
Smith: In terms of feedback, I want to know how you provide feedback to students and if
there’s any certain way that you balance encouragement and critique?
Singing Teacher 4: Okay, [omitted], my critiques tend to be with humor, you know, it’s
served better with humor than directness. However, sometimes, with some students you
have to be direct and that, you know, once you figured out that relationship. Some
students, you can just tell, they are too, I don’t know, tenderhearted or emotionally on the
verge, or, you know, that you can’t really be like, “That was terrible, let’s do this again,”
that would just destroy them. You have to sugarcoat it, if you will, that I use humor,
that’s usually what I do. I’m always honest with my students, but maybe not as direct
with some as others. Usually by the time, though, that students get older, I’m more direct
because we have that relationship and that trust and I can be more direct with them, they
know I’m not being mean. But yeah, that is always hard to do. I mean, especially, back to
this my current student who it is sometimes really painful to listen to, but I have to keep
looking like I am inquisitive, I try to make sure that my face is, that’s actually a positive
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about being online, I can be like, what’s my face look like? But yeah, so I try to look
encouraging and positive, so they don’t think I’m just like, “What is that?” But then
trying to always encourage. I always start with positive comments, always, and then after
that go into the criticism, because then at least they are receiving the criticism in a good
place, instead of just feeling. Another thing that I do sometimes is I’ll just ask them
before I say anything, “How do you think that went?” [omitted] “How did that go?” Just
to see what you’re taking away from it, usually you guys are way more critical than I ever
am, so then we can go off of that because you’ve actually blown the bad news to
yourself, so I don't have to tell you anything, and then we can go from what to work on.
Smith: Yeah.
Singing Teacher 4: So, if you have them self-analyze, then sometimes it takes a lot of that
blow away.
Smith: Yeah. So then kind of talking about people and knowing them and taking care of
them, how much of a role do you take on as a like a mentor, a nurturer, as someone who
takes on not just musical concerns, but emotional and personal concerns? If at all?
Singing Teacher 4: Yeah, I always, [omitted], she always said, “I swear half of teaching
is being a therapist, we should get therapy degrees.” Like you’re not even joking and it’s
true, because we are our instrument, right? I’m not the piano player who can walk away
from that and on some level think the piano was the reason why my performance was
awful. It’s you and when people are judging, they’re judging you and your voice and
coming deep within you, especially if you’re connecting to it emotionally. So that’s really
hard, so just being willing to do that is, definitely, I’m always willing to do that.
However, I’m not pushy, so I allow the students to make the first move if you will, in
regards to that. Some do, some don’t, which is fine. I think it’s more their, it has to be
their comfort level with me. I am more of an open book and totally comfortable than a lot
of students are, so it has to come from them. I don’t push myself into their lives.
Smith: Yeah. Is there any certain things that you do to create that safe environment,
though? Or they just feel like they can trust you?
Singing Teacher 4: Well, I think it’s that whole, I’m always asking them how it’s going,
and you know, sometimes we just go onto the lesson. Sometimes, most of their lesson is
them breaking down in tears because of what happened Friday night, or whatever. And so
I let that time happen and then, if time allows, again online has been more helpful with
that, because I am available a lot more online than if I have to drive back-and-forth to
these places, so, but yeah, if, and if a lesson is hijacked because of emotional day and I
feel like they really need to have the lesson or they really want to have a lesson then we
do, I just make it clear, this is totally fine, why don’t we do your lesson, how’s Friday?
How does that work for you and then we can take that time to talk about whatever they
want. Definitely, you know, I’m a talker, but definitely at these moments, I just let them
talk. That’s when you just listen and then when they cadence in such a way or look at you
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or ask you something that you know you’re supposed to respond, then, I mean, it’s hard
to talk about it, but yeah that’s basically what, be an empathetic listener is basically what
it is. And yeah, and I’ve talked to students about that, do, you know, when they say,
“This performance didn’t go well,” or this year I’ve been having them submit videos to
me every so often, mainly so they can get more feedback than the lesson, because half the
lesson is stupid technology stuff, and so I’ve been trying to give and they’re like, “Oh,
this was terrible” And I usually say to them, “Why is is terrible? Are you tired?” “Well,
yes because this happened, and my mom called and my cat died,” and I’m like, “Well,
see, that’s why. You are your instrument, so if you are sad or unhappy or somethings
happening, you know, it’s going to affect your singing, and that’s okay.” So just letting
them know it’s okay, that’s the thing, they feel so bad, like they totally botched a video or
sang bad in a lesson, I’m like it’s fine, it’s just you and I. So making them try to feel as
comfortable as possible. So I don’t know if that answers your question.
Smith: No, great, it does, it does. So we’re going to shift gears a little bit for the next
twenty minutes, if that’s okay?
Singing Teacher 4: Yes.
Smith: Because the other aspect of this study is identifying and comparing the types of
training in both of these fields, so teachers of singing and speech-language pathologists.
Smith: So I’m going to ask some questions about curriculum, education, professional
memberships, beliefs and ethics, and some other things like that. So do you belong to any
associations or hold any memberships?
Singing Teacher 4: Okay, so this is super terrible, no, I used to be a NATS for a long
time. [Omitted]. But when they change the way they did their judging sheet, I did not
agree with it. My students had a horrible time that year following after that, and I’m like,
I think I’m done. And so I literally actually just forgot to pay my dues that year, so I
lapsed and I’m like, I don’t think I’m going to re-join.
Smith What exactly did they change?
Singing Teacher 4: Well, they changed, for instance it would say, “Has clean vocal tone:
all the time, some of the time, half of the time, not so much, never,” right? And those
were associated, I think, with numbers. So you can have someone who’s coming in there
and essentially yelling at me, right, but they have clean tone, so I have to get them full
marks. And that’s what I was finding was happening. Students that I did not feel were
singing vocally healthfully or correctly were getting ranked higher than students who
were way more artistic, way more expressive, but they just didn’t have the cleanness of
tone, or the volume, or all those other things that they had on this list, right? Like I could
put their artistic stuff up, and that kills smaller schools because, you know, a lot of
students who are crazy about, you know, a lot of the students to go to the bigger schools
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have probably had lessons for forever, they’ve probably been competing in vocal things
for forever, or been in things, like, in their local areas a lot, and are gung ho, you know,
going performers. The smaller schools don’t really have performing degrees, right? They
have music minister degrees, they have music education degrees, they might have a
music performance degree, but it’s more of a generic things and an add on to the other
things, more than anything else. So here are there are singers that are singing, really for
their age and the maturity that is normal, they’re singing great and wonderfull,y but
they’re getting these low marks, terrible comments from other judges in our district and
in our region, and going to finals because I tell them, “Go to finals, you’ll see why, you
know, you didn’t go on the finals,” and then finals, it’s a bunch of people that aren’t
singing healthfully and they’re looking at me, and I’m like, yeah, okay, I’m out.
[Omitted]
Smith: So do you hold any other memberships, or no?
Singing Teacher 4: Yes, I’m in Sigma Alpha Iota, that’s a music professional
organization. Is that it that? Probably is it. That relates to music, right?
Smith: Yeah.
Singing Teacher 4: Yeah, and you’re not talking about boards that I’m on are you?
Smith: No, I don’t think so. What boards are you on?
Singing Teacher 4: I am on the [omitted] board. [Omitted conversation with personal

details].
Smith: So could you briefly describe your training?
Singing Teacher 4: Briefly? Okay, well, official training or like how long I’ve sung?
Smith: Both.
Singing Teacher 4: Okay, I’ve always been a singer, been in choirs and stuff like that
most of my life. In middle school, I got into the show, swing choir, they didn’t call it
show choir, swing choir and was in that, in addition to regular choir. And then in high
school, same thing, I was in sophomore swing choir, and then junior year, in the concert
choir, as well as the varsity swing choir, and that was a lot of obviously singing and
dancing, but smaller and more, not risers with just jazz hands, but swing choir is more,
think of musical theater chorus, where you’re singing together and actively dancing, that
is what swing choir is, cause swing choir, that is more there’s 16 of you maybe 20, some
years there were 20, they have more and some other parts. And then lots of solos and
various, you know, talent shows and things like that, so I decided to major in music and I
got my bachelor’s of fine arts in musical theater from [omitted], [omitted] but mine was a
music major, a theater major, and a dance minor, all the courses for all that, which, again,
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to me was invaluable. But then I went onto [omitted] and got my Masters in music in
opera performance. And then I took a little bit of time off, I was going to go and be a
singer, but life plans, changes happen, and I decided to get my doctorate back at [omitted]
in vocal performance. So, lots of master classes along the way.
Smith: Great, and this is kind of a big question, but can pinpoint anyways in which your
training influences your current teaching specifically? Like not just the singing, but the
teaching.
Singing Teacher 4: Yes, okay, yeah. First of all, all the different all the teachers I’ve had,
and vocal coaches, some really, they all are very different, let me think about that.
[Omitted] and [omitted] were probably the closest, but they all had different ways to
teach singing. My very first teacher, [omitted], she did those crazy, like, sing it like
you’re skiing down the mountain side, very out there technique, and that’s okay, because
some people respond to that, so I’m glad I know about that information, and then
[omitted] was very technical, part of that, though, was because I was a doctoral student.
I’m not sure if undergrad she does the same thing because I only know her as a doctoral
teacher, but she was very specific and technical, which you also need. And then I guess
[omitted] was just kind of the generic, I shouldn’t say generic, she was at [omitted] but
everything there was for performing, because you were there to be a performer. And I
performed constantly, all the time, classes were performing, just constant never-ending
performances. And kind of learning how to balance all that and singing a lot and a lot of
different styles all the same timem that’s kind of what she taught me. So just mixing all
of those together, I just call it my bag of vocal experience and then you just pull out what
you need for the students you have, and hopefully you can match something up. The
other thing is also paying attention to the way other teachers around you were teaching
and you would know that based on your friends. So I kind of knew how [omitted] taught
because I had a lot of friends who taught in her studio when I was an undergrad, that’s
why she was an easy pick for me when I came back and decided to do that, but yeah
knowing all the different teachers in their styles and kind of knowing what I felt like they
did good, kind of keeping that in mind, what I thought they struggled with, maybe also
keeping that in mind not to do, things like that, at least that I didn’t think worked. So
vocal pedagogy classes help, because you understand things a little bit better after you
take those but then also, especially taken as a doctoral student, you are asked to watch
other teachers teach and that is kind of eye-opening to see how other people teach. And
then your colleagues, you know, when you’re talking about various students or talking
about, you know, how they’re doing especially if you have students that you both know
and both work with, type of thing. So that’s helpful to me.
Smith: Yeah, yeah, of course. Is there any training that you wish you had received once
you got into teaching?
Singing Teacher 4: Isn’t that terrible to say no? But no?
Smith: No, that’s great, awesome.

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Singing Teacher 4: The other thing I forgot to say that’s been a plus for me, and that I
think I would say if I didn’t have this, was all of my dancing and theater training. That’s
been invaluable. And especially [omitted], you know [omitted], I am the teacher.
Everybody just, I’m it. But at [omitted], there’s like five of us, six of us. So seeing
everybody’s students and getting the comments from my colleagues, wow your students
are just always so, like, polished and performance ready, I’m like, it’s because we work
on it. But, you know, a lot of singers don’t, especially if they’ve stayed classical opera,
other than them doing operas, there’s not a ton of like acting and movement classes that
are required. Like all of that was from my musical theater major, I had to take one dance
class at [omitted] and one acting class at [omitted], that was it for a semester. That was
all, that’s not enough.
Smith: Yeah, no, that’s really helpful, thanks.
Singing Teacher 4: So that would be things I would say I wish I would’ve had that I was
lucky enough.
Smith: You got them, yeah, that’s awesome.
Singing Teacher 4: I know one, you’ll laugh at this, more piano training.
Smith: Oh, my goodness, I am with you.
Singing Teacher 4: Well, not so much piano. I can play tunes, right, and if I really work
on it, I can play fast tunes. But the deal is, I am just not that great at accompanying, and I
don’t know that it’s my piano skills per se, it’s me being a perfectionist that’s a problem.
I can place stuff by myself, actually a lot. Once the student’s there, and they’re trying to
sing, you know, I’m paying attention, I’m not even listening to them at this point, I’m
trying to play. I think having maybe some classes that taught you how to accompany,
how to listen, leave stuff out, my leaving stuff out is, you’re getting the baseline. I just
leave a whole hand out so, because that’s hard. It’s not that my piano skills are
necessarily bad, I just never really had to work on accompanying, and so I don’t, so sorry.
So that is an answer, that is a class, I did think of something, you’re right, accompanying,
playing piano.
Smith: So I do have a couple more questions if you have time?
Singing Teacher 4: Sure. We’re not doing anything I don’t think. [Omitted].
Smith: Do you use research-based practice in your teaching? Either from like reading
publications or articles and can you describe anything with that?
Singing Teacher 4: I have to admit I’ve been bad lately about doing that. Having been,
okay this is what happened a year ago, fall, I’ve thought it would be, and this is not even
true, it was the spring before a year ago, fall I thought it would be great if I responded to
the music department chair at [omitted], like, hey do you have any general music classes
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that you could teach for us that would be some ideas? I put some ideas out there, well,
they took the bait and then, they’re like, so you need to start teaching this next fall, so it
has been crazy busy ever since that, doing film music, I’m now in my third semester
teaching it, but I think finally now, after this semester, I have it settled down, and I know
what I’m doing, and it’s all good.
Smith: That’s cool, though.
Singing Teacher 4: Yeah, but that’s taken up a lot of extra time. So I have not for the
past, it’ll now be almost 2 years, been reading it. But yeah, I do try to read things, what
was the last thing, I started reading but I didn’t finish, because this is when film music hit
“The Naked Voice,” by, who is that by, W. Stephen something?
Smith: W. Stephen Smith.
Singing Teacher 4: Yes, that’s who it is. It was recommended to me by [omitted] as well
as [omitted], and yeah, just reading different things and hearing. I do like, also,
sometimes, when they’ll have those YouTube interview of singers, especially if it’s about
their singing and stuff like that. That’s kind of fun to watch and hear these master singers
and how they view it. But yeah, I try to. Of course, it doesn’t help that I’m not a member
of NATS, so I don’t get the Journal of Singing, I used to get that, read that. I should
probably just, I should just swallow my pride and become a member and just not
participate.
Smith: No pressure from me.
Singing Teacher 4: You know, it is, you bring up a fair point. I’m not getting the journal,
so I’m not reading that stuff anymore and hearing, but quietly frankly…
Smith: It’s expensive, too.
Singing Teacher 4: It is expensive and the last, I would say, year and a half, two years,
there are a lot of things in there that I didn’t agree with. I was just like, “What? No.”
Smith: Yeah. So my next couple of questions they maybe apply and they maybe don’t.
Because I know you said at [omitted], you are the teacher, but at [omitted] or with private
students, how do students come to you? And I’m going to say three things at once and
then you can address what you want, how do they come to you? Is there anything that
might keep you from teaching certain students and are you allowed to refuse anybody?
And then, three, is there anything that draws you towards certain students? But it may or
may not apply in your situation.
Singing Teacher 4: If they are willing to fly me for monthly lessons to London, I would
totally take them as students, I’m just joking. Okay, so this is what happens at [omitted],
we get, there’s a stack of schedules of students that are taking voice and you just grab the
ones that fit into your schedule. Now I will say, [omitted] must like me, because he
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always has a special stack for me. So he filters me students, I will say, also, I’m very
disappointed that he gives the one male teacher all the male students, that makes me very
sad. So when [omitted] was there, that’s how it was, [omitted] only wanted to teach guys,
which is fine, and I get that. Guys understand the guys larynx better than women do,
fundamentally from an actual performer perspective. I mean we understand it up here, but
their transition is different than ours, and I don’t know what it feels like, just like they
don’t know what ours feels like. So I get that, but it’s so sad because I like teaching guys,
too, I like that balance. Fortunately, I get it at [omitted], but like for now, I have no
tenors, so I don’t know. But anyway, so sometimes it’s happenstance at [omitted],
sometimes [omitted] sends me people. They make it really easy to switch studios at
Concordia, in my opinion, a little too easy, mainly because of the fact that they allow
students to switch without telling the teacher they’re leaving.
Smith: Oh, that’s awkward.
Singing Teacher 4: It’s very awkward, because then all of a sudden you come backm and
you’re like, “Oh, is this person not taking voice?” “Oh no, they requested to go to blah
blah blah,” “Okay, interesting.” So I’m like, no you’ve got to make them talk to the
teacher, they need to, you know, that’s just professional, that’s just not cool, you know,
they hold space for you, they think of songs for you. I have been fortunate that the
leaving doesn’t happen as much to me. I get the awkward end where I get the request to
be the teacher and that first lesson, “Oh does so-and-so know that?” “No, I just decided to
switch.” And I’m like, okay awkward. So then I’m usually the one emailing my friend
going, sorry they chose me.
Smith: That’s an uncomfortable position to be in.
Singing Teacher 4: It’s not good. Sometimes, you know, the students are very good. I had
a student last spring tell me that she wanted to continue with lessons but wanted to try
another teacher. She only had me for a year, just because she wanted to try lots of
different techniques. Like okay, sure fine, if you want to come back, you just have to
send me an email before so I save space in my schedule for you. Yeah so, and that’s fine,
and she’s not even a music major that’s why, I don’t, I thought that was very weird, just
random learning techniques. So private students, it’s word of mouth, people like
[omitted] and he was like, “Hey, do you teach private lessons?” I’m like, “Well, I
predominantly do colleges, but if I have time, yes I can take,” so like my name went up
on his board and I sometimes get contacted. But that’s usually word of mouth, but I’ve
never had the, needed it be any more than word-of-mouth, since I have the [omitted] jobs.
So that’s that. I know in the past, I taught at a local music studio, I was one of the voice
teachers. I did that when [omitted] was born because I had taken a year off from
[omitted] so I could be home with [omitted] most of the time, and honestly, it’s because
also [omitted] gave me more money to stay, they were the school I was going to take a
year from, but [omitted] ponied up and [omitted] did not, so I stayed at [omitted] that
year. The year after I went back to [omitted], so it kind of didn’t matter but. But yeah, so
I taught there before. And obviously, that’s a different, that was just for like a year, I
think I extend it another half year, just because I had some students that I had taught that
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were still there. That’s an awkward thing to do because you will literally get students that
come to you for four lessons because they want to learn how to sing better for a wedding
or they, my favorite are the ones that come to you for two lessons because they have an
audition and then they start singing for you and you’re like, two lessons, please don’t tell
them I’m your voice teacher when you go audition, oh my Lord. So I kind of didn’t like
that at all because I didn’t like the fact that students could come and go that easily and not
commit to lessons, so yeah, but those are the three ways that that’s happened. Oh my
gosh, what was your question?
Smith: No, that’s great, that answered everything. But I do have a couple more questions
if that’s okay.
Singing Teacher 4: You said a three-parter and I think I only answered one.
Smith: No, no, that’s great. So this is another two-parter, kind of goes together. How do
you prepare for sessions or lessons and then how do you reflect afterwards, if at all?
Singing Teacher 4: Okay, well I show up. Well, I guess I warm up a little bit, well, you
know, I’ve been terrible with Zooming. I forgot how much I warmed up in the car. Here
I’m just doing stuff and I walk in the sing in my first lesson, I’m like, oh that’s kind of
rough, I haven’t sung yet today, or I’ve had like a half hour drive to warm up and I don’t
have that anymore. But yeah, I warm up, I kind of get the space ready, even at, like, my
office space, not just, like, this is my house, so I have to get it ready because the children
were in here last, but just kind of like getting the space ready, getting everything kind of
set up, making sure I have enough water, mainly so I don’t ever have to leave the lesson,
let’s see what else, how do I prepare get ready for the students? Well in the, for the first
student, I can open up, see what we worked on, things like that to prepare for that, I
sometimes have a little bit more time, for each subsequent student it’s just when that one
student is leaving I go to the next student, so I do kind of read and that’s my reflection. I
actually have a chart, week, weekly lessons, I usually write really quick notes – exercises
we’ve done, so I don’t keep doing the same one over and over again, or I do it because I
have a note up there that says “Do this exercise every week,” right? It’s whatever my
reflection is, right? And I kind of write, briefly, what we worked on and the things they
need to work on, so that the next time I see them, I can instantly remember, oh right, this
is what they were working on, this is what they need to work on. And then on the next
week where my reflection should be, if I’ve asked them to do something, especially if it’s
like perform something, then I kind of put a parenthetical phrase with that information in,
so I don’t forget they need to do their memorization for me, or they need to perform
something for me, something like that, does that make sense.
Smith: Yeah, yeah.
Singing Teacher 4: And then I guess that would be it, I would read the reflection from the
week before to prepare for the next lesson.
Smith: [omitted]
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Singing Teacher 4: Well, you know, and a lot of teachers don’t do that, but when you’re
[omitted], and you have [omitted], 20 some students, it’s not that you don’t remember
them, it’s not like I don’t, I don’t forget my students, but to remember the specificity of
where they are at that moment, that’s what gets hazy. Especially if they’re, sick so in
essence it was two weeks since you’ve seen them, at least you remembered where they
were the last time.
Smith: Okay, awesome. So then I have two more questions.
Singing Teacher 4: They’ll be quick. And you kind of already touched on this, you’ve
always been a singer, but what was your motivation for entering more teaching
specifically? For entering this line of work?
Singing Teacher 4: You’ll probably not like to hear this, so here I am in [omitted] and
I’m at the, I had no interest in teaching, none, and here I am in [omitted], and I’m singing
and singing a lot, and I am the head of the gig office for [omitted] so, and that just means,
you know, the [omitted] got lots of calls for various musical needs and I would go
through all the artists that was registered with us. Basically, if you were a student and you
wanted to be in the gig office, you were. And I would go through and filter them in order
until we found a match, or someone took the job and so that it was equally distributed.
And then I just started getting a lot of calls for teaching, you know, people teaching,
especially singers, a lot of voice lessons. And I can’t remember if I just didn’t have
someone, I don’t remember why, but I started. I was like, I should just, there’s so many
of these people that, this can’t be that hard. And so I thought, well, you know, I’ll try it.
And so I did it, just as, like, a gig office thing. And then I realized when I did that, how
much better the singer I became when I had to teach someone else. I thought, huh, I
should keep doing this. And so then, and I would talk to my teachers, I would talk to my
vocal coaches, you know, ask them things. I was always trying to do a good job, although
I seemingly flippantly decided to do it, I did want to do good once I made that
commitment. Because it was someone else’s voice, I think it always terrified me to work
with someone else’s voice, just because, at the time when I went through, there were a lot
more singers who sang with bad technique and would hurt themselves than there are now.
And so I was just always terrified I would be that teacher that would be getting people to
hurt themselves, I didn’t want to be that responsible for that. But you know, by my
masters, while I was working on my masters, I must have felt more comfortable, to do
that, so yeah, so I thought. It was interesting because I got, I got this 40-year-old guy that
was like trying, he had a bass voice and he was trying to do some Sarastro, and just
wanted to work on it because he loved the music. And this is my first student, this is
amazing. I might’ve had like a 20-something, I didn’t have too many students, I had a
few. Yeah. Oh, I know the question I didn’t answer, people you turn away, so then I’ll
come back. I still wanted to be a performer, but going, you know, I could teach, I enjoyed
teaching, I thought I did a good job, my students seem to like me and kept coming back.
And so I thought about teaching, but not until I was going to get settled in Chicago,
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where I was going to be the opera singer, and then when life plans changed, and I decided
to do my doctorate I was like yeah, I think I can do that, I think I would teach, I think I
would like this. And I was like, you know, [omitted] jobs pretty cushy, like teaches, has
fun with opera, occasionally goes and performs, that sounds like a great, great life and so,
yeah.
Smith: Yeah, great.
Singing Teacher 4: Okay, you asked about students I could turn away. Yes, if, like,
there’s a student being passed around at [omitted] because there a problem, yeah, I don’t
take those. And then for private students, when people would call me, especially parents,
I tended not to take anybody that was younger than high school. I just don’t want to teach
kids. I don’t have interest. That being said, I have taught some middle schoolers because
they were friends to my son and regretted it. I actually helped one through kind of some
vocal change in a show, that was helpful. But yeah, that’s why, I didn’t want to do that,
and here I get a boy in eighth grade that’s [voice crack] or seventh grade, and I’m like
why did I do this? So yeah, I knew there was one part of that question that I didn’t
answer, but I hope I answered your evolution of my teaching.
Smith: Yeah, yeah, that’s great. So then my final question to play off of that is what
continually motivation do you find in your line of work now?
Singing Teacher 4: I think it’s the students, you know? It’s like this never ending thing,
maybe I’ll stop teaching after [omitted] gets done with her recital, I’ll be done. But then,
you know, there’s other students that are up-and-coming that you’re really excited about
and their voices and they’re working hard, and their voices are exciting and you’re
getting a good rapport with them, it’s kind of, it’s almost like a narcotic. You just, you
think you’re going to be done and you get a new fix. [Omitted]. It’s just hard, and then
you hear these voices, and you get excited about things. And I think the whole thing that
it’s never the same. No voice is ever, ever really, truly like any other voice. And every
person is unique and so it’s always brand new. Even if you’re teaching the same song, it’s
brand new every time and so that’s I think what brings me back.
Smith: Yeah, awesome, great. Well, is there anything you thought of while we were
talking? Anything else you wanted to add or clarify?
Singing Teacher 4: I don’t think so, unless you can think of anything.
Smith: No.
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Smith: Okay, so that’s recording. The last time we talked was after the pandemic had
already started, but had some people that I had started interviewing in January and
February of last year, so I was just wondering, since I had the same questions for anyone,
is there anything else you want to add about how the pandemic has changed your
interpersonal interactions? I know you mentioned having to have positive facial
expressions because you’re seeing them, you know, so close up. Are there any other
positive or negatives about what we’re doing right now?
Singing Teacher 4: I will say that like this semester, I decided to do, to go more often,
because I felt more comfortable, you know, back last spring, it was just scary and fall it
was scary, everything just shut down in the fall, and they’re all like, you know, you’re
going to get Covid like this, they just didn’t know. And so, you know, I saw them at the
beginning of the semester and then I never saw them again, right? We were all on zoom
and I didn’t like that and I knew one of my colleagues had tried kind of going every so
often on, so I decided this semester to go once a month, and that’s been very helpful to
just kind of have that contact with them, at least I mean, yeah we’re all masked up and
everything, but at least we have that contact ,which has been really good. And I think the
students have better, you know, outlook and they’re more positive, and some of them are
getting more stuff done because I’m seeing them in person, so they’re going a bit further
with that. So just noticing that even just that once a month kind of contact makes a huge
impact for the student. I mean, I knew it would, I guess I just didn’t realize how much
they especially would miss, I mean, I was missing it too, but they were especially missing
it. And, you know, the students have been great having to put up with all this I can’t
imagine.
Smith: Okay. Yeah, great. And then you had mentioned when we first talked kind of
about your “bag of tricks,” maybe that’s not the words you used, but different
experiences you’ve had, different teachers, different training and kind of comparing that
to responses I got from other participants, do you have any other comments about
whether you value being an expert in one or two specific disciplines, whether that’s a
teaching technique or a genre of music, versus being versed in a number of different
disciplines or techniques?
Singing Teacher 4: Well, I think it depends on the student you’re trying to teach, right?
So being an expert in many different serves an undergraduate and younger student better
than a more advanced student. So my skills, I’m kind of, that’s kind of on par for the
course, it’s really kind of good. However, having the expertise I do in some areas and
helps when I get a more advanced student because, you know, sometimes you’ll get
undergrad students who have had lessons forever, and/or their voice has just matured at a
faster rate than typical, then you can challenge them to more things, then you can get into
more specifics and sometimes, especially, they like it because I know opera pretty well,
but not everybody likes to sing opera, so we kind of go that way. I do do pretty well with
French the language, in and of itself, not to mention the music, [omitted], but that kind of
background and knowledge I think then helps to gear some of the more advanced
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students and then would work if I taught at a place that had graduate I would utilize those
skills more.
Smith: Yeah, great.

Singing Teacher 4: And then the other thing that I know helps me with all of my students,
that not a lot of voice teacher colleagues of mine have, is that knowledge of theater and
dance, so I can really help students move better on stage and in character whether that’s
for an actual show or whether it’s just to loosen them up to get them to sing art songs so
that it’s meaningful. I guess I didn’t really answer your question, did I?
Smith: No, you did!
Singing Teacher 4: Both kind of help, but I think their broader knowledge really helps the
younger more beginning and intermediate students until you get those advanced voices,
then when you get those advanced voices off and it’s more those specialized that helps.
Smith: Yeah, that’s a great answer. I mean that’s awesome. Great, thank you for
explaining that. And then last time we talked, you had talked about some people who
come, more when you do some private lessons, that maybe just come for an audition and
just kind of like briefly getting them ready and then you don’t see them again. Just to
expand on that, is there any difference in how you interact with them on those
interpersonal levels, in terms of communication, relationship building, are there
differences that you see between those long term and short-term students?
Singing Teacher 4: Well, it all depends on the student that comes short term. Obviously,
all the long-term students are always trying to develop good working relationship with a
lot of trust, right, which is easy to do over time because you have some people who are
really reticent about that, so it takes a little bit longer, when you have the time, that’s
great. However, when you have these little, I’m going take lessons for a month to prepare
for this, you know, hopefully those are people I know, I’ve been lucky that a lot of time
they’ve been people I know or kids of people I know, so I know the kids because they’re
friends with my son, but that helps, but I already kind of have a relationship. But the
stone cold, don’t know them, that’s hard because you have this interesting dichotomy of
don’t know them, need to kind of develop that relationship quickly, which you also need
to work on the music rather quickly and the technique rather quickly, so I’m guessing
probably the interpersonal stuff might suffer a little bit just because of their need, what
they’re coming to me for, but I try to do it as much as possible. You know, I still have
conversations with them at the start and end of the lesson to kind of figure out who they
are. Generally, before they start lessons, I send either them or their parent, if it’s an
underage person, a big, long email about me you know who I am, what I do, where I live,
my degrees, places I went, stuff I’ve kind of done musically, just so that they kind of
have some background knowledge of me at first, before they come. So that saves time in
the lessons, so I try to do as much as that as possible and I also try to garner a lot from
them when they first contact me, like who they are, why they’re taking lessons, what they
want out of it, what else do they do, kind of stuff, does that kind of makes sense? So I try
to do some of that maybe more ahead of time than I would at undergraduate level when
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I’m going to have them for four years, but it does, it has to affect it, right? Because if
you’re trying to spend all that time trying to get to know them, then you’re not getting to
the music that they’re coming to you to work on.
Smith: Right, right, that’s smart though. Thank you for explaining that. I like that ahead
of time prep, great. And then, we also briefly talked about this. I feel like a lot of these
are a little repetitive, but if you have anything else to say about the role, if any, of the age
of the voice user with whom you’re working. So you just mentioned the difference
between undergrad versus more experienced, or maybe the kids of people versus adults.
Any other comments on how the age of people influences your teaching?
Singing Teacher 4: Yes, I basically don’t teach children. I do sometimes, only because
they’re friends of my friends, and I know their parents, well I’m just joking, I’ve had
some other cold calls and stuff like that yeah. So that one, that’s hard, right, because
they’re underage and, for instance, my interactions with them, especially if I don’t know
them that well, is I basically tell the parent you can come, come to the lesson, and if your
son or daughter does not want you in the space with us, you can sit right outside because
you just, unfortunately these day in age, we have to cover our bases that nothing
inappropriate is going on with an underage person. And so, and you have that a little bit,
you know, at the collegiate level, but that’s why we have the windows in the door and
things like that. But yeah, so I guess I do that a little different with the underage, you
know, high school and younger students that I’ve had, because I try to really let
everything be very transparent. I really encourage them to tape their lessons, I mean I do
that with everybody, but especially the younger kids, and for them it’s kind of a covering
my base in case something were to come up, but also because those kids just don't
remember stuff. And so that’s kind of helpful that they can play through that lesson to
remind themselves of things over and over again, but yeah, did that answer your
question? I think I did.
Smith: Okay. Yes, you did. Thanks, that was great. And then we also briefly talked about
this, I’m just going to ask it again though, if you have any comments on the role, if any,
of either the familial or personal background of the person with whom you’re working?
So this could include nationality, culture, socioeconomic status, sexual orientation, or
[omitted] any role that religion plays in your interactions with students, if at all?
Singing Teacher 4: Maybe at first, just because I don’t know them, right, and so as you
know, there are some pretty hot topics in some songs we have, even in classical songs,
and so you have to, you don’t want to make a student do something they are not going to
be comfortable with. So kind of figuring out, you know, what is their comfortability, are
they going to be okay to talk about death in the sense that the Germans used it or I think
I’m going be okay with that, right? And so you kind of feel that, but that’s kind of those
first two years when you kind of get to know your students, they’re chill, they’ll be fine
with this, or this person maybe not, you have to find out their personalities really, more
than anything. I wouldn’t say, you know, religion, gender, any of that kind of labels of
who they are doesn’t really play as much as really them inside, their personality and
what, I mean, yeah, religion may play a part of who they are in the inside, but it’s really
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what they believe and stuff like that. And then especially mentioning [omitted], because a
lot of the college students really are desperate to do musical theater and there is a lot of
what I would say other people who are musicians at [omitted] would consider
inappropriate literature, but students want to do it, right? I have no problems with them
doing it so because it’s part of that repertoire and if they want to go on and do musical
theater, then those are the choices they’re going to have to make, and so we talk about
that. [Omitted conversation with personal identifiers]. Again, I want to help the student
explore whatever they want to explore, but we have to have those parameters of, you
know, I don’t want them to get in trouble, right? I don’t care if I get in trouble, but I don’t
want them to get in trouble, so institutions tend to go for the students before the faculty
so.
Smith: So yeah, right, right. So kind of like protecting them, but giving them the
experiences that they need or want.
Singing Teacher 4: Yeah, I would say religion has been the only thing, and the rules of
the school, have been really the only issue I’ve had to kind of balance with students.
[Omitted conversation with personal identifiers].
Smith: Thanks for explaining that. [Omitted]. And then you briefly mentioned gender,
and that not playing as much of a role as personality, but I did have kind of a loaded
question about the role of gender in your field, especially if there are any barriers or
privileges because of gender? [Omitted]. At one point, I think you said that a lot of the
male students went to a male teacher, which sometimes has a lot to do with repertoire and
like registration and that kind of thing, but are there any other comments you have on
that?
Singing Teacher 4: No, not so much. I think, you know, when that happens, [omitted],
okay, fine, if I have to teach all females just because my colleague doesn’t feel, and it
wasn’t that he didn’t feel as comfortable with the voice, but I think it was all when that
kind of Title IX and sexual assault stuff was starting to kind of come, and he was worried
about the things he might say, he would never touch students, but things he might say or
do would be misinterpreted, because I will tell you a lot of the students [omitted] are very
sheltered, and so there are things you say or do that come in their heads wacky doodle
and you’re like, “What?” So I could see how he would have reticence, would feel, have
reservations about doing that. So I think it stems from there. But yeah, I don’t feel that
it’s, I mean obviously, you can garner the most from your voice type teacher, right?
They’re, the that’s the voice they’re the most expert on because it’s their voice, but that
doesn’t mean they can’t teach the other voices, does that kind of makes sense?
Smith: Yeah.
Singing Teacher 4: [Omitted comments with personal information].
Smith: So just a couple more questions. So since I’m talking to both singing teachers and
then speech-language pathologists, and people on that side, what is the role, if any, of
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multidisciplinary training in educating voice experts. So for example, how much should
singing teachers understand voice medicine or the practices of those people, or much do
you think doctors and SLPs should understand music and singing, if at all? Any
comments there?
Singing Teacher 4: Yes, I think those totally need to have, we both need to learn from
each other a little more. Mainly because as the teacher, they come to you as like an actual
doctor sometimes. Well, I’m feeling this today, and I’m just like, “Oh, sounds like you
have drainage, I’d do this,” right? And then I do have some more expert, if you will, not
really, I’m not an expert, but I have a better understanding of vocal medicine than
probably a lot of voice teachers, just because of I went through stuff, so I kind of
understand how that works. But yeah, the whole, you know, I felt like if I would have just
one class in vocal medicine or vocal issues that dealt with those sides, that would be
beneficial to all teachers to help their students. Because most of the time, these students
are coming to you with issues that are solvable or something they can do until they can
actually see a specialist, but and then occasionally, you might have someone that’s, it’s a
little more serious than that. But yeah, that would benefit, but I can definitely attest to the
speech pathologist and doctors that have musical language or have that sense of the voice
and how we use it as vocalists is hugely important. I was very lucky that my speech
pathologist was a singer, so she was like you came from singing and then went into
speech pathology, so she totally knew how to deal with me when I was like on vocal rest
and how to prepare for roles and stuff through this issue. And then once I had my surgery
and stuff, how to get back fairly quickly to singing and to performing, because she knew
kind of how to do that. And I’m not sure that if I just got speech pathologist person that
didn’t have any knowledge of singing, I’m not sure how that would go. And my
laryngologist was like, this is the person you have to go to because she’s a singer. So to
me that implied there is a difference. And it was great. In fact some of the exercises [I do]
are from her, not from others. [Omitted]. Yeah, she gave me singing exercises in addition
to speech exercises
Smith: And then have you ever walked through that with a voice student? [Omitted].
Singing Teacher 4: Like helping students to recover from? Yeah, I just kind of did, I
don’t have knowledge of this, other than what she did with me, but I kind of did the same
thing. It’s like, okay, you’ve been on vocal rest, much like a cast on your arm, you can’t
go back to full on activity when you’re allowed to do that. So, you know, humming,
sighing, little exercises, not too high, you also don’t have to go in the basement, just kind
of middle of the road, gradually kind of working higher, higher, a little bit longer, longer,
usually the weird exercises, not actual singing for a while. So yeah, I’ve kind of done that
with students who have had not as vocally severe, maybe, but kind of that exploring their
voice. The interesting thing about the tonsils, because I’ve had quite a number of students
who have had tonsils taken out, is that they have to get used to that different space.
Imagine that, having those things in their singing space in their resonating space for all
those years and now it’s gone. And so kind of how they are interpreting their voice is
drastically different, right, they’re not experiencing their voice the way they did before,
so kind of navigating that with them is very interesting.
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Smith: Okay, yeah.
Singing Teacher 4: So yeah, but yeah, of course, again, tricks of the bag, Brianna, tricks
of the bag. You know, I’ve found that just the singers who are amazing singers naturally,
usually are not good teachers because they haven’t ever really had to try or struggle
through stuff, whether that was a technique thing, a health thing, both, they just kind of
don’t know that. Much like when I have students who have problems with ear training,
I’m like, “I will not be a good teacher for that because I’d just get it.” Theory and ear
training was easy for me, so I had no struggling, so I’ll be the person going, “Well, I
don’t understand why you don’t hear that,” so I kind of attribute it to that. So I think the
more experiences you have, again, you do, you just fill that bag with more stuff that you
can lean on when you have these different individual things that pop up. I don’t know if
I’m lucky I had all those vocal health experiences to have that to lean on, but…
Smith: Right, but now you can use them for good, so. So yeah, just a couple more
questions. What is the role, if any, of funding in your field? For example, have you ever
had to pay out of pocket for additional training, to attend a conference, membership dues,
etc.
Singing Teacher 4: Yes, yes to all of that. That is the drawback [Omitted conversation
with personal identifiers].
Smith: So has that specifically prevented you from doing things or do you feel like you’re
willing to pay your own money for certain things?
Singing Teacher 4: I think I’m willing to pay for it. I mean the whole reason I am adjunct
is because of the family, right? [Omitted]. I don’t travel mostly because of them, not as
much because of me. I mean, I do travel sometimes to things, I haven’t for a long time,
but yeah, as the kids get older, they have more activities that I guess I’m just not willing
to miss, so.
Smith: No, that’s understandable. And then what is the role, if any, of voice user
disposition? I think we talked about this a little bit last time, but you might have people
who are perfectionists, high achiever, high anxiety, or maybe the opposite, not super
motivated or that kind of thing. Just any ways that you can think of that the personality,
kind of like you were saying earlier, that the personality or the learning dispositions of
the singer influences how you teach them?
Singing Teacher 4: Kind of. Sometimes it affects how I assign them, right? So if I have
an under-motivated student because they really hate classical music, but they want to do
musical theater, I just, it’s like I give them the checklist, I’m like well, as soon as we get
your technique down and you can show me you have proficiency in this, this, this, this,
this, I am happy to assign half of your literature musical theater. And so kind of like, you
just figure out what that carrot is that you want to dangle in front of them to get them
motivated. With the overachievers, it’s, sometimes I give them more to do, just because
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then they feel like, like more steps, I should say, not more to do. In essence, all the
students have the same amount to do. But maybe with a high achiever that needs to have
more of a gradual check of songs, I’ll go, “Okay, well get it, send me a video of you
performing this,” or “Send me a video of you performing the German,” so they feel like
they’re accomplishing stuff. Because, you know, it’s kind of a weird kind of void of, “I
don’t know what to do between lessons,” like they know they have to do all this music by
the end of the semester, half of it midway, the rest, but how they assign that to
themselves, they don’t really get, sometimes ever, hopefully they develop that by their
junior or senior year, but sometimes they don’t. [Omitted conversation]. [The calendar],
that’s another thing that I have, that I think serves the purpose for all the students,
because your little checklist people that need to do all these things, then they know
specifically what they have to work on all the time they love it and they’re happy. And
then they actually are harder on themselves and I am, they will come to lessons
apologizing to me that they don’t have this task done. And I’m like, “Okay, I’m not
checking that calendar weekly, I’m checking it memorization times and at like
performance times,” right, that’s all I’m checking, so that kind of helps them to be less
stressed, they’re just, you know, doing their own thing. And then the under motivators,
that is kind of a way to kick them in the rear a little bit about getting going on their stuff,
while they have that dangling carrot down sometime in the future. So that tends to work
well for most students. I think each student takes it for what it, how it’s helpful for them.
Smith: Okay, great, yeah. So then my last question is what is the role, if any, of
scheduling demands? More, so you were just talking about student schedule and their
things, more on you. Looking at your semester and then also looking at your daily
schedule. [Omitted]. Are you, with Zoom and everything, are you still seeing students
back-to-back-to-back?
Singing Teacher 4: [Omitted], yes. At [omitted], although it’s really weird, there are 25
minute lessons or they’re 50 minute lessons, rather than 30/60, if that makes sense. And
so the nice thing about that is that I can have that extra five minutes between students for
like air settling and stuff like that, but, like, you know, truth be told, to be completely
honest, when we don’t have the pandemic, they are back-to-back. Because those five
minute, or 10 minute increments, add up and if that allows me to get done earlier so I can
get to children’s faster, I will do that. Sometimes I still have that in there. But every so
often, I have to have an extra five minutes because, you know, I want this lesson to start
at 1:30, but that’s when that student gets out of class, so I have to do 1:35 and so. But
those are like little bathroom breaks throughout the day or, you know, getting ready,
writing notes I didn’t have time to finish because I do go back to back to back to back.
Smith: Right, cause that was kind of my main question. Is that taxing, mentally and
physically? Or do you like, I mean, I understand wanting to be done earlier.
Singing Teacher 4: I kind of like it, I do actually kind of like it, I know that’s terrible.
Smith: No, that’s good, though, because that’s kind of the paradigm you’re working with.
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Singing Teacher 4: That is the paradigm I’m working with anyway, but I do kind of like
it because, you know, although I can take notes and do stuff, I feel like I am, you know,
that’s my like five minutes. And inevitably, when I used to schedule, [omitted], lessons
would be on the hour or the half hour, so I would always have that five minutes, right?
Inevitably, person would go late, next person would come early. One or both of those
would happen. So I was never seeing those five minutes, right? Which, you know, it
doesn’t seem like a huge thing, but when it’s constantly every day, all day, I’m like why
am I not just teaching back-to-back, I might as well be. So that’s kind of when I made the
plunge to back-to-back, [omitted]. I finally did it and then I realized how much early I
was getting out, I felt happier because I didn’t have, you know, while I’m trying to eat
some thing or fill something out, I didn’t have students, their breathing, and I know they
were fine with me starting at their lesson time, but you know how you just feel anxious,
you’re like, oh they’re here, we should start.
Smith: No, definitely, I get that.

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Focus Group Transcript
Smith: I really want this to just be an open conversation. And if more people join, that is
great and we’ll just kind of keep going. And I'm going to listen, hopefully, more than I
talk and if you have questions or things that you want to bring up, or if we go on a
tangent or a different direction, I'm totally great with that too. So, do we…Okay, so, I
sent you those questions and I'll just kind of start with that, but we don't have to
necessarily, yeah, stick with that. So, just to begin, are there any aspects of your training
that you find more influential or most utilized in your work? And if anyone wants to go
you can just kind of jump in
Member 2: I’ll go, I’ll go since I haven’t muted myself yet. Well obviously, you know,
the pedagogical training that we got. I mean obviously that's the primarily tool that we
use is how we were trained to teach others to sing properly. So that was all really I had
written down for that one.
Smith: Okay, great, yeah.
Member 1: I would completely agree with [omitted] and just the continued pedagogic
courses that I kept taking. And then even certification in LoVetri method changed my
entire life, especially being a musical theatre specialist. Definitely that continued idea of
how science keeps changing and staying on the front end of that and all of the new
information that's coming out.
Smith: Great, and if I could ask a follow up question about that, your continued
education, is that something you, or another participant, if you want to jump in, you
pursue in your career?
Member 1: Completely. Completely, because I know as a woman who is aging, my voice

continues to change and how it affects my singing, my age, it's frustrating at times and I
know I need to understand that so that I can then help my students who are also needing
that type of instruction as well.
Smith: Right, right great. Yeah, I completely agree with what you guys are saying and I
know, I think, from some of my own pedagogical training how that plays out, but in
terms of utilizing your training, is there ever a moment when you’re working with
someone? And you can point to, oh, I’m so glad I learned that. Or, yeah, you pointed to
the LoVetri method, things like that. Any other examples of how that plays out in your
interactions?
Member 1: I would say yes. I mean there are definitely very specific things that I
remember learning in pedagogy class. Bernoulli effect I grasped to that and cling to that
all the time with breath management. I would say how different things affect the
thickness of the vocal folds, I use that every single day, because then it helps a student
feels like they're more in control of their voice, if they understand how things actually
affect the voice.
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Smith: Yeah. Great, yeah, any other comments or ideas about the training that you did
receive? So, maybe we’ll switch gears. Is there any training that you wish you would
have received? Or once you got into more of your full-time work, topics or techniques
you wish you would have had more formal training on? From anyone?
Member 5: Well, to be honest with you, both of the degrees I have, [omitted], one thing I
will say is that in our schooling, at least where I went to school, both places, there was
like so much emphasis on, how do you say, the actual like music theory, which was good
and I'm really good at it, but I notice that there was a lack of technical teaching except for
when we did take some pedagogical courses, but that wasn't the focus. And a lot of my
techniques came from the private instructors that I had both in the universities and
outside of the universities. Does that make sense?
Smith: Yeah, yeah. No, yeah, and anyone is free to jump in. At least we’re a smaller
group, we shouldn’t be, yeah, talking over each other too much. And I, just a little
background, I interviewed four teachers of singing and four speech-language pathologists
here in [omitted], and then I created the survey to see what was more nation-wide or
applicable, and then I wanted to do this focus group to get, yeah, more of your insights
and opinions. And yeah, [omitted], I definitely had more of those interview participants
express something similar, in sometimes not received the technical training, teaching,
depending on your program, and looking to, yeah, the individual instructors for some of
that pedagogical technique or guidance. So yeah, that definitely makes sense. [Omitted],
were you going to say something?
Member 2: I was going to say that one thing that I am, granted I'm probably older than all
y'all, so it's been a while since I was at school, but and I realized this might be something
that is currently addressed in classes, but I know that I would have benefited from, and
it's going to sound, I don't know if I'm going to say it correctly, but anyways. But I would
have benefited from knowing better how to teach someone of a different cisgender, just
based on biology. However you identify, that's not really what I'm after, but just the
knowledge of the registration for the male voice is so vastly different than it is for the
female voice. And you know there are times that I'm working with male students, and I'll
say to them, you know, “I'm going to show you an example of what I'm trying to explain,
but you're not going to sound anything like me because, you know, I'm a soprano and
you’re a bass, and it's going to sound very different, but see if you can figure out what's
the same.” But just if that had been more formal, just a hundred million years ago when I
was back in school, that would have been helpful to me. So, I tried through continuing
education to glean as much as I can how to cross that bridge with my students, so that
would be my big takeaway, so there we go.
Smith: Great, thank you [omitted]. And welcome [omitted], I’m Brianna. We’re just
talking a little bit about training, and if you have any thoughts, you’re welcome to
unmute and jump in wherever. Specifically, if there were aspects of your training that
were helpful and that you use frequently, or if there’s any training you wish you would
have received or any training on certain topics? So yeah, any other ideas, comments,
open to anything regarding that.
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Member 1: Brianna, I’m going to tell you, I was super lucky because I had the same
teacher that [omitted] had and that's kind of how I stumbled upon your research and I'm
sure he's talked about [omitted] with such love. He was such a man of knowledge, that he
always imparted all of that on us. And he taught the ped class and so I was very lucky to
have a teacher who really instilled in us the idea of teaching, and how to break it down,
and how to accomplish a good lesson. And he always made a point in our lesson, in my
lesson, especially, to give me information if I asked for it and wanted it, he would always
tell me why we're doing what we’re doing. But I'm also someone who's hungry for
information. So, I feel kind of lucky because I had that type of education.
Smith: Great, great, yeah, yeah. And that kind of goes back to what [omitted] was saying
about sometimes the teacher you have can be so influential on the topics, you know, you
receive. If I could kind of jump a little bit. It was number seven in that email: what
motivates you? So, [omitted], you mentioned that thirst for knowledge and you wanting
to know motivated a lot of the answers you received. Are there other types of motivation
that the four of you can point to that you recognize in your work?
Member 3: I'll just jump in because I really want to, so, first of all sorry I'm late. I had
another meeting that I was coming out of.
Smith: Oh, no problem.
Member 3: So yeah, there's so much lacking for me, there was so much lacking for me in
my learning about singing. And, you know, I came from a world and lived in a world in
which a teacher passes on what their teacher passed on to them. And so, I don't know if
you touched on that, but now, of course, it's different. And there's lots of books, and vocal
pedagogy, and voice science has just taken off, and sort of began in the 60s, and then
really sort of began to go crazy over the last couple of decades. But there was nothing
going on in that realm when I was first studying. And so, it was by guess and by golly.
And there was all this terminology that, as I have come to realize, is absolutely not useful
now like singing to the mask or whatever that means. Now, of course, I know how to
interpret that, but back then I had no idea. And so, for me it would have been the
physiology. But in terms of my own training and my success as a teacher, it would
absolutely be understanding what it is that allows me to relate to different students and
different personalities that are unlike my own and do not have my own experience. So,
just one second sorry, take the kettle off the boil. So, you know, I, there are all these
people that I would not have typically expected, and so those students have been really
challenging. And not just in terms of my ability to communicate with them, but
challenging in their sort of attitudes, which I was not familiar with. And I think
particularly each generation presents their own set of characteristics that are present new
challenges. And so, learning about learning styles, learning about what is effective, and
of course we're just finding all of that out. I don't know if anyone else was at the NATS
chat most recently, but Kitty Verdolini and Ingo Titze were talking about what is
effective in the studio and what isn't, and it's totally not what I was taught when I was
taking singing lessons at first. And now, I recognize that that's just fantastic. You just
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don't say anything, don't say anything for three to four seconds, just don't respond, you're
engaged and you’re listening and you're just letting the singer process what they've just
done, and then you nod and go on to the next exercise. I mean, what? So, how are they
supposed to know what they're doing? But they do, and apparently that's the most
effective way. So, in terms of me, for motivation, I will tell you that it's what I didn't get
that motivates me and motivated me to go and do a PhD in vocal pedagogy from the
[omitted], cause suddenly I realized, after study, that there is all this literature out there.
That vocal pedagogy is a thing that’s actually being written about and voice science
research and there’s facts and you can start to separate facts from myths. So, it was
amazing. And our whole NATS code of ethics, where we vowed to do no harm, that's not
easy. You think, oh I just won't hit my students, I won't wrap them on the knuckles when
they sing a wrong note. Well, no, to do no harm means you have to give them the right
information and you have to guide them in a loving way and a nurturing way, but also in
a factual way, you know, you can’t give them misinformation. So, that's motivated me a
lot to continue to learn how to teach and to sing, obviously.
Smith: Great.
Member 1: [Omitted], I will say that that code of ethics is the thing that scared the death
out of me because I thought I had this person's voice in my hands, I need to do the best I
possibly can because that's all they get. They get one instrument in their lifetime, and I
feel like that also really motivated me to learn as much as I possibly could so that I could
give them the best information and continue to give them the best information I possibly
can. So, I’m so thankful for that code of ethics
Member 3: Well, you know, also, it's not just having the voice in your hands, but having
their life in your hands. I don't know if any of you have experienced this, but for me,
singing was really my life and was the thing that saved my life, I'm sure. So, it's my
passion and it's just meant everything to me, probably too much to me, but if my students
are feeling that way, then that's such a huge responsibility.
Smith: Yeah, great. And that was a lot of my motivation as well, particularly this topic, is
I have a very similar outlook, you know, singing, the impact of my teachers, the impact
of, yeah, not just the voice, but the impact it had on me as a person. And [omitted], am I
saying that right? Welcome, I’m Brianna. We’re just having a conversation; you can
unmute and jump in whenever you want. But basically, what we've been talking about,
and if you have any comments you'd like to add, is our training and our motivation. So, if
there's any training that was particularly helpful to you in your field or any training that
you wish you would have received, and then, yeah, any motivating factors. And then
yeah, if anyone else wants to give their thoughts or their perspective feel free.
Member 2: I’d like to share about my motivation. I interpreted this as what motivates you
as a teacher in your studio, and my motivation completely comes from my students. I
adore every single one of my students. And one of the principles that we talk about when
I first meet someone new, is that we each have a gift that we are called to use to the
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fullest extent. Not all of us are called to sing on a stage, some of us are merely called to
sing in the shower, but we're going to be the best shower singers that we can be. And not
only do we, as the others have said, not only do we have the responsibility to keep that
beautiful voice healthy and strong and to teach our students to do the most with it that we
can, but we also have a responsibility to their hearts, as well and to really protect that,
because not every student has that future where they're going to be professional singers.
For some of them, they will never sing anywhere outside of their bathroom. For the
majority of them, they might sing in a community choir or something like that, but it's
certainly not, I mean for me anyway, it's certainly not the majority of my students by any
stretch of the imagination, but I still have that responsibility to them. And I get such joy
when they're able to communicate to me that they understand, oh, if I do this this way,
this other thing happens and yay, isn't that great? Because it feels better and it sounds
better and they're able to…when you have that light bulb moment, when you see that they
actually get it, and when they can tell you why they understand it, and how they
understand it, and how it works for them, that to me is like boom, fireworks going off,
happy as can be as a teacher, because I love it when they had that moment when they
really get it, no matter if it's just a simple little thing or if it's a bigger skill it doesn't
matter, every little one I celebrate.
Smith: Thanks [omitted].
Member 4: I’d be happy to share in response to that question as well. Hi, everybody and
nice to meet you, you too Brianna. I’ve met you over email, it’s nice to meet you in
person. Well, “in person.” Looking at the question, you said, what aspects of our training
are most utilized in our day-to-day work? What I've really found in my teaching career, I
fell in love with opera at a very early age and my training was focused on working
towards an operatic career. And so it was a lot of years of studying in a little hot room
with a little old lady learning how to do skills and arpeggi and all these great things and I
studied abroad for a number of years. But when it came to my teaching career, when I
started a family and transitioned away from performing and more towards teaching, what
I've been struck with is a lot of what I accepted as just the way it was, I've had to
reexamine. And I had to do a lot of additional study, and that wasn't part of my training,
so that I could teach the students who came and help them sing the best they could the
music they were most interested in, which is often very different than my interests. And a
big thing that I had to do in addition is reexamine a lot of the underlying philosophes
behind the way music was taught to me previously, which I don't think serves many of
my students. I generally teach students who are interested in contemporary music, most
of them are of color, most of them are of a wide variety of linguistic and cultural and
religious backgrounds, and so to honor where they're coming from I've had to really, like
I said, examine some of the things that I just assumed were okay and were the way, in
capital letters, in order to best serve them. And so, that's how I approach my teaching in
my studio is I'm here at their service and I use all available tools that I can to help them
achieve the goals, that we figured out are the best for them. But really, they're leading the
experience. And while I do still teach classical technique, I make a really big point not
perpetuating white supremacist thinking and some of the cultural evaluations that were
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just part of my training wasn’t really questioned by me or my teachers, and that has been
what I hope, I think I've been successful in that and I think it served my students well.
Smith: Thanks [omitted].
Member3: Can I ask a question, [omitted], of you. I was going to say, is that, are you
talking about aesthetics when you talk about western classical musical ideal or the sound
that is the one and only perfect sound that is often cultivated in the studio, or are you
talking about something else in terms of communications and cultures/lifestyle?
Member 4: I think one of the, mainly what I'm talking about is this, I was taught a lot of
the, what used to be pretty common for a lot of teachers to pass on, that belting is harmful
and singing nonwestern music or singing contemporary music can cause issues for
people. And while I know a lot of that has changed in the last 20 to 30 years, it's still
surprising how often it can show up in training that my students have experienced when
they are one on one with somebody in a room and being told that the way your cultural
group has sung for generations without harm is intrinsically harmful. And so, really what
I try to do is try to parse out what's a value in what I'm trying to convey to them and
what's actually, there's the science of it and then there's the culture of it in the way that we
package it, and I think personally I have a duty to parse out what's culturally-based as the
right way and what's this is a cultural preference and it's a good one and it serves people
in a variety of different circumstances. And then in other instances what may be a
cultural preference isn't actually the best way, it's just your preference like any other so I
really approach it, I approach western European music as an ethnic music like any other
and, to quote Christopher Small, I think it's of value and I think there's many reasons why
we want to continue to train people in these ways, but I don't think it's the only way and it
doesn't serve all students. Does that answer your question?
Member 3: Yes, thank you. I just thought of the legit term that gets used in musical
theater, which is, you know, it's addressing that that is what it's called because that's the
legitimate singing of the legitimate voice and so, therefore, the right voice or the right
technique or the right sound, etc. So, I get that, and I suppose not only do you have to
approach it from a cultural point of view in terms of each student, but also from an
individual point of view and their own needs or wants in terms of expression, self-
expression.
Smith: Thank you, thank you both. And yeah, feel free to ask questions of each other
questions as well, I really appreciate that. And I have a question that wasn't written down
or in my email because I didn't know if we would have any speech-language pathologists,
but I think we're all singers. So, a question about the repertoire that I didn't include that
came up in some of my interviews with some teachers of singing in my state was how it
can be difficult, as [omitted] was saying, to teach repertoire outside of what we were
trained in or find repertoire outside of what we were trained in. So, just to kind of play off
of that, do you have any comments about finding diverse repertoire, teaching diverse
repertoire? And diverse in cultural group, style, performance venue, etc.
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Member 1: I would say just being aware of different styles of music is kind of that first
step, because I do know a lot of teachers of my same age that get caught up in just one
style of music because that's what they're taught. I've always been a very eclectic listener
since growing up, you know, listening to Prince, listening to all different kinds, Wynona
Judd, all different spectrum gospel and church and everything, and I've really kept that.
And it has really been a value to my students because I do teach, like I was telling you
Brianna, musical theater is my specialty, but so is contemporary styles. So, I have lots of
students who come to me at the collegiate level who want to sing pop/rock and I have to
be able to meet them where they are and that music. And sometimes, that means spending
some time researching and going to my Spotify list and seeing what I can find that makes
sense, and, yeah, it is extra time, but I'm their teacher it's my job. My job is to help them
find something that is good for their ears, but also good for their voice, and good for their
soul, so something that can kind of lead them on their journey, but still, I can get my
points across in that type of music. But also, I find in a lot of the groups for teachers on
Facebook, people are very helpful, yeah sometimes they get nasty or sometimes they say
crazy things, I just shrug that off. But there are lots of people in those groups who can be
very helpful with their styles that maybe you don't really know. If you put it out there and
you say, “Hey, I'm looking for an art song that has this type of range, set at this point in
the voice, are going to be helpful with this,” there are lots of people that could be helpful,
so I turn to those.
Smith: Great, thanks.
Member 3: I'll just jump in and say that, by the way I'm a vocologist so if you have any
speech pathology questions, things that are Related to voice habilitation then you can ask
them and I'd be happy to but with this, I think with regard to whatever style of music or
cultural origin students come from, the requirement, I think, if I have to quantify it, is for
us to be able to do something that allows them to repeat a successful performance of
whatever that style is, that is vocally free and healthful. And so sometimes, that takes
[unclear] and how do you create a sound and aesthetic that is culturally relevant, when
you've never had any experience with it before? So it does take some time and it does
take some research, but as [omitted] said, it's absolutely, well, if we're going to take that
student on, then we have a responsibility to do that well. But freedom of vocal health and
repeatable success of performances.
Smith: Thanks [omitted]. Yeah, I like how you put that into very clear outcomes. Any
other, yeah, comments or questions for each other on that topic?
Member 4: In terms of repertoire, one of the things that I've found that has often been a
challenge with students is they'll fall in love with a certain singer or a certain song in
contemporary music, but not make, because pop music they talk so much less about vocal
categories, even it's male/female and that's kind of it, high/low it seems like a lot of my
pop singers. And so, getting, I don't want them to be thinking about fach or anything, but
I found that by helping them identify singers that are similar in voice type to them, what I
would think of as a fach categorization really helps them get a better idea of how they can
make something similar to their goal singer or their exemplar that suits their particular
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instrument. And there's actually a series of videos that actually inspired this type of
approach, a series of videos on YouTube called “What the fach?” and it looks at a
contemporary singer, oh excuse me, a classical singer and then a series of singers in
contemporary music over the last 40-50 years with a similar voice. And so, especially
like my light lyric, what I would call a light lyric coloratura, to hear somebody like
[uncler], then you get to hear all of these great R&B singers, you're like, “Oh, that's why I
don't sound like an alto, I'm not one.” It's just like such a lightbulb moment for them and
then they get an idea with that sort of education, I send them out to look for a repertoire
that they think will suit their voice and then it becomes like a discussion, so it's like I get
to learn along with them what's going to be the best, what will best suit what their voice’s
natural characteristics are as they continue develop. So, I highly recommend the series.
Smith: Awesome, thank you.
Member 1: Along the same lines as that, something I found years ago that is so helpful
when it comes to pop music: last.fm. You can put in an artist name, and they will show
you who they are similar to. And it will send you down this rabbit hole of linking who the
sounds are similar to and I often send students to that site and say, “Okay, you're
interested in Sara Bareilles, put in her name, and she’ll be connect to Ingrid Michaelson,
Fine Frenzy, stuff like that,” and it will help them, you know, bring down the idea of this
vastness of music that you're trying to find for your student, because it can be
overwhelming.
Smith: Definitely. Yeah, wow, I had never heard of either of those things. Thank you
both for sharing. Yeah, any other comments?
Member 1: Say that again, [omitted], I can’t hear you.
Member 2: What was that website?
Member 1: Last.fm
Smith: And if we ever want to circle back or if anything comes up while we’re talking,
we can always return to a topic or come back, but kind of shifting gears, I guess, a little
bit. Do any of you work with larger groups of people? And if so, do you see any
differences between working with individuals versus working with larger groups?
Member 2: I also direct a children's youth choir, as well as having some of those students
privately. There's a world of difference and I don't know if it's just my skill level as a
choir director or if it's across the board, but it's a lot harder to accomplish the same
amount of work when you're dealing with, you know, twenty children as opposed to one
child. So, I would say that yes, I accomplish a whole lot more when it's just one student.
Member 5: I'm going to second that, definitely. Right now, I'm currently teaching mainly
private students, but I also have some small groups. I have taught in classrooms prior to
the pandemic, but I find that I have to go super slow or, like you said, just focus on three
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or four things on the agenda, like main ideas, rather being able to jump as quickly
because it takes longer to shift from one topic to another when you've got multiple
students learning. Because I, when I was going to school, and even now when I go back
to school, cause I still do, that I learn better with just being the only person in the
classroom, maybe with just a couple other students, but when it gets bigger, it causes
more anxiety for me. So, maybe I'm feeling that way both as a student and a teacher, but I
do agree that I get a lot more accomplished when I teach privately more than when I
teach in groups, and I still get a lot more stuff done. I don’t know. I still do groups and
they’re still popular, but I prefer individual.
Smith: Thanks, yeah. Oh, go ahead.
Member 1: I was just going to say, I think it's so much easier to be specific one-on-one
because then you're working with that instrument, and we all know that every single
instrument is different. We have voice classifications yes, but the function needs to be the
same, but sometimes people have issues that they have to work through. And so, I find
like if I have to teach a class voice or I'm music directing the musical, I have to think
more in general terms and what could benefit everyone as a whole, and then maybe get a
specific with individuals on my own time. But yeah, I definitely find that the specificity
that can be used one-on-one, to me, is better because I like to find those tiny little things
and help the student along the way, whereas I know if I give them general ideas, there’s
still going to be a lot of lingering questions.
Smith: Yeah.
Member 5: There's one thing that helps for me: If I teach in groups, and then I give them
some individual asynchronous assignments, that each, now, not everyone has the same
assignments, but it works better in smaller groups, but each student is accountable for
showing what they worked on when they meet live. In the group they have to show that
they improved, or this is what I'm working on right now. So, the group class is kind of
like a show and tell for part of it and then another part of it is general ideas or concepts
that everyone needs to do anyways. So, I try to do this hybridized approach to learning,
anyways, while helping the individualized student in a way that's going to be helpful to
their needs, if that makes sense.
Smith: Yeah, awesome. And that kind of made me think of another question that I didn’t
put on here because I didn’t know if it applied across the board, and I was thinking more
generally. Do the five of you work with studios, like your singers all at once throughout
the year, or, yeah, are you ever bringing everyone together in those group settings? Does
that question make sense?
Member 3: So, at the university I have a voice seminar, of course, every week and so they
are brought together, but they're not singing together, so I'm just working with individuals
in a setting where they're able to watch each other. But I also working on some of the
opera ensemble, and I do some things with choirs at times. And I can't address, I can
address functional issues, like this is the body map of breathing, I can teach that to a choir
or something, but in terms of the ensemble, especially because some of the students are
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singing with other teachers, I can't get very technical. I can say, “This is the sound that I
want and I'm going to ask you to produce that, and if you're having trouble producing
that, then I'm going to ask you to go to your teacher and figure it out,” but I can't really
address the technical issues. But what specifically made you want to ask that question, I
guess?
Smith: Yeah, thank you for that follow up question. Because I, in working with, you
know, either individuals or groups and I'm looking at these interpersonal interactions and
how we interact with each other, I guess I was wondering if there's anything you do to
create a safe environment, or, you know, foster relationships in either these individual or
corporate settings?
Member 3: So, for me it's all about mirroring. And so, there's a level of empathy that has
to take place in that way and so I have students actually turn to each other and watch each
other, we’re all just going to sing an [a] vowel, we're all going to make the [a] vowels the
same as the person who singing the [a] vowel back to you, you're going to match each
other and then they switch and do it. And so, I get a lot of better vowel modification or
homogenization with that kind of exercise. You know, there's research out there that talks
about the fact that when a choir sings together their hearts actually starts beating at the
same time together. So, to me, that's a phenomenon that is reflective of the communal
effort, so I would say that that's the emphasis in any kind of group ensemble work, just
that empathy and that mirroring.
Smith: Yeah, thank you [omitted]. Yeah, other comments on this? Yeah, [omitted]
Member 2: I was just going to say that all of my students are individually taught. The
only time that I bring them together is for my high school students, when they have an
audition coming up because everyone is auditioning for the same show, so they all come
together and perform in front of each other. Basically, they're doing their audition piece
you know kind of as a trial run in front of their peers. And then at that point, I open it up
to discussion you know so that everyone gets a chance to be the encourager and the
teacher, if you will. And they really enjoy it. They have found it to be very helpful and,
you know, so if it makes them happy and good stuff comes out of it, then, you know, we
keep going.
Smith: Yeah.
Member 1: I did notice that you asked if the pandemic has impacted interpersonal
interactions, which is kind of leading into what we're talking about now, and I would say
completely. Because when we do studio classes were still doing it all on Zoom. We put
our singers in their separate practice rooms and then everyone else has wherever they are
meeting, or has a space, and then we all meet on Zoom. Well, sometimes we can see their
entire body when they're performing and sometimes, we can't. So, it's the same thing
when I'm teaching, and I don't get the same type of cues I used to get when from body
positions. Like if someone is standing a certain way, I used to be able to tell kind of like
what their mood is or how they were going to interact with me that day, and I don't
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necessarily get the same type of language, body language, that I'm used to. So, I would
definitely say it has it's changed those kinds of relationships.
Smith: Yeah, thank you. I’ve heard that comment as well. And then obviously, I’m
teaching and then, because I am a grad student, I'm still a student, so I'm seeing both
sides and there have been challenges or technology challenges. You're not hearing,
maybe not only their singing voice, but maybe something in their spoken tone that is
cuing you into their mood that day or, like you said, how they're going to interact with
you. There's a literal break and divide between you and the student. So yeah, if we want
to, if anyone else wants to jump in, I know we've maybe been pandemic-ed out, we've
talked about it a lot, I know I have, but especially because my topic is interpersonal,
between people, and we are apart, any comments on that in your own perspectives?
Member 3: I'll just say that – I'm sorry [omitted], this is quick. It's just checking in with
the students. So, over the internet, I think that I hear a certain thing, and then I've got to
make sure. So, this is what I've heard and I'm not sure if it's the way I heard it because of
the medium that we're in or if this is what's really going on. So, it's always just checking
in and making sure that what I hear and what I am saying is relevant because that's
exactly what the student has experienced.
Smith: Great, thank you [omitted]. And [omitted], were you going to say something?
Member 4: I was just going to say, I wanted to make sure I understood your question. So,
you're asking how has being, teaching through Zoom and other forms of technology at a
distance impacted our interpersonal interactions with students?
Smith: Yes.
Member 4: I mean, one of the big things for me, the difficulties we really had in the fall,
which is when I got hired for a position teaching voice online, is figuring out all of the
technology and then I found that I really have to have some way to sort of track where
they are at the start semester, so I have incorporated, more than I ever would have
thought to before, a lot of recording at certain points throughout the semester, just so that
we both have a document to return to that tracks where they were at certain points and
that provides us with really rich data. And the other thing that I've had to do in order to
maximize the technology and not allow it to become quite as much of a barrier is really
insist on certain production values. You know, my students know that I'm just really
particular, but I have to see a certain amount of your torso while you're performing. I
have to have good lighting, you can't be backlit, it's just like why? If you're going to do a
whole lesson with a halo behind your head. And you have to have a good mic and I've
been lucky that the school that I teach for the university I teach for has given students a
stipend to purchase a certain amount of equipment, and that just has made such a
difference for all of us, no matter what it was we were teaching. But all of those things
has helped mitigate some of the difficulties with communicating. I'm just having to rely a
lot more on their ability to describe to me the sensation, the feelings, because I just don't
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trust my ears with a wide range of microphones and headphones and everything that
we're all navigating through to hear each other.
Member 1: [Omitted], I would say, actually, that last thing you said is such a plus.
Because I have found that my students really do have to pay attention more to give me
the information and really have to listen and stop relying on me playing everything for
them.
Member 4: They've been more independent in my studio as well. And it's interesting that
you bring that up, because I was thinking recently while writing some notes after
finishing my teaching for the day, was I was realizing, huh, how much were they not
being independent and how much was I fostering their lack of independence before,
which like now, it’s like “Nope, it's you, you've got to tell me.”
Member 3: I'm on this empathy thing today, but you know it's amazing that this is such a
medium that is so accessible for us. And I'm a bit of a quantum physics geek and so I
know that it doesn't matter how far away we are geographically, we can still feel each
other, and we can have that empathy and it's instantaneous. And body language does
translate, but I think it's more than the body language, I think it's electromagnetic energy
that we're feeling. So, if I feel a certain emotion from someone in these rooms, it's, I'm
going feel it, it's real, and it's kind of instantaneous. So, you know, and in fact, I might
even be more aware and more, I'm going to be searching for that in a way that I wouldn't
normally when I'm in the room, because I'm going to rely more on visual and body
language and oral. And the rooms, and in these rooms over the camera, I'm going to be
looking for that feeling, that empathy, that psychic-ness. We say it's psychic, but it's
really just electromagnetic energy. We can all do it, it's just part of being human.
Smith: Yeah, that’s fascinating. I’ve personally never thought of that or heard that, thank
you. Yeah, any other comments on, I guess that was number six? You don’t have to be
looking at the questions, but.
Member 2: Yeah, I guess I’ll put my two cents in on that one. I fully get the whole, you
know, electromagnetic vibes thing when you're in person, because I know especially with
my youngest students, I don't have any that are in college, all of mine are just, you know,
independent studio over here, so I have a mix of ages. But my younger ones, especially, I
have been able to teach in person on my back deck because you know fresh air and all
that business and just being able to get students back to me physically has made such a
difference. We can accomplish so much more for the younger ones. I don't find that same
difficulty with some of my adult students, they’re more able to adapt to looking for the
queues and making sure that they're giving me the information, but for my younger kids
it's just too hard and there have also, they’re kind of “Zoomed out,” if you will, with
having to do online learning all day. And with that, I lost a great majority of my students
because they were just exhausted from physically being on camera all day, so I had lots
of them that I lost half of my studio when the pandemic hit and we had to change things
up. But yeah, getting them back in person, it's astounding how much more we can
accomplish and that's been a wonderful thing. So, it's good when we have good days. But
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also, on the other hand, I never would have dreamed that I could actually be successful
with some of my students online. If you had asked me a year ago, you know, if a student
had said to me, “Oh, I can't get a ride, you know, my mom has to drive my brother to
soccer blah blah blah. I can't get there. Can you teach me online?” I would have said,
“No, you know, we'll just reschedule, have your mom call me,” whatever. But now, oh
yeah, I'm totally, yeah definitely, get online, we’ll be fine, we’ll muscle through. Will it
be the absolute best one for a 10-year-old? Probably not, but at least I'm keeping the
practice up, I'm keeping the consistency going. So, because of that, that's the silver lining
to having to learn how to teach online.
Smith: Thanks, yeah. And then things like this, I get to talk to you guys across the
country. So yeah, we definitely have so much accessibility and we've learned how to use
our resources. So yeah, any other comments/questions on that?
Member 3: So I have a question, and maybe this is…So, all of my teaching is about
preparing students for a live performance, and an in-person performance, versus a live
taped performance. So, I'm just wondering what the experience is, if any, for preparing
students for a televised or a video performance? Because that's something very, I mean,
for me, it's now preparing them to do a live performance on camera, but I want them to
treat it as if it's a live performance that's being taped. So, is there a difference? Because
I'm not experienced with film or with television as I am with live performance.
Member 1: I would say, were you talking about specifically like for competitions that are
on TV, things like that? Or auditions that people have to do self-tapes, or things like that?
Member 3: Yeah, well self-tapes and things like that. I wasn't talking specifically about
auditions or competitions, although what I have been doing is preparing students for all to
do a live performance and then just to tape that life performance, so is that what you're
doing? Or are you doing something different because it's going to be taped and preparing
them in a different way?
Member 4: I would say I've definitely been preparing my students differently, especially
for their finals, which, at our school, are recorded. And for their recitals, which are
recorded. Similar to what you're describing [omitted], where they’re performing live, but
they’re recorded, we've had a lot of discussions in our department about we feel that it
shouldn't be just a camera straight on and they're performing straight at the camera that's
supposed to substitute for a body in the audience watching them, but instead talking
about angles and lighting and position of the camera in relation to the eyes of their
performer. But that's been a lot of our discussions as far as how to make it more visually
appearing so that the ears stay on, is how we often put it. Because when it's a static image
for, it depends on the age of the person, I've noticed how long they can stand to look at a
static image, where the person is literally looking straight on for ahead, maybe it's 5
minutes if they're younger, maybe it's 15 or 30 if they're older, but a full hour recital of
that is just death, it's death to watch. So, we've been talking a lot about how to change, to
leverage all of those different things, like I said, lighting, angling, position of the camera,
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and gesture, facial expression, close up, so it's a little bit more dynamic listening
experience.
Member 1: Yeah, [omitted], I would say, as far as giving information to my students,

cause we also, our juries are going to be done by film and they submit it, that's how all of
our auditions have been done, as well. But yeah, so, along the same lines, as far as
audience and visual with their thinking is so much more narrow because of how cameras
are set, so like I always coach them to, you know, you're not going to sing directly to the
camera cause that's intimidating and weird and awkward and nobody wants to see you
just staring at them like this cause that's too much energy all at one time. But the idea of
keeping this type of reference point and it's not like you would live because you would
look over here and the person can still see your eyes and you're communicating, but if
you do that on camera, it doesn't translate the same way. So, I would say yeah, there's
been a difference in trying to train them according to what medium they're in.
Member 3: And that begs the question, what are the resources, you know, because sorry
[unclear], those resources are not something that I have any knowledge about, so I was
just curious.
Smith: Yeah, and if I could jump in as a personal, as a singer and a student, I recorded a
recital last semester in my church, like I normally would and then I got the comment
about, kind of like what [omitted] was saying about the plain white background and I was
like, I didn't even think about it. And I didn't think, like [omitted] was saying about
resources, should I have, you know, maybe watched a YouTube video about setting up
the stage, setting up a background? I just did what I always did, and that's okay, it didn't
ruin everything about it, but it was an interesting comment because it is a different
medium and a different experience for the singer and the listener. So, I mean, I don't
know those resources.
Member 1: No, and I wish we had, kind of like the way everything came about with all of
us helping out with microphones and how to set up zoom audio and how to do all of this
so that we could have successful voice lessons or whatever instrument lessons online, I
don't think we're there yet. Because lighting is such a huge thing. We recently, excuse
me, did green screen for our entire musical this semester and put that together and I
learned so much, it was crazy. But lighting and microphones, it's huge. And I still don't
have my head wrapped around all of this stuff that's needed to make it completely
successful and so we just did some junior recitals as well, the lighting was awful. We're
still learning cause it's outdoors that we're trying to make it happen. And so sound with
wind in [omitted], it's not the best. Lighting, all different kinds of things, it's hard. As far
as what I've been able to give is just mostly performance based, not all of the technology
stuff ‘cause I also teach at a very small university, we have not been given any resources
beyond what the student can provide on their own or what we can borrow from places.
Smith: Yeah, and that’s a huge thing too, funding, resources, your location, size of your
studio or your program. Yeah, great thanks. Yeah, any other comments or questions
related to that? We might shift gears a little bit. [Omitted] had brought up working with
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students who are with other teachers and so number four, do you regularly collaborate
with other voice experts? If so, what contributes to those working relationships?
Member 2: Do the NATS chats count as collaboration?
Smith: Yeah, yeah, and you can speak to that!
Member 2: Great, well I thought, I think those have been great. They've been very
helpful, to not only go through what techniques are working for other people, as far as
getting lessons online, how are they working well, so that part's been really helpful. As I
mentioned, I'm just an independent studio over here, so I don't have other professors and
whatnot down the hallway that I can chat with about things, so whenever I can do a
webinar or attend a training session, anything, I try to do that because it is helpful. And
there have been a lot of things that have come to mind simply because of listening to a
webinar, just, you know, dialing into the NATS chats, things like that. So, it's been really
vital, especially with all of this isolation.
Smith: Right, thanks [omitted].
Member 3: I'll just say that I think NATS is a godsend, in terms of the available
information that's out there now. We don't have to go and rifle through various journals
and try to figure out what the latest research is, it's really presented right there in the
NATS Journal of Singing, and people are sharing so many ideas. I just I think there's a
kind of cooperation and collective contribution that didn't exist in years gone by. It's so
different and I'm so encouraged, in general, in terms of the way the world is working now
that is, yeah, it's the way of the future and it's good. ‘Cause there's always going be
opinions and there's always going to be discussions about is it this way or is it that way,
but as long as we're all looking for, keeping an open mind and looking for something that
is a cooperative venture and something, and looking at the students interests as our
primary goal, then we're going to be okay.
Smith: Great. And [omitted], can I ask you a follow-up question as a vocologist?
Member 3: Sure.
Smith: Is there collaboration that you see across voice experts in singing and medical and
speech pathology? And does that play out at all in your life? Or if anyone else wants to
comment, too.
Member 3: Yeah, I don't, I'm living in a small town, so it doesn’t, that doesn't play out in
my life so much, but I watch that kind of interaction going on at conferences and, you
know, even at the NATS chat with Ingo and Kitty, I asked, because I've done a fair
amount of work with [omitted] and he works out of [omitted], so there's just this kind of
question about registration and is there, you know, something more than just the modal
voice and the falsetto voice, or is there something in between and what is it? And so
there's, it's not a agreeing to disagree, but trying to see someone else's point of view and
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figure out, you know, we're still, while stuff still is going on research is expanding
exponentially, there still is so much research to be done and we still don't know what's
going on. So, it's about looking at someone else's point of view and seeing that
perspective and adding it to the whole. Kind of like the poor blind man feeling the
elephant and ones saying it's a tree and the other one’s at the tusk and oh, it’s a sphere,
and etc. or it’s a wall, the blind man that’s on the side, and so they're all true. And we
need to recognize that, and take all of those bits of information and those perspectives
and see if we can't get a better picture of the whole.
Smith: Great, thank you, yeah, that’s a great analogy. Any other comments on
collaboration? Or maybe even people you go to with questions or concerns when you’re
facing trials in your teaching, that kind of thing?
Member 1: I will say that that is actually anoth thing I love about LoVetri’s Somatic
Voice work is Jeanie does bring in scientists and speech pathologists and we're all in the
same room learning together. And it's made me forge good relationships with those
medical experts and staying in contact with SLPs that are here in my area. I've had to go
speech therapy recently, so understanding the importance of that and understanding the
type of collaboration that needs to happen for all voice users, and the importance of that
type of relationship, and getting students to understand that it really is an important
relationship that they should have.
Smith: Yeah, thanks [omitted].
Member 4: I would say I collaborate most frequently with fellow teachers in my area.
And I used to turn a lot to my teacher that I worked with over the last 10 years the most,
but she passed away a few years ago and so now, what I find myself doing a lot more, as
I said, is looking people up when I have questions, or we just want to bounce ideas off of
or chat about stuff. Also, each summer I go to, I'm always taking additional classes over
the summer and staying in contact with people from those different things to keep the
conversation going during the school year.
Smith: Yeah, thank you. Great, so we have about 20 minutes if you guys are still good, if
you need to leave, I totally understand. I have just a couple more questions that you can
go as broad or specific as it applies to you. This feels very broad to me, how do you
communicate with voice users? That could be verbal or nonverbal, we've talked a little bit
about the virtual communication, or some have talked about the in-person
communication. Is there, just, anything that stands out to you in your day-to-day
communication?
Member 2: As [omitted] mentioned about that wonderful NATS chat that we just listened
to, putting that pause into the feedback, you know, right after one of my students, you
know, sings something and just pausing for a moment. And even if it's just this [gesture]
for my younger students, 'cause they need a little bit more of a visual cue that it's their
turn to speak, so I've done that this week and it's been so eye opening, it was very fun.
And there was just one particular student who immediately after she finished, you know,
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singing an exercise I just went like this [gesture] and she said, “I know exactly what
you're going to say and this is what I did that I want to change and I want to do it again,”
and it was so delightful. And I thought, wow, I would have missed if I had not paused for
one second. So for me, I didn't even have to wait four, it was just putting that little breath
in and giving the student a chance to processs. I found that with my older students I could
just actually give the three to four seconds and it worked for them, but for the younger
students because, I guess, because they need the feedback, they don't have the tools, they
don't have as many of the tools yet, so for them, other than that one young lady who's
like, “I know what you're going to say,” for the other students it was almost
uncomfortable for the,m again that's for the younger students. And I'm wondering if that
is specific to those age brackets or if it's just a fluke, I don't know, but I would have liked
to have asked that of the presenters for the NATS chat, but of course that's after the fact,
so I can’t ask them, but I thought that was really eye opening, so it was a lot of fun.
That’s all.
Smith: Yeah, thanks.
Member. 3: I'll say two things. One is, “Feel your voice, don't listen.” And the other is,
“Feel your feelings and allow that,” because of course the voice is innervated by the
vagus nerve, which innervates our emotional center in the body, so everything we feel is
going to be reflected in the voice. So, for me, it's about vocal freedom first, and then it's
kinesthetic sense memory and then emotion.
Smith: Thanks. Yeah, it can be uncomfortable doing that pause. Any other questions or
comments on motivation, or communication? Otherwise, I do have a couple other
questions we could move to.
Member 5: Well, I know for me, I actually have my students that need to see my face, it's
funny 'cause I’m not showing my face right now because I’ve been exercising and now
I’m actually eating, but having multiple devices join the Zoom meaning can help, they
just don't connect to audio, I'm sure you've all encountered that, but it really makes a
huge difference if they want to know how I'm feeling or what I'm trying to say, cause the
expression makes a huge difference. And in terms of communication, I think one of the
points you had was with other teachers, I know that I've been having a lot more Zoom
meetings because of the pandemic and also, it's something that I had done prior to that.
Maybe I should shed a little bit of light, prior to the pandemic I was 60% online, now I'm
100% online, so it wasn't as big of a shift for me. I'm also a computer tech, so for me it
was easy, but I also think you don't have to be a computer tech to be good at
communicating online, you just have to practice it, kind of like music you know, it's just
practice it and do it. And a lot of times teachers would reach out to me for help with
setting things up or how do I set up this and that. Sometimes though, they would reach
out to like pedagogical reasons like for opinions, a second opinion on what's happening
with the student, right? But another thing I want to talk about with communication is, that
students are using, they used it before the pandemic but it's more now, this app I call have
called Tonara, I'm not sure if anyone else has encountered that app, but they can send
messages, they can send videos, photos, and I evaluate them that way. I already talked
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about how we do a lot of asynchronous teaching too, so it's definitely helped, and it really
enhances the live lessons too.
Smith: And [omitted], how do you spell that? Tonara, right?
Member 5: Oh yeah, T for tango, O for Oscar, N for November, A for alpha, R for
Romeo, A for alpha. TO-NA-RA.
Smith: Great, thanks. Yeah, I hadn’t heard of that either.
Member 5: It's really good. Students can even use it to track their practice, so they can
click “start practice,” you can give them three assignments, four, five, and it will show
you how they are practicing. It, one of the questions I like to ask to make them
comfortable, and also to make them be honest, as well, is to ask how they are practicing
is going. And I can see it, I know if they haven’t been practicing, but I still ask it too.
Smith: Yeah, yeah, definitely. And asking questions, that’s a big part of communication.
Member 4: As far as using tech for communication, the university where I teach, we use
Canvas for coursework and to have online classes now with Zoom through canvas. And I
decided when I got hired by the music department to teach voice lessons in that setting,
they said it's going to be online, we’ll just do all of the Zoom through Canvas, I decided
to create a course around it. and I don't know why my peers didn't, but apparently, with
my students, I'll just say this, with my students it's worked really well, and it's actually
something I plan on doing when we return when we go back to in person in the fall, if
everything goes to plan. I create little lessons each week and ways for them to share a
practice journal and it's kept them more engaged than it has for a lot of my peers who just
meet once a week online and everything otherwise is separate. And I've just seen that, it's
not that I didn't have structure when it was in person, but there's just so much more that's
been communicated in person that never occurred to me to add to it when we're already
doing it in person, it's made such a huge difference in keeping them engaged, and
whereas a lot of my peers have lost their students from one semester to the next because
they just don't like the online format, I've kept all my and gotten a couple of other peoples
because they like that there's more of a, the technology embraces their experience and
provides some structure.
Smith: Great, thanks [omitted]. [Omitted], were you going to say something earlier?
Member 1: Yeah, so I was just looking at Tonara as well. We just started using something
similar called Collabra. And the Collabora platform, you can get an institution agreement
with them and the student pays a per-month fee for it or the institution can do it, and
we've used it for practice journals, for submission of assignments, we're using it for our
juries as well, and I have found that I communicate with my students more during the
week. Because with the platform, I'm able to, if they bookmark something that they want
me to watch, I can go to that specific bookmark and watch whatever it is and they give
my feedback immediately into it, so that they're getting more from me during the week in
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between their lessons. Yeah, it takes some time, but I'm not going to watch all 18 of my
students practices for the entire week. I tell them if you want me to watch something
specific, bookmark it and I'll watch it and I'll give you feedback on it. And I'll say,
[omitted], as well, same thing, all of my students have been very engaged because I
continue to use the communication through the tools that they find effective and it's very
helpful.
Smith: Yeah, and [omitted] said they have Canvas, their college too, so does mine, yeah,
it’s, sometimes takes adjusting to whatever system your school or, if you’re, yeah,
[omitted], private, however you choose to communicate.
Member 4: I was going to say, to piggyback off what you were saying [omitted], it
strengthens the relationship, right? In a moment when we could be floating away, those
midweek check-ins, they're really useful. And they feel a lot less like they’re kind of
wandering in a field by themselves and we eventually call out, “How's it going?” You
know?
Smith: Yeah, great. So I just have a couple more questions, thank you all so much for
your time and input. Numbers eight and nine kind of go together. Are there particular
techniques or approaches to voice care that you frequently use? And some of those have
already been mentioned, and do you adapt techniques based on the voice user with whom
you're working?
Member 2: Okay, I’ll go. So, I use the SOVTs with everybody, depending on, you know,
how old the student is, you know, my 72-year-old choir singers blowing their bubbles
through the straw, you know, it works better with little 10-year-olds, but whatever,
sometimes they like that too. So, that's a big one that I use just across the board, but yeah
of course, we adapt whatever technique, whatever technique we're trying to teach, we
adapt that to the person depending on age, experience level, you know, where they're at,
what they're able to understand. And I wanted to just say, also when [omitted] mentioned
earlier in the session about the different personalities of students that you're dealing with,
I try to in my initial assessment of a student, I try to identify what personality type they
have. There was a little course that I took a while ago where you have them look at the
shape and that tells them a lot about their personality, I won't get into it, but anyway. But
I have one that's a circle and circles are very outgoing people and so I know, and she's an
older woman, but I know when I schedule her, I have to add 10 minutes at the beginning
where she's just going to talk a blue streak, and I have to let her do that, because if I
don’t, I'm not going to accomplish anything in the class. So, I just, I pad her lesson time,
that's just how I choose to do it, but I put an extra 10 minutes in there and I know, 'cause
she's going to come in and she's going to tell me everything in her life, and once she has
vomited, then the cleanup can start. But if I don't, then after every exercise or every
phrase, something is going to come out. So, that's a technique modification, if you will, to
help make sure that that student has a successful lesson and that she feels she's gotten,
you know, her money’s worth, if you will, of our time together, and then I also am
honoring what I know about her personality, in order to make sure I don't get frustrated as
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a teacher you know when she's constantly wanting to interrupt me. So, it works for both
of us, but anyway, that's just a little thing I do.
Smith: Yeah, that’s a great explanation. Did that shape thing have a name? I know some
people use, yeah, personality quizzes, or typing, but I’ve never heard of the shape one.
Member 2: Yeah, I can’t remember the name of the person who did the presentation, but
the basic personality types, shapes, if you will, circle is your most outgoing. And then
you have a triangle, is you're more analytical and need about 3 feet of space during, you
know, normal, non-pandemic times. And then a person who identifies more with the
square, they're the ones who really want you to stand 5 feet apart and they don't ever want
you to say, “Okay, look at my mouth,” that's too close to them, and you have to take it
very slow and things like that. And then you have your squiggles, and that's what I am,
we adapt to, you know, what the pervasive personality is around us. But using that, I
know, some of my younger students, I would have to say to them, “Will you turn
sideways, so that I can look and see if you're in alignment?” Because if I were to walk up
to them and say, “Okay, let's make this back in alignment,” they would be like, “Oh my
gosh, I need you to stand back over there.” So, I don't even remember who said it, but if
you do circle, square, triangle, squiggle, just Google it, you'll find it, but it's really
helpful.
Smith: Yeah, that’s really fascinating and that brings up a good point about, when we are
in person, respecting boundaries, creating that safe environment, knowing what your
students are comfortable with or not. Yeah, other comments? Yeah, I know, if you need
to go, feel free, but particular techniques or how you adapt techniques in your teaching?
Member 1: I'm also a big advocate of SOVT exercise. Just through my own speech
therapy, understanding how important it is to me and how freeing it is to the voice. I use
straws, I use kazoos, and then, of course, without those two things, using your own mouth
to make exercises. And I've found that they are very helpful. I have one student who
needs jaw surgery and so her semester has been difficult because she wants to finish out
the semester, but articulation is not going to be the best because it hurts all the time. So,
adapting exercises so that it's not as much on her jaw is definitely something I’ve had to
do this semester.
Member 3: It's such a huge topic, but and, of course, every voice is different as [omitted]
already pointed out earlier. But I think, and this goes back to a sort of a fach thing, there's
big voices and there’s small voices and there's high voices and there's low voices, and so
just trying to identify the voice first is key, I think. And then we can adapt to that, as well
as adapt to the personality and communication style. So, yeah, it's a huge topic and I
think ultimately, and this goes back to where we kind of started when I came in, and
that's what is it that the student wants to express? What is their ultimate goal and how can
we help facilitate that?
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Smith: Yeah, and this might be obvious, but just to be, to put the question on there, is
there a process that you five use for determining those goals? Do you just ask? Do you
use some kind of form or are you assessing goals as you progress? That kind of thing.
Member 3: I always have the interview with a student or the initial interview, but also
subsequent interviews in lesson contexts and I just want to find out as much as I can
about the student, but without feeling like they're on, you know, on the stand or revealing
too much about themselves. But the more I know from the beginning, the better. And
really talking about what is it that brought the student into the studio. So yeah, it's an
interview kind of thing for me.
Member 2: Yes, I do the interview kind of thing too and I also don't have a formal form
or set questions that I read or have them fill something out. It's just informally during the
first lesson. Just so, you know, getting to know you, tell me about yourself, what would
you like to accomplish, those kinds of things. To put them at ease with the process, as
well, especially since these are not people who are pursuing professional degrees, they're
just people who want to sing better, so keeping it as informal as possible from my
perspective works really well. And just asking: what do you want to get out of this? How
long do you want to spend doing this? That's another question that I ask as well, you
know, there are some people who have specific goals: “No, I just want to take lessons for
six weeks because that's all that, you know, I can afford and what can you teach me in six
weeks?” “Well, where are you at right now?” Those kinds of things. But definitely
finding out what their goals are is the way that we begin the whole process, because I
don't know what their goals are, I don't know how to give them what they're looking for.
Smith: Right. Great, yeah that’s a great question, the time, time spent. Yeah, thank you
guys so much. I want to be respectful of your time, so if there are other comments, yeah, I
am free to stay. [Omitted], were you unmuting?
Member 4: I was just going to share something, but if we’re wrapping up, that’s totally
fine.
Smith: No, please, that’s fine with me. Yeah, please do.
Member 4: I was just going to share I teach students from like I said from a wide variety
of backgrounds, and so I try to get a handle on their musical and vocal training, but also
their movement background, whether they've been involved in sports or dance or
anything else using their body, because they often can use that to help them better train
their voice, if they already have experience with training their body to do a complex
physical activity [unclear]. And then to get their linguistic backgrounds. A lot of my
students are multilingual and knowing what languages I can kind of leverage if they're
having trouble with English. And then trying to get an idea of who they're listening to and
who they're trying to sound like and then at the end trying to figure out their voice. So, I
do have a form that I do have them they use. I have a couple assignments at the beginning
of the semester that I ask them to share their couple favorite artists and then later to share
their best song at the moment, and then we spend the first lesson or so talking. And I told
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them that right off, and they're going to sing, so I let them sing something at the end for
me, but I really think it's important to establish a rapport, so we often spend the first
lesson getting to know each other and sharing who I am as their teacher.
Smith: Yeah, and that’s important showing yourself, too. [Omitted], go ahead, or
[omitted].
Member 3: I was going to ask, [omitted], how soon do you introduce vocal pedagogy into
the students, with the college student? Because I'm thinking, because of what [omitted]
just shared of the physical movement, and if they know the way their voice is put
together and they understand the principles and they do something like listen to Scott
McCoy's “Inside the Voice” voice ratings and you just play that game, and I find that's
very, very helpful and so I try to get them into vocal pedagogy by their second year. I just
wondered what thoughts were.
Member 1: Do you mean at like the collegiate level? If I could have them all freshman
year, wouldn’t that be amazing. Isn't it crazy how in college, it's like junior or senior
year? I think that's kind of crazy. I think there was a discussion one of the Facebook
forums about this, how early do you introduce this? I just think the earlier the better,
because the sooner you learn your instrument, the sooner you can accomplish more
things, that would just be my perspective. And I do use a form taking information from
the student. I tell them from the get-go, “This is going to feel a little bit like a doctor’s
visit but not as dry, because I'm going to ask you a lot of questions, but you get to ask me
questions too, because you're basically hiring me to help you achieve some goals.” And
then I like to have them think of, maybe not on the spot, but think of a couple of short-
term goals to have and then maybe a long-term goal, like I would love to add a note to
my range. Well, that's a great long-term goal, let's think of some may be short-term ones
that we could accomplish, like this song or maybe having an easier time in my lower
register.
Member 4: Goals, I do goals as well and in answer to your question [omitted] about vocal
pedagogy, we have this interesting situation at my university. If take elective lessons,
they start out taking group voice, and vocal pedagogy’s kind of introduced right away. If
they start as a music major, they don't get it till the third of fourth year, depending on
whether they're going with music ed or performance. Which I just think it is so odd. I
used to run a high school pre-conservatory training program at a performing arts high
school and we started them right away in ninth grade, learning the basics because, like
you said, [omitted], why would it be bad for them to know how the instrument is set up
and how it works at it's functional best? So, that's part of what I do with the Canvas
course that I created is we have lessons every week on vocal pedagogy and how that
applies to their particular instruments and do it at lessons to show, demonstrate their
understanding of what I taught and how it relates to them.
Smith: Yeah, yeah, I think that’s imperative. Great, well any other comments, questions,
concerns? Like I said, I’m so appreciate of your time and everything that you brought and
your honesty.
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APPENDIX F: Quantitative Data
F.1 – DEMOGRAPHIC RESULTS
p-
Variable N ToS, N = 501 SLP, N = 631 Both, N = 331
value2
Finished 146 0.3
FALSE 6 (12%) 3 (4.8%) 1 (3.0%)
TRUE 44 (88%) 60 (95%) 32 (97%)
Pronouns 146 0.4
He/Him/His 14 (28%) 16 (25%) 15 (45%)
She/Her/Hers 26 (52%) 35 (56%) 12 (36%)
They/Them/Theirs 5 (10%) 9 (14%) 5 (15%)
All of the above 1 (2.0%) 0 (0%) 0 (0%)
Prefer not to answer 4 (8.0%) 3 (4.8%) 1 (3.0%)
Voice Users: 0 - 5 years 146 12 (24%) 29 (46%) 12 (36%) 0.054
Voice Users: 65+ years 146 29 (58%) 18 (29%) 13 (39%) 0.007
1n (%)
2Fisher's exact test; Pearson's Chi-squared test
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p-
Variable N ToS, N = 501 SLP, N = 631 Both, N = 331
value2
Elementary School 146 16 (32%) 31 (49%) 13 (39%) 0.2
Middle School 146 12 (24%) 24 (38%) 17 (52%) 0.036
High School 146 9 (18%) 19 (30%) 19 (58%) <0.001
College or University 146 21 (42%) 14 (22%) 15 (45%) 0.027
Hospital 146 2 (4.0%) 10 (16%) 7 (21%) 0.036
Doctors Office 146 3 (6.0%) 7 (11%) 5 (15%) 0.4
Rehabilitation Facility 146 1 (2.0%) 11 (17%) 6 (18%) 0.012
Private, Medical Office 146 2 (4.0%) 4 (6.3%) 3 (9.1%) 0.6
Private, Non-Medical Facility 146 2 (4.0%) 5 (7.9%) 2 (6.1%) 0.8
Private Studio 146 20 (40%) 0 (0%) 1 (3.0%) <0.001
1n (%)
2
Fisher's exact test; Pearson's Chi-squared test
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F.2 – VALUE OF INTERPERSONAL SKILLS RESULTS
Item N ToS, N = 501 SLP, N = 631 Both, N = 331 p-value2

listening 143 90 (66, 100) 75 (65, 100) 68 (60, 72) 0.005
knowledge of the anatomy and
143 83 (64, 97) 71 (58, 92) 66 (52, 83) 0.044
physiology of the human voice
humility 142 80 (70, 92) 80 (67, 93) 80 (66, 87) 0.6
starting with fundamentals and
143 89 (71, 100) 85 (70, 94) 78 (66, 88) 0.056
building from there
community outreach 140 72 (54, 87) 65 (52, 84) 72 (63, 89) 0.2
making voice users feel safe 143 90 (76, 100) 79 (70, 96) 78 (59, 88) 0.019
using technology 142 84 (55, 92) 77 (66, 90) 77 (68, 90) >0.9
continuing my education 142 84 (72, 97) 79 (69, 86) 81 (68, 86) 0.12
giving voice users a space to vent
141 92 (74, 100) 76 (57, 93) 62 (57, 76) <0.001
and/or be vulnerable
reading publications in my field 142 86 (74, 95) 76 (61, 90) 84 (74, 90) 0.061
contributing research to my field 138 76 (60, 90) 74 (57, 89) 73 (66, 87) 0.8
reflecting on my encounters with
voice users after a lesson, session, or 141 83 (71, 94) 69 (59, 83) 78 (68, 92) 0.014
appointment
1
Median (IQR)
2Kruskal-Wallis rank sum test
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developing pedagogical content
knowledge, either through research 141 86 (75, 95) 75 (60, 89) 80 (66, 92) 0.017
or experience
being a life coach to the voice users
142 80 (66, 88) 67 (44, 77) 66 (55, 84) 0.005
with whom I work
pursuing personal growth in my field 143 84 (72, 99) 79 (58, 92) 79 (72, 88) 0.064
humor 142 90 (74, 100) 84 (69, 96) 73 (62, 82) 0.004
giving feedback in a concise manner 143 91 (78, 99) 84 (68, 96) 88 (78, 92) 0.1
specializing in one or two specific
143 75 (50, 88) 75 (54, 85) 68 (64, 80) 0.9
discipline areas and/or techniques
flexibility in instructional techniques 143 92 (70, 100) 82 (72, 91) 84 (68, 93) 0.14
using my intuition 142 88 (81, 96) 80 (69, 91) 75 (66, 86) <0.001
setting realistic goals and/or
141 84 (70, 97) 78 (66, 90) 74 (63, 86) 0.052
expectations with voice users
collaborating with others in voice
141 88 (68, 96) 71 (59, 86) 74 (60, 89) 0.028
related fields
empathy 141 83 (77, 99) 91 (79, 100) 80 (72, 88) 0.011
1
Median (IQR)
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549
preparedness 141 88 (71, 99) 80 (70, 90) 78 (66, 91) 0.2

interacting with diverse voice users 141 84 (73, 94) 82 (64, 94) 68 (60, 90) 0.091
being a friend to the voice users with
141 84 (66, 92) 75 (63, 86) 80 (69, 88) 0.3
whom I work
trust 138 91 (80, 100) 92 (82, 100) 84 (71, 93) 0.037
being versed in a number (3+) of
different discipline areas and/or 141 78 (70, 90) 76 (63, 86) 82 (71, 91) 0.2
techniques
respectful relationships with voice
141 92 (68, 100) 74 (65, 95) 75 (65, 84) 0.048
users
allowing voice users to make decisions 140 87 (79, 95) 86 (77, 97) 84 (74, 91) 0.3
using prompting questions 141 87 (72, 98) 77 (62, 88) 76 (62, 87) 0.021
attending and/or presenting at
140 83 (67, 93) 80 (58, 89) 85 (76, 90) 0.11
conferences
1
Median (IQR)
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550
VALUE OF INTERPERSONAL SKILLS BOX PLOTS
See Table 3.1 for each item name.
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551
F.3 – TRAINING OF INTERPERSONAL SKILLS RESULTS
Item Training N ToS, N = 461 SLP, N = 611 Both, N = 311 p-value2

listening Formal Education 138 23 (50%) 35 (57%) 17 (55%) 0.7
Supplementary Education 138 17 (37%) 21 (34%) 13 (42%) 0.8
Self-taught 138 17 (37%) 14 (23%) 4 (13%) 0.05
No Training 138 1 (2.2%) 1 (1.6%) 0 (0%) >0.9
knowledge of the Formal Education 132 24 (55%) 31 (55%) 12 (38%) 0.2
anatomy and physiology Supplementary Education 132 21 (48%) 25 (45%) 14 (44%) >0.9
of the human voice
Self-taught 132 13 (30%) 8 (14%) 5 (16%) 0.13
No Training 132 0 (0%) 0 (0%) 1 (3.1%) 0.2
humility Formal Education 125 11 (26%) 21 (38%) 14 (50%) 0.12
Self-taught 125 18 (43%) 20 (36%) 4 (14%) 0.039
No Training 125 4 (9.5%) 5 (9.1%) 1 (3.6%) 0.8
starting with Formal Education 119 25 (61%) 33 (62%) 13 (52%) 0.7
fundamentals and Supplementary Education 119 20 (49%) 18 (34%) 11 (44%) 0.3
building from there
Self-taught 119 11 (27%) 11 (21%) 1 (4.0%) 0.056
No Training 119
No 41 (100%) 53 (100%) 25 (100%)
1
n (%)
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community outreach Formal Education 119 9 (23%) 22 (41%) 16 (62%) 0.008
Self-taught 119 13 (33%) 18 (33%) 4 (15%) 0.2
No Training 119 9 (23%) 7 (13%) 1 (3.8%) 0.081
making voice users feel Formal Education 121 13 (32%) 27 (50%) 14 (52%) 0.2
safe Supplementary Education 121 8 (20%) 18 (33%) 6 (22%) 0.3
Self-taught 121 19 (48%) 14 (26%) 6 (22%) 0.039
No Training 121 6 (15%) 5 (9.3%) 1 (3.7%) 0.4
using technology Formal Education 119 17 (42%) 25 (47%) 13 (50%) 0.8
Self-taught 119 14 (35%) 13 (25%) 5 (19%) 0.3
No Training 119 5 (12%) 0 (0%) 0 (0%) 0.007
continuing my Formal Education 121 17 (44%) 35 (64%) 19 (70%) 0.057
education Supplementary Education 121 19 (49%) 17 (31%) 6 (22%) 0.061
Self-taught 121 12 (31%) 14 (25%) 2 (7.4%) 0.074
No Training 121 3 (7.7%) 0 (0%) 0 (0%) 0.042
1
n (%)
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giving voice users a Formal Education 123 13 (32%) 24 (44%) 13 (46%) 0.4
space to vent and/or be Supplementary Education 123 13 (32%) 16 (29%) 13 (46%) 0.3
vulnerable
Self-taught 123 13 (32%) 19 (35%) 0 (0%) 0.002
No Training 123 8 (20%) 3 (5.5%) 2 (7.1%) 0.076
reading publications in Formal Education 122 19 (48%) 30 (55%) 15 (56%) 0.7
my field Supplementary Education 122 9 (22%) 15 (27%) 10 (37%) 0.4
Self-taught 122 15 (38%) 17 (31%) 1 (3.7%) 0.006
No Training 122 5 (12%) 4 (7.3%) 2 (7.4%) 0.7
contributing research to Formal Education 122 22 (54%) 25 (45%) 13 (50%) 0.7
my field Supplementary Education 122 10 (24%) 14 (25%) 10 (38%) 0.4
Self-taught 122 8 (20%) 9 (16%) 3 (12%) 0.7
No Training 122 6 (15%) 11 (20%) 0 (0%) 0.033
reflecting on my Formal Education 121 12 (29%) 30 (57%) 17 (63%) 0.008
encounters with voice Supplementary Education 121 9 (22%) 17 (32%) 8 (30%) 0.5
users after a lesson,
Self-taught 121 21 (51%) 11 (21%) 3 (11%) <0.001
session, or appointment
No Training 121 5 (12%) 4 (7.5%) 0 (0%) 0.2
1
n (%)
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attending and/or Formal Education 122 14 (34%) 23 (42%) 14 (54%) 0.3
presenting at workshops Supplementary Education 122 15 (37%) 21 (38%) 9 (35%) >0.9
and/or clinics
Self-taught 122 12 (29%) 12 (22%) 2 (7.7%) 0.11
No Training 122 8 (20%) 3 (5.5%) 1 (3.8%) 0.047
developing pedagogical Formal Education 121 24 (59%) 27 (50%) 14 (54%) 0.7
content knowledge, Supplementary Education 121 17 (41%) 16 (30%) 9 (35%) 0.5
either through research
Self-taught 121 15 (37%) 7 (13%) 3 (12%) 0.008
or experience
No Training 121 3 (7.3%) 7 (13%) 0 (0%) 0.12
being a life coach to the Formal Education 121 11 (27%) 17 (31%) 17 (65%) 0.003
voice users with whom I Supplementary Education 121 12 (29%) 20 (37%) 3 (12%) 0.062
work
Self-taught 121 18 (44%) 4 (7.4%) 5 (19%) <0.001
No Training 121 7 (17%) 15 (28%) 1 (3.8%) 0.027
pursuing personal Formal Education 122 11 (27%) 23 (42%) 12 (46%) 0.2
growth in my field Supplementary Education 122 17 (41%) 19 (35%) 8 (31%) 0.6
Self-taught 122 18 (44%) 18 (33%) 6 (23%) 0.2
No Training 122 4 (9.8%) 1 (1.8%) 0 (0%) 0.11
1
n (%)
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humor Formal Education 120 7 (18%) 24 (44%) 16 (62%) 0.001
Self-taught 120 23 (59%) 22 (40%) 1 (3.8%) <0.001
No Training 120 6 (15%) 5 (9.1%) 1 (3.8%) 0.4
giving feedback in a Formal Education 118 20 (50%) 27 (51%) 9 (36%) 0.4
concise manner Supplementary Education 118 12 (30%) 21 (40%) 11 (44%) 0.5
Self-taught 118 14 (35%) 13 (25%) 4 (16%) 0.2
No Training 118 3 (7.5%) 1 (1.9%) 1 (4.0%) 0.4
specializing in one or Formal Education 120 25 (61%) 26 (48%) 14 (56%) 0.5
two specific discipline Supplementary Education 120 12 (29%) 27 (50%) 9 (36%) 0.11
areas and/or techniques
Self-taught 120 12 (29%) 9 (17%) 2 (8.0%) 0.1
No Training 120 4 (9.8%) 3 (5.6%) 0 (0%) 0.3
flexibility in Formal Education 119 23 (56%) 26 (50%) 15 (58%) 0.8
instructional techniques Supplementary Education 119 18 (44%) 25 (48%) 7 (27%) 0.2
Self-taught 119 18 (44%) 15 (29%) 4 (15%) 0.044
No Training 119 1 (2.4%) 1 (1.9%) 0 (0%) >0.9
1
n (%)
555
556

using my intuition Formal Education 120 15 (37%) 13 (25%) 11 (42%) 0.2
Self-taught 120 19 (46%) 23 (43%) 3 (12%) 0.008
No Training 120 4 (9.8%) 2 (3.8%) 1 (3.8%) 0.5
setting realistic goals Formal Education 120 23 (56%) 39 (72%) 12 (48%) 0.08
and/or expectations Supplementary Education 120 12 (29%) 20 (37%) 10 (40%) 0.6
with voice users
Self-taught 120 18 (44%) 8 (15%) 3 (12%) 0.001
No Training 120 4 (9.8%) 0 (0%) 0 (0%) 0.025
collaborating with Formal Education 120 15 (37%) 27 (50%) 12 (48%) 0.4
others in voice related Supplementary Education 120 13 (32%) 21 (39%) 7 (28%) 0.6
fields
Self-taught 120 14 (34%) 8 (15%) 6 (24%) 0.087
No Training 120 7 (17%) 4 (7.4%) 0 (0%) 0.054
empathy Formal Education 119 15 (37%) 21 (40%) 16 (64%) 0.068
Self-taught 119 23 (56%) 20 (38%) 2 (8.0%) <0.001
No Training 119 5 (12%) 6 (11%) 1 (4.0%) 0.6
1
n (%)
556
557

preparedness Formal Education 117 26 (63%) 28 (53%) 9 (39%) 0.2
Self-taught 117 20 (49%) 18 (34%) 4 (17%) 0.039
No Training 117 1 (2.4%) 2 (3.8%) 0 (0%) >0.9
interacting with diverse Formal Education 117 21 (52%) 20 (38%) 10 (40%) 0.4
voice users Supplementary Education 117 17 (42%) 18 (35%) 11 (44%) 0.6
Self-taught 117 19 (48%) 17 (33%) 4 (16%) 0.032
No Training 117 2 (5.0%) 7 (13%) 0 (0%) 0.1
being a friend to the Formal Education 119 13 (32%) 18 (34%) 14 (54%) 0.2
voice users with whom I Supplementary Education 119 3 (7.5%) 12 (23%) 8 (31%) 0.046
work
Self-taught 119 15 (38%) 21 (40%) 4 (15%) 0.082
No Training 119 10 (25%) 5 (9.4%) 1 (3.8%) 0.034
trust Formal Education 117 12 (31%) 19 (37%) 12 (46%) 0.5
Self-taught 117 22 (56%) 23 (44%) 4 (15%) 0.004
No Training 117 4 (10%) 3 (5.8%) 1 (3.8%) 0.6
1
n (%)
557
558

being versed in a Formal Education 115 17 (44%) 31 (61%) 14 (56%) 0.3
number (3+) of different Supplementary Education 115 15 (38%) 24 (47%) 8 (32%) 0.4
discipline areas and/or
Self-taught 115 18 (46%) 9 (18%) 5 (20%) 0.007
techniques
No Training 115 3 (7.7%) 1 (2.0%) 0 (0%) 0.3
respectful relationships Formal Education 114 13 (33%) 23 (45%) 16 (67%) 0.036
with voice users Supplementary Education 114 18 (46%) 13 (25%) 5 (21%) 0.05
Self-taught 114 19 (49%) 21 (41%) 3 (12%) 0.012
No Training 114 1 (2.6%) 3 (5.9%) 1 (4.2%) 0.8
allowing voice users to Formal Education 114 16 (41%) 23 (45%) 14 (58%) 0.4
make decisions Supplementary Education 114 8 (21%) 17 (33%) 5 (21%) 0.3
Self-taught 114 22 (56%) 18 (35%) 5 (21%) 0.014
No Training 114 4 (10%) 3 (5.9%) 0 (0%) 0.3
using prompting Formal Education 114 17 (44%) 30 (59%) 15 (62%) 0.2
questions Supplementary Education 114 10 (26%) 26 (51%) 6 (25%) 0.019
Self-taught 114 21 (54%) 8 (16%) 3 (12%) <0.001
No Training 114 4 (10%) 1 (2.0%) 0 (0%) 0.14
attending and/or Formal Education 113 16 (41%) 23 (46%) 13 (54%) 0.6
presenting at Supplementary Education 113 9 (23%) 17 (34%) 9 (38%) 0.4
conferences
Self-taught 113 13 (33%) 10 (20%) 2 (8.3%) 0.06
No Training 113 8 (21%) 6 (12%) 0 (0%) 0.048
1n (%)
558
559
F.4 – USE OF INTERPERSONAL SKILLS RESULTS
Both, N =
Item N ToS, N = 501 SLP, N = 631 p-value2
331
listening 131 0.4
Daily 21 (48%) 34 (58%) 9 (32%)
Weekly 12 (27%) 13 (22%) 10 (36%)
Every other week 8 (18%) 8 (14%) 5 (18%)
Monthly 3 (6.8%) 4 (6.8%) 4 (14%)
knowledge of the anatomy and
124 0.7
physiology of the human voice
Daily 22 (54%) 20 (38%) 15 (48%)
Weekly 9 (22%) 19 (37%) 7 (23%)
Every other week 5 (12%) 7 (13%) 6 (19%)
Monthly 5 (12%) 6 (12%) 3 (9.7%)
humility 124 0.2
Daily 21 (50%) 28 (55%) 10 (32%)
Weekly 7 (17%) 14 (27%) 11 (35%)
Every other week 7 (17%) 4 (7.8%) 7 (23%)
Monthly 7 (17%) 5 (9.8%) 3 (9.7%)
1n (%)
2
Fisher's exact test
559
560
Both, N =
331
starting with fundamentals and
119 0.6
building from there
Daily 19 (49%) 29 (55%) 14 (52%)
Weekly 12 (31%) 10 (19%) 8 (30%)
Every other week 2 (5.1%) 8 (15%) 2 (7.4%)
Monthly 6 (15%) 6 (11%) 3 (11%)
community outreach 103 0.2
Daily 10 (28%) 12 (32%) 17 (57%)
Weekly 8 (22%) 10 (27%) 5 (17%)
Every other week 5 (14%) 5 (14%) 4 (13%)
Monthly 13 (36%) 10 (27%) 4 (13%)
making voice users feel safe 122 0.071
Daily 26 (63%) 23 (43%) 8 (30%)
Weekly 7 (17%) 14 (26%) 12 (44%)
Every other week 4 (9.8%) 10 (19%) 2 (7.4%)
Monthly 4 (9.8%) 7 (13%) 5 (19%)
1n (%)
2Fisher's exact test
560
561
Both, N =
331
using technology 127 0.3
Daily 21 (51%) 27 (48%) 12 (40%)
Weekly 11 (27%) 17 (30%) 6 (20%)
Every other week 8 (20%) 6 (11%) 8 (27%)
Monthly 1 (2.4%) 6 (11%) 4 (13%)
continuing my education 108 0.015
Daily 13 (34%) 14 (34%) 15 (52%)
Weekly 14 (37%) 6 (15%) 7 (24%)
Every other week 7 (18%) 10 (24%) 7 (24%)
Monthly 4 (11%) 11 (27%) 0 (0%)
giving voice users a space to vent
122 0.3
and/or be vulnerable
Daily 21 (50%) 18 (35%) 18 (62%)
Weekly 12 (29%) 16 (31%) 5 (17%)
Every other week 6 (14%) 9 (18%) 2 (6.9%)
Monthly 3 (7.1%) 8 (16%) 4 (14%)
1n (%)
561
562
Both, N =
331
reading publications in my field 109 0.8
Daily 12 (31%) 15 (35%) 13 (48%)
Weekly 14 (36%) 14 (33%) 9 (33%)
Every other week 6 (15%) 8 (19%) 3 (11%)
Monthly 7 (18%) 6 (14%) 2 (7.4%)
contributing research to my field 87 0.8
Daily 9 (41%) 15 (43%) 13 (43%)
Weekly 6 (27%) 8 (23%) 6 (20%)
Every other week 1 (4.5%) 6 (17%) 6 (20%)
Monthly 6 (27%) 6 (17%) 5 (17%)
reflecting on my encounters with voice
users after a lesson, session, or 119 0.4
appointment
Daily 25 (64%) 22 (44%) 12 (40%)
Weekly 11 (28%) 18 (36%) 12 (40%)
Every other week 2 (5.1%) 5 (10%) 4 (13%)
Monthly 1 (2.6%) 5 (10%) 2 (6.7%)
1n (%)
562
563
Both, N =
331
attending and/or presenting at
81 0.03
workshops and/or clinics
Daily 7 (35%) 9 (26%) 12 (46%)
Weekly 6 (30%) 10 (29%) 9 (35%)
Every other week 1 (5.0%) 10 (29%) 5 (19%)
Monthly 6 (30%) 6 (17%) 0 (0%)
developing pedagogical content
knowledge, either through research or 101 >0.9
experience
Daily 10 (29%) 12 (30%) 11 (42%)
Weekly 15 (43%) 14 (35%) 8 (31%)
Every other week 7 (20%) 10 (25%) 5 (19%)
Monthly 3 (8.6%) 4 (10%) 2 (7.7%)
1n (%)
2
Fisher's exact test
563
564
Both, N =
331
being a life coach to the voice users
110 0.07
with whom I work
Daily 17 (46%) 18 (40%) 16 (57%)
Weekly 13 (35%) 10 (22%) 9 (32%)
Every other week 5 (14%) 10 (22%) 0 (0%)
Monthly 2 (5.4%) 7 (16%) 3 (11%)
pursuing personal growth in my field 114 0.8
Daily 13 (34%) 16 (33%) 11 (41%)
Weekly 12 (32%) 18 (37%) 5 (19%)
Every other week 7 (18%) 8 (16%) 7 (26%)
Monthly 6 (16%) 7 (14%) 4 (15%)
humor 125 >0.9
Daily 25 (58%) 35 (64%) 18 (67%)
Weekly 11 (26%) 9 (16%) 5 (19%)
Every other week 5 (12%) 8 (15%) 3 (11%)
Monthly 2 (4.7%) 3 (5.5%) 1 (3.7%)
1n (%)
564
565
Both, N =
331
giving feedback in a concise manner 124 0.4
Daily 24 (60%) 27 (47%) 11 (41%)
Weekly 7 (18%) 19 (33%) 9 (33%)
Every other week 6 (15%) 8 (14%) 3 (11%)
Monthly 3 (7.5%) 3 (5.3%) 4 (15%)
specializing in one or two specific
114 0.8
Daily 13 (36%) 18 (37%) 11 (38%)
Weekly 16 (44%) 16 (33%) 11 (38%)
Every other week 4 (11%) 7 (14%) 5 (17%)
Monthly 3 (8.3%) 8 (16%) 2 (6.9%)
flexibility in instructional techniques 128 >0.9
Daily 26 (62%) 33 (57%) 14 (50%)
Weekly 10 (24%) 15 (26%) 10 (36%)
Every other week 4 (9.5%) 7 (12%) 3 (11%)
Monthly 2 (4.8%) 3 (5.2%) 1 (3.6%)
1n (%)
565
566
Both, N =
331
using my intuition 125 0.7
Daily 23 (56%) 36 (63%) 12 (44%)
Weekly 11 (27%) 15 (26%) 10 (37%)
Every other week 5 (12%) 4 (7.0%) 4 (15%)
Monthly 2 (4.9%) 2 (3.5%) 1 (3.7%)
setting realistic goals and/or
116 0.2
expectations with voice users
Daily 23 (62%) 19 (37%) 12 (43%)
Weekly 7 (19%) 20 (39%) 11 (39%)
Every other week 3 (8.1%) 6 (12%) 4 (14%)
Monthly 4 (11%) 6 (12%) 1 (3.6%)
collaborating with others in voice
112 0.002
related fields
Daily 7 (19%) 14 (30%) 19 (68%)
Weekly 11 (30%) 15 (32%) 5 (18%)
Every other week 7 (19%) 11 (23%) 3 (11%)
Monthly 12 (32%) 7 (15%) 1 (3.6%)
1n (%)
2Fisher's
exact test
566
567
Both, N =
331
empathy 125 0.6
Daily 26 (65%) 37 (64%) 16 (59%)
Weekly 8 (20%) 8 (14%) 8 (30%)
Every other week 4 (10%) 8 (14%) 3 (11%)
Monthly 2 (5.0%) 5 (8.6%) 0 (0%)
preparedness 129 0.2
Daily 25 (61%) 29 (49%) 15 (52%)
Weekly 6 (15%) 20 (34%) 5 (17%)
Every other week 6 (15%) 6 (10%) 7 (24%)
Monthly 4 (9.8%) 4 (6.8%) 2 (6.9%)
interacting with diverse voice users 112 0.9
Daily 18 (49%) 21 (45%) 15 (54%)
Weekly 10 (27%) 18 (38%) 7 (25%)
Every other week 5 (14%) 4 (8.5%) 4 (14%)
Monthly 4 (11%) 4 (8.5%) 2 (7.1%)
1
n (%)
567
568

being a friend to the voice users with whom I
116 0.082
work
Daily 22 (61%) 20 (39%) 13 (45%)
Weekly 3 (8.3%) 19 (37%) 9 (31%)
Every other week 6 (17%) 7 (14%) 5 (17%)
Monthly 5 (14%) 5 (9.8%) 2 (6.9%)
trust 130 0.4
Daily 25 (58%) 37 (64%) 15 (52%)
Weekly 7 (16%) 13 (22%) 4 (14%)
Every other week 7 (16%) 6 (10%) 6 (21%)
Monthly 4 (9.3%) 2 (3.4%) 4 (14%)
being versed in a number (3+) of different

121 0.2
Daily 24 (60%) 23 (44%) 14 (48%)

Weekly 6 (15%) 15 (29%) 5 (17%)
Every other week 3 (7.5%) 7 (13%) 8 (28%)
Monthly 7 (18%) 7 (13%) 2 (6.9%)
1n (%)
2
Fisher's exact test
568
569
respectful relationships with voice users 119 0.15
Daily 26 (67%) 27 (52%) 14 (50%)

Weekly 6 (15%) 11 (21%) 8 (29%)
Every other week 3 (7.7%) 13 (25%) 5 (18%)
Monthly 4 (10%) 1 (1.9%) 1 (3.6%)
allowing voice users to make decisions 125 0.8
Daily 20 (48%) 29 (53%) 12 (43%)
Weekly 10 (24%) 10 (18%) 9 (32%)
Every other week 7 (17%) 8 (15%) 5 (18%)
Monthly 5 (12%) 8 (15%) 2 (7.1%)
using prompting questions 127 0.035
Daily 29 (69%) 34 (60%) 13 (46%)
Weekly 3 (7.1%) 13 (23%) 11 (39%)
Every other week 8 (19%) 5 (8.8%) 2 (7.1%)
Monthly 2 (4.8%) 5 (8.8%) 2 (7.1%)
1n (%)
569
570
attending and/or presenting at conferences 85 0.064
Daily 9 (41%) 17 (47%) 18 (67%)

Weekly 7 (32%) 11 (31%) 3 (11%)
Every other week 1 (4.5%) 6 (17%) 5 (19%)
Monthly 5 (23%) 2 (5.6%) 1 (3.7%)
1n (%)
570
571
F.5 – CHECK ALL THAT APPLY TECHNIQUES RESULTS
Variable N ToS, N = 501 SLP, N = 631 Both, N = 331 p-value2
I ask voice users to fill out an information

146 16 (32%) 26 (41%) 12 (36%) 0.6
survey or intake form
I fill out an information survey or intake form
146 24 (48%) 31 (49%) 14 (42%) 0.8
myself
I ask voice users to send me videos and/or
audio recordings (e.g. YouTube, SoundCloud, 146 22 (44%) 22 (35%) 17 (52%) 0.3
etc.) that demonstrate their voices
I record video and/or audio of a student in one
146 10 (20%) 23 (37%) 11 (33%) 0.15
of the first meetings to reference or evaluate
I use small talk with voice users 146 20 (40%) 27 (43%) 3 (9.1%) 0.002
I provide voice users with a video introducing
146 8 (16%) 3 (4.8%) 2 (6.1%) 0.13
myself and my practice
I offer voice users a sample lesson and/or
146 14 (28%) 6 (9.5%) 2 (6.1%) 0.01
session
I follow a formal evaluation or screening test
146 9 (18%) 14 (22%) 1 (3.0%) 0.051
with voice users
I attend performances of voice users with
146 36 (72%) 28 (44%) 25 (76%) 0.002
whom I currently working
1n (%)
571
572
I show investment in the other classes or

146 21 (42%) 15 (24%) 12 (36%) 0.11
coursework of voice users
I take an interest in voice users as people
146 26 (52%) 25 (40%) 11 (33%) 0.2
outside of their voices
I am aware of Individualized Education
Program (IEP) requirements and/or other 146 16 (32%) 24 (38%) 8 (24%) 0.4
learning accomodations needed
I ask voice users about their learning styles
146 18 (36%) 19 (30%) 4 (12%) 0.054
and/or preferences
I attend performances of any voice users, not
146 29 (58%) 18 (29%) 17 (52%) 0.004
just ones I know
I read academic publications outside of my
146 24 (48%) 28 (44%) 18 (55%) 0.6
field
I record and watch my lessons or sessions with
146 13 (26%) 15 (24%) 13 (39%) 0.3
voice users
I take voice lessons for my own vocal
146 17 (34%) 9 (14%) 3 (9.1%) 0.007
development
I hold a professional membership(s) 146 23 (46%) 18 (29%) 3 (9.1%) 0.002
1n (%)
572
573
F.6 – CHECK ALL THAT APPLY MOTIVATION RESULTS
Service to individuals 146 32 (64%) 41 (65%) 11 (33%) 0.006

Service to community 146 23 (46%) 27 (43%) 18 (55%) 0.5
Taking care of others 146 27 (54%) 32 (51%) 16 (48%) 0.9
Collaborating with other voice professionals 146 22 (44%) 28 (44%) 14 (42%) >0.9
Working with people 146 23 (46%) 25 (40%) 7 (21%) 0.067
Using creativity 146 24 (48%) 25 (40%) 4 (12%) 0.003
Using problem-solving techniques 146 23 (46%) 22 (35%) 5 (15%) 0.015
Being challenged 146 22 (44%) 16 (25%) 5 (15%) 0.012
Mentoring others 146 20 (40%) 11 (17%) 4 (12%) 0.004
I was/am inspired by personal mentors 146 17 (34%) 9 (14%) 2 (6.1%) 0.003
Building relationships with voice users 146 20 (40%) 12 (19%) 2 (6.1%) <0.001
Variety in my line of work 146 16 (32%) 13 (21%) 2 (6.1%) 0.018
Positive feedback from voice users and/or
146 20 (40%) 13 (21%) 4 (12%) 0.009
their family members
Success in voice users 146 20 (40%) 14 (22%) 5 (15%) 0.025
1
n (%)
2
573
574
APPENDIX G: Social Media Accounts
Better Voice LLC @_bettervoice_
Christie DeLuca, Voice SLP @speakingboldly
Dr Shannon Coates @voiceped
Duke Voice Care Center @dukevoicecare
Innovative Voice Studio @innovativevoice
Matt Edwards @edwards_voice
Pan-American Vocology Assoc. @pava_vocology
Sarah Whitten @vocalyogi
VOCO - Vocology for Singers @vocologyforsingers
Vocology in Practice @vocologyinpractice

Instructor: Dr. Rhonda Fuelberth
DO CTO RAL SEM IN AR: IN DIVID

DIFFEREN CES IN M USIC LEARN
MUED 9
O ffice: 347 Westbrook / Remote office
O ffice Hours: M TRF11:00am – 12:00pm; 2:30 – 3:00pm,
and by appointment via Zoom
Phone: 402.499.7091 (cell) 575
e-mail: [email protected]
APPENDIX H: Excerpts from a Sample Syllabus for Individual Differences in
Music
Hybrid course Learning
model: Seminar sessions, primarily
synchronous via Zoom, are scheduled on Wednesdays (see
calendar; 1:30-3:20pm) and will be recorded.
Description
This course is an in-depth study of individual differences in music learning and development.
Specific attention is given to learner variability in music learning environments in terms of
ability/disability, gender, culture, and socioeconomic status. Using the framework of Universal
Design for Learning, students are engaged in a process for making music learning concepts
accessible in a variety of inclusive environments.
NOTE: Our focus for Fall 2020 will be on disability studies and music teacher preparation. We
will also focus on anti-racism and racial equity within the context of music education and in
light of pivotal recent events.
Prerequisites
Admission to the PhD in Music Program or permission of the instructor
Course Goals and Objectives

At the completion of the seminar, students will be able to:
1. demonstrate familiarity with research-based and scholarly contributions pertaining to a
specialized topic within the study of individual differences and supervise an informative
and stimulating discussion of this topic; and
2. demonstrate a good working knowledge of the process of designing research studies,
collecting data, and reporting findings of the systematic collection and analysis of these
data in formats acceptable for publication in research journals.
576
577
578
579
580
APPENDIX I: Singer Intake Form
Singer Intake Form

GENERAL
Name: Email:
Age: Phone Number:
Preferred Pronouns: Preferred contact: Call / Text / Email
Hobbies/interests:
What is the most important thing you want me to know about you?
MUSICAL BACKGROUND
Have you taken voice lessons before? Yes / No
If so, for how many years:
Briefly describe previous training:
Previous teacher(s):
Secondary instrument(s), if any, as well as years studied:
School experiences: Band / Choir / Orchestra / Theatre / Other
Have you ever had trouble getting along with a teacher? Yes / No
If you answered yes, please explain, this helps me understand your preferred style of receiving
instruction:
What are your expectations of your training with me?
I learn in the following ways (circle all that apply):

Audio / Visual / Kinesthetic / Other, explain:
Who is your favorite singer or your favorite genre(s) of music? Which artists influence your sound?
What is your usual vocal style(s)?
Please rank the following in order of priority:

_____Vocal technique and development _____Performance Anxiety
_____Vocal workout regime for touring/performing _____Vocal health issue
_____Teacher training _____Other, please explain:
Give 2-3 links to your music (e.g.YouTube or Soundcloud URL):
Current performance load (gigs per month) or estimation of how many minutes a day you sing/use your voice:
581
Do you play an instrument when you sing? If so what?
Music/performance education and background:
Can you read music? (Y / N). If yes, to what extent?
HEALTH
Have you ever seen an Ear Nose and Throat specialist or had speech therapy? If yes please say when, what
was diagnosed, the treatment and any follow up conclusions:
Do you have any of the following?

_____Asthma _____History of vocal issues such as vocal
_____Hay fever/allergies nodules, polyps, bleeding
_____Gastric reflux _____Hypermobility (double jointed)
_____Thyroid issues _____Rheumatoid Arthritis
_____Hormonal issues _____Postnasal drip
What medications are you taking currently? Please include over the counter and contraceptive pill.
Do you have any other medical issues or history of major surgery?
Are you a smoker?

_____Yes, if so, # of cigarettes per day: _____No
Alcohol consumption?
_____Not when I am singing _____Weekly
_____When I sing _____Socially
_____Daily _____Never
Do you have another job? If so, what is the job and how often you do it?
Is this job vocally demanding or taxing?
Estimated…
_____hours of sleep each night
_____oz of water per day
_____minutes of exercise per day, describe:
_____stress level (1-10, 1 being not stressed, 10 being significantly stressed)
GOALS
What are some of your vocal strengths? Top 3 long-term goals:
One vocal goal for this year:
One academic goal for this year: Is this a: ( ) Hobby ( ) Professional Career for
you?
One personal goal for this year:
*We would also include a privacy statement on real form
582
APPENDIX J: Singer Reflection Form

583

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University of Nebraska - Lincoln

DigitalCommons@University of Nebraska - Lincoln

Student Research, Creative Activity, and Music, School of

Interpersonal Practices in Individualized Voice Teaching: A Mixed-

Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent

Part of the Other Music Commons

Smith, Brianna, "Interpersonal Practices in Individualized Voice Teaching: A Mixed-Method Study of

A MIXED-METHOD STUDY OF PEDAGOGICAL SIMILARITIES AND

DIFFERENCES BETWEEN TEACHERS OF SINGING AND SPEECH-LANGUAGE

Presented to the Faculty of

The Graduate College at the University of Nebraska

In Partial Fulfillment of Requirements

For the Degree of Doctor of Philosophy

Under the Supervision of Dr. Kevin G. Hanrahan

A MIXED-METHOD STUDY OF PEDAGOGICAL SIMILARITIES AND

DIFFERENCES BETWEEN TEACHERS OF SINGING AND SPEECH-LANGUAGE

Brianna Charise Smith, Ph.D.

University of Nebraska, 2021

Advisor: Kevin G. Hanrahan

The interpersonal teaching practices of teachers of singing and speech-language

pedagogy and speech-language pathology agree and vary regarding interpersonal

interactions with voice users (i.e., students, patients, and clients).

pathologists and teachers of singing, this research identifies interpersonal practices

valued by teachers of singing and speech-language pathologists, compares these

across both fields.

This has led to an inventory of positive interpersonal practices of teachers of

educational structures in place for individualized voice teaching.

Keywords: interpersonal, music education, vocal pedagogy, speech-language

pathology, teachers of singing, methodologies, research-based teaching, pedagogical

content knowledge, voice users

who have poured into me throughout my lifetime. My love of community is a result of

the quantitative analysis.

(and made me laugh). This is dedicated to you, now and later.

LIST OF FIGURES ...................................................................................................................... xx

LIST OF TABLES .......................................................................................................................xxi

CHAPTER 1: BACKGROUND AND PURPOSE ....................................................................... 1

Research Questions .................................................................................................................... 7

CHAPTER 2: LITERATURE REVIEW ..................................................................................... 8

Value of Interpersonal Skills ..................................................................................................... 8

Holistic Approaches ................................................................................................................. 8

Trust, Empathy, and Safe Environments ............................................................................... 10

Individualized Instruction ...................................................................................................... 13

Mentorship and “The Match” ................................................................................................ 15

Training in Interpersonal Skills .............................................................................................. 18

Collaboration and Multidisciplinary Training ....................................................................... 18

Standards of Training in Both Fields ..................................................................................... 26

Training Activities ................................................................................................................. 29

Pedagogical Content Knowledge ........................................................................................... 33

Use of Interpersonal Skills ....................................................................................................... 36

Awareness of Self and Others ................................................................................................ 36

Client-Centered Communication ........................................................................................... 42

Feedback and Setting Goals ................................................................................................... 47

Using Instructional Tools ....................................................................................................... 50

CHAPTER 3: METHODOLOGY .............................................................................................. 52

Methodological Overview ........................................................................................................ 52

Definition of Terms .................................................................................................................. 52

Teachers of singing ................................................................................................................ 54

Speech-language pathologists ................................................................................................ 55

Pedagogical content knowledge............................................................................................. 55