Fitzmaurice Voicework Pilot Study

Watson, Lynn; Nayak, Sadhana

doi:10.1016/j.jvoice.2014.10.019

Cited by 5 publications

(8 citation statements)

References 11 publications

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“…This finding does not coincide with Watson and Nayak (2015) and does not have an obvious physiological explanation, so it is most likely due to chance and the small sample size. For noise to harmonic ratio, all subgroups except for the non-singer and no previous theatre voice training subgroups showed an increase on these measures.…”

Section: Jitter Shimmer and Nhrmentioning

confidence: 77%

“…It was hypothesized that there would be a decrease in measures of jitter, shimmer, and NHR. Watson and Nayak (2015) saw a decrease in the raw difference of shimmer, but relatively no change in jitter and NHR. In the present study, an increase was seen in 50% of subjects on each of these measures.…”

Section: Jitter Shimmer and Nhrmentioning

confidence: 91%

“…Due to this concept of using minimal effort and the instruction given to use "a comfortable pitch and loudness", it is possible that despite being asked to sustain an /a/ for as long as they could, actors may have cut off early to conserve energy. It was hypothesized that maximum phonation time would increase with training in Fitzmaurice Voicework®, as was seen by Watson and Nayak (2015). Despite an increase only being present in 50% of the subjects, it is possible to hypothesize that maximum phonation time may increase more often in individuals with previous theatre voice training and individuals without a history of voice problems after training with Fitzmaurice Voicework®.…”

Section: Maximum Phonation Timementioning

confidence: 97%

“…This study specifically looked at the effect of the Fitzmaurice Voicework® training method on the voice, as it is popular training method in the theatre field, but has little more than anecdotal evidence to support its effect. Watson and Nayak (2015) began looking at this and found some developing trends, but due to a small sample, they did not find any statistically significant findings. This study set out to see if these trends are also present in the population of graduate student actors and addresses two questions:…”

Section: Statement Of the Problemmentioning

confidence: 99%

“…"Do you have a history of voice problems?" During both visits, each participant completed eight tasks (a) sustained an /a/ for as long as they could three times (Heuer, Hawkshaw, & Sataloff, 2005), (b) sustained an /a/ for 3-5 seconds (Kempster, Gerratt, Verdolini Abbott, Barkmeier-Kraemer, & Hillman, 2009), (c) sustained an /i/ for 3-5 seconds (Kempster, Gerratt, Verdolini Abbott, Barkmeier-Kraemer, & Hillman, 2009), (d) repeated the six CAPE-V sentences (Kempster, Gerratt, Verdolini Abbott, Barkmeier-Kraemer, & Hillman, 2009), (e) read the "Rainbow Passage" (Watson & Nayak, 2015), (f) read "Goldilocks and the Three Bears" as if reading to a group of children, (g) sustained an /a/, (h) glided up to the highest pitch they could produce and then glided down to the lowest pitch they could and then match several pitches within the range and at the extreme ends to verify these pitches being part of their range (Jacobson, 1994). Measure (a) allowed the examiner to obtain maximum phonation time.…”

Section: Participantsmentioning

confidence: 99%

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Effects of Fitzmaurice Voicework® on the voice of graduate student actors

Meadath¹

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The vocal demands placed on actors are higher than those of the typical speaker. Actors' livelihood is predicated on their ability to consistently perform at peak levels, many times in conditions that are not optimal for vocal efficiency (e.g. theaters with poor acoustics). Further, many actors perform after spending the day at a second job to ensure they have a sufficient income to support themselves. Despite challenges, the hallmark of the strong actor is to strive for peak performance. To do so, many actors implement some form of theatre voice training. One popular method is Fitzmaurice Voicework®. Fitzmaurice Voicework® is comprised of two phases: Destructuring and Restructuring. Destructuring is based in decreasing tension through relaxation and tremoring. Restructuring focuses on maximizing voice function with the least amount of effort needed. This study specifically looked at the effect of Fitzmaurice Voicework® training on the voice, as it has little more than anecdotal evidence to support its effect. Six graduate student actors enrolled in a theatre voice course based on Fitzmaurice Voicework® completed pre and post training measures examining the changes in maximum phonation time, average loudness and loudness range, fundamental frequency and frequency range, jitter, shimmer, and noise to harmonic ratio, and perceptual measures of vocal quality (e.g. strain, breathiness, and roughness) on the CAPE-V. Despite no statistically significant findings due to the small sample size and noted variability between individual subjects, trends of more efficient performance post training were present for individuals without a history of voice problems.

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Section: Jitter Shimmer and Nhrmentioning

confidence: 77%

Section: Jitter Shimmer and Nhrmentioning

confidence: 91%

Section: Maximum Phonation Timementioning

confidence: 97%

Section: Statement Of the Problemmentioning

confidence: 99%