Voice—Tradition and Technology |
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Foreword
by Robert T. Sataloff
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| Garyth Nair's new book, Voice Tradition and Technology: A
State-of-the-Art Studio, stands out as a milestone in the intra-disciplinary
evolution of vocal art and science. Throughout history, a few enlightened
teachers have tried to make sense of vocal pedagogy. Unfortunately, little
credible scientific and medical information has been available until the
last two decades. During the 1980s and 1990s, however, dramatic advances
have occurred in our knowledge of the anatomy and physiology of the voice,
our ability to analyze and quantify voice function and dysfunction, the
ability of physicians to diagnose and treat voice disorders (in collaboration
with speech-language pathologists, singing voice specialists and others),
and the evolution of interdisciplinary guidelines for healthy voice used
to prevent the development of vocal pathology. Although the recent developments have been based upon interdisciplinary research in which voice teachers have collaborated in invaluable ways, most new publications have been driven by scientists and clinicians and published primarily for them. Garyth Nair is not a scientist, but rather of voice teacher, singer, and conductor. A few, farsighted voice teachers before him have attempted to integrate new knowledge and technology into the studio, including the pioneer in this field William Vennard at the University of Southern California, and more recently Richard Miller at Oberlin. Nair's new book represents the next logical (giant) step in the practical integration of new knowledge into musical training. As such, it also holds an important place in the evolution of voice pedagogy literature. You now at Through the eyes of unenlightened, experienced voice pedagogues, this book synthesizes in simple terms many of the latest findings of voice science and medical research and teaches the reader how to apply them in a practical, accessible in the studio, way in order to enhance (not replace) traditional voice training. In the process, he provides a window for teachers and singers into the world of voice science and its language and aid "how-to" guide for the teacher who wishes to advance his or her studio capabilities. Perhaps more important, Nair also makes clear not merely the "how," but also the "why." He explains how techniques such as computer-assisted, real-time analysis can provide feedback to the teacher and student that expedites and enhances the training process in a natural way, serving as an important, additional tool in him in the armamentarium of a modern voice teacher. Several specific features enhanced and there is text. The book is accompanied by a CD-ROM package. In keeping with the message of the book, Nair has provided the first multimedia contribution toward understanding the relationship between voice, science, and voice pedagogy. The CD-ROM package is particularly helpful in elucidating and simplifying the practical uses of computer programs to augment traditional voice training. The interactive CD-ROM also contains a functional spectrograms/power spectrum, and spectrograms for all the illustrations included in the book, substantially advancing the value of the text. In addition, Nair is included in the book contributions by Donald Miller and harm cage. Should the on the use of spectrum analysis in the voice studio, Catherine Bertolini and David E.. Crabs on the science of special challenges in voice training, and Robert A. Volin on the applications of computerized feedback systems to voice therapy and to the learning process. These invited contributions at information and scope that expands the value of the book for professionals in all disciplines. Voice Tradition and Technology: A State-of-the-Art Studio is concise and engaging. It will enhance the library of anyone interested in the voice, included not only teachers and singers, but also physicians, therapists, scientists, and others. It seems likely that it will be followed by future editions update information in this rapidly changing field, and buy books by other authors. Nevertheless, this initial offering will continue to hold a special place in the history of the evolution of voice pedagogy. Robert Sayre Sataloff, M.D., DMA Chairman, Department of Otolaryngology --- Head and Neck surgery, Graduate
Hospital, Philadelphia, Pennsylvania |
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