From ???@??? Wed Feb 01 12:26:41 1995
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Date: Wed, 1 Feb 1995 20:23:38 +0200
Message-Id: <9502011823.AA10962@phoenix.oulu.fi>
To: rrepp@rs6000.cmp.ilstu.edu
From: Majordomo@phoenix.oulu.fi
Subject: Welcome to vocalist
Reply-To: Majordomo@phoenix.oulu.fi
--
Welcome to the vocalist mailing list!
If you ever want to remove yourself from this mailing list,
you can send mail to "Majordomo@phoenix.oulu.fi" with the following command
in the body of your email message:
unsubscribe vocalist rrepp@rs6000.cmp.ilstu.edu (Richard Repp)
Here's the general information for the list you've
subscribed to, in case you don't already have it:
[Last updated on: Tue Dec 13 19:24:38 1994]
NEWS SECTION * NEWS SECTION * NEWS SECTION * NEWS SECTION * NEWS SECTION
========================================================================
It is recommended that subscribers from the commercial systems
such as American Online (@aol.com) etc. subscribe to the *digested*
version of the Vocalist mailing list! This is because of the huge
volume this mailing list has (about 60-80 messages per day!!). Your
mailbox may get filled with hundreds of messages in few days. This
warning applies to other subscribers, too.
Instructions on how to subscribe the VOCALIST-DIGEST can be found
below. Don't forget to unsubscribe to the regular version...
Please read the NETIQUETTE section very carefully to learn how
this list operates and what kind of messages are suitable for it.
NEWS SECTION * NEWS SECTION * NEWS SECTION * NEWS SECTION * NEWS SECTION
========================================================================
VOCALIST INFO (Last updated 13th of December, 1994)
Please read this info text carefully and save it for later reference.
In this message you can find instructions on how to subscribe/unsubscribe
to the two versions of the mailing list and how to get the archived
digests/messages to catch up with the latest discussion.
TABLE OF CONTENTS:
=======================================
I - General Information
II - Info to a New Subscriber
III- VOCALIST Homepage for WWW
IV - To catch up and see what's going on...
V - The purpose of the mailing list
VI - Netiquette (IMPORTANT!)
VII- The Digested version of VOCALIST
VIII Vocalist mailing list ARCHIVES
IX - Some Majordomo 1.92 info
========================================
==================================================
VOCALIST Mailing List (VOCALIST@phoenix.oulu.fi)
==================================================
I - General Information
=======================
Welcome to the VOCALIST - a mailing list for everyone who's taking
interest in singing. The list was started on September the 12th, 1994
and it is sited on phoenix.oulu.fi - University of Oulu, FINLAND.
There are about 400 subscribers to the regular and digested version of
the list. Among them there are lots of professional singers, students,
choir singers, physicians, voice therapists etc. So don't hesitate to
make questions on the list! :) Your question will surely be answered.
The list language is English. TO WRITE A MESSAGE TO THE LIST,
use the list address:
VOCALIST@phoenix.oulu.fi
II - Info to a New Subscriber:
==============================
It might be a good idea to introduce yourself with few words to the rest
of us. Send a small resume of your vocal activities. The list owner will
archive these CV's for later reference in case there is a question or
problem that is too specific to bother all vocalist subscribers with it.
There is now an IRC (Internet Relay Chat) channel (#Vocalist) available
for the subscribers. If you have access to IRC (try 'irc2' or 'ircII'
commands) you can join the channel (/JOIN #Vocalist) and chat with other
people in real time. An IRC primer will shortly be available through
the WWW service of the list and the list server.
III - VOCALIST Homepage for WWW (World Wide Web):
=================================================
The VOCALIST homepage is now up and running. Use your favourite web browser
(Lynx/Mosaic/???) to view it. There will be lots of information and links
to other singing related services in the future. The URL is:
http://phoenix.oulu.fi/~mhotti/vocalist.html
All the list messages are automagically indexed and appended to the WWW
service. See MESSAGE INDEX on the homepage.
If you have a homepage of your own OR you know some interesting URL's that
might interest the rest of us, please write to the list owner Marko Hotti
and give a note about it.
IV - To catch up and see what's going on:
=========================================
To get the latest VOCALIST-DIGEST to catch up the discussion, send a
message to MAJORDOMO@phoenix.oulu.fi and in the body of the message
(not in the subject line!) write the following:
get vocalist latest.digest
get vocalist latest.messages
end
V - The Purpose of the VOCALIST Mailing List:
=============================================
VOCALIST was started to get together singers all over the world and offer
a forum of discussion on teaching and studying singing. Solo singing as
well as ensemble singing are covered here. We don't want to restrict the
topics to any particular style, musical period or skill level and everyone
is welcome to contribute. Therefore it's up to the readers of the list to
decide what they want to talk about.
Here are some examples as to what to talk about:
* Repertoire, technique and interpretation in different styles, such as
Medieval, Baroque, Renaissance, Classical, Modern, Jazz etc.
* Auditioning technique and actual audition announcements
* Singing in an ensemble; working with a director
* Working with accompanists
* Various and sundry (concerts, records, jokes etc.) - you name it!
VI - Netiquette (IMPORTANT!):
=============================
Please reply to individual inquiries at their *personal* email address -
not the list address. There are *way* too many personal messages that have
little business being sent to a couple of hundred people on the list.
PLEASE do not requote entire postings or double postings.
If we want to selectively read posts that are of interest to us, subject
lines have to be more informative -- and should be changed by the writer
whenever the topic has strayed. So please pay attention to SUBJECT LINES.
VOCALIST is *not* the right place to flame other subscribers or singing
teachers among others. We don't want to hurt anyone's feelings - do we?
VII - The Digested version of VOCALIST:
========================================
There are dozens of messages on the list daily (the weekends are
more quiet) and some people don't want to get their mailbox filled
up with list stuff. You can now order the VOCALIST-DIGEST mailing
list which contents is the same. The vocalist-digest will be sent
out approximately once a day - depending on the VOCALIST list
traffic. This is how to order:
Send email to: and in the body of the
message (not in the subject line) write the following:
subscribe vocalist-digest
unsubscribe vocalist
end
VIII - VOCALIST Mailing list archives:
======================================
The traffic on the VOCALIST mailing list is archived daily.
You can get a list of the archive files by sending a message to
, leaving the subject header empty and
writing the following:
index vocalist
end
A Tip: The files CONTENTS and TOPICS are very informative if you want to
find discussion on a particular topic. Take a look at them if you have
the time.
How to get the archive files?
=============================
After you have issued the index command as explained above, send
another message to , ignore the subject
and write something like the following:
get vocalist
get vocalist .... etc.
get vocalist latest.digest
get vocalist latest.messages
get vocalist TOPICS
get vocalist CONTENTS
The requested files will be sent to you immediately.
Footnote:
=========
Please save this info message for later reference! If you ever should
have some technical questions concerning the list traffic, please
contact the list owner; Marko Hotti .
Enjoy your time with us!!! :-)
IX - Some Majordomo 1.92 info:
==============================
This is Brent Chapman's "Majordomo" mailing list manager, version 1.92.
In the description below items contained in []'s are optional. When
providing the item, do not include the []'s around it.
It understands the following commands:
subscribe []
Subscribe yourself (or if specified) to the named .
unsubscribe []
Unsubscribe yourself (or if specified) from the named .
get
Get a file related to .
index
Return an index of files you can "get" for .
which []
Find out which lists you (or if specified) are on.
who
Find out who is on the named .
info
Retrieve the general introductory information for the named .
lists
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From ???@??? Thu Feb 02 11:29:43 1995
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Date: Thu, 2 Feb 1995 12:11:19 -0500
From: JRinsema@aol.com
Message-Id: <950202121054_11009512@aol.com>
To: VOCALIST@phoenix.oulu.fi
Subject: Greetings!!
Sender: owner-vocalist@phoenix.oulu.fi
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Reply-To: Singing Discussion List
Well, after spending about three or so months on CHORALIST, I decided to add
to my subscription list the VOCALIST. From what I have seen of the past
discussion topics, I believe I will enjoy this forum very much. What a great
informational and educational tool!
My name is Joel Rinsema and I am currently studying for my Master's degree in
Vocal Performance at Arizona State University (Tempe) with David Britton.
This is my third (and final!) year of studies after which, my wife and I
plan to relocate to the Chicago area to try my (our) luck! I received my
undergraduate degree in voice from Whitworth College, Spokane WA and
continued directly in the the Master's program here.
I am a 24 year old, light, lyric tenor with specialties
(well...preferences!!!) in the music of the Baroque, specifically Bach
(Evangelistic type,) as well as any of the repertoire by Benjamin Britten. I
recently performed Albert Herring in ASU's production and have performed a
number of his other major works over the past five or so years. Any
correspondance with other Britten "fanatics" is certainly welcomed and
encouraged!!!
I look forward to participating in future discussions, and wish all of you
the best.
JRinsema@aol.com
Joel M. Rinsema
P.S. Oh yes....if anyone has leads to the current status of the Light
Opera/Oratorio/Professional Chorus (yes, even chorus!!) situation in the
greater Chicago area, I would be grateful to hear from you. Also, I will be
looking to study with someone there, any leads? (pref. Lyric tenor) We will
be moving there July-Aug. Any help is greatly appreciated.
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>From owner-vocalist@phoenix.oulu.fi
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Date: Thu, 2 Feb 1995 09:50:08 -0800 (PST)
From: Lynne Markova
To: Singing Discussion List
Cc: VOCALIST@phoenix.oulu.fi
Subject: Re: Massage thereapy
In-Reply-To: <199502010001.KAA10732@thunder.fit.qut.edu.au>
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Reply-To: Singing Discussion List
On Wed, 1 Feb 1995, Matt Deshon wrote:
> Laurie Phillips wrote:
> > By the way, I also firmly believe in aerobic exercise for singers.
> > I do stairmaster and ride a lifecycle at least 40 minutes a day
> > and I think it's done wonders for my breathing and lung capacity.
> > I also feel healthier, which puts more energy behind my sound.
> > I'd recommend it for anyone.
I agree with you completely.
>
> Another advantage of exercise (I swim, cycle and lift wieghts) is that
> it may help you get a role. Everyone talks about having "the right look"
> for a part, and I've heard heaps of stories about less talented people
> getting roles because they looked right.
So have I. (Sigh).
(Snip, snip)
As you all know (too well! :-) ) I am a major fan of exercise. My
question is WHEN? If I exercise before I practice, I have to allot at
least two hours to "cool down" and get the high notes back. If I
exercise afterwards, I end up getting home at ten o'clock, still not
having had dinner, which isn't all that practical. I usually end up
dashing over to the gym right after work, and then eating an orange or
something before I practice, but that still shoves the dinner hour to
after 9 pm.
Any suggestions?
Lynne in Seattle
lynne@seaccd.sccd.ctc.edu
From ???@??? Thu Feb 02 22:05:05 1995
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Date: Thu, 2 Feb 95 11:28:15 PST
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To: Singing Discussion list
From: ldr@helium.msss.com (Laura Ravine)
Subject: Re: "accessible" recitals
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Reply-To: Singing Discussion List
Karen Mercedes wrote:
>Now, for suggestions for a second half of your programme. When I programmed
>my
>first recital, I was also tempted to mix classical, folk, and musical theatre.
>
>My voice teacher strongly discouraged me from doing this, not because I wasn't
>capable of singing both, but because it creates a very confusing mood.
I have to disagree here. I think as long as you keep a flow going, you're
allright. I wouldn't recommend inserting musical theater pieces in between
classical pieces, but I see no problem with a progression from one style to
another - especially if they're separated by an interval.
I've found that there are a couple of keys to performing to an audience
unaccustomed to this particular art form: 1) Do one or two recognizable
tunes - "O mio babbino caro" or something that they're likely to have heard
(check out those car ads! :) ).
2) Do something *funny*. No, I don't mean a sight gag, I mean some
humorous songs or arias. Something to lighten things up and make them feel
more comfortable.
Laura
From ???@??? Thu Feb 02 22:05:12 1995
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From: howells@MIT.EDU
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To: Singing Discussion List
Subject: Re: "accessible" recitals
In-Reply-To: Your message of "Thu, 02 Feb 1995 11:28:15 PST."
<9502021928.AA20436@msss.com>
Date: Thu, 02 Feb 1995 16:48:43 EST
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Reply-To: Singing Discussion List
In my experience (at least 14 recitals in the last 7 years), the
successful accessible recital follows the following paradigm:
1. Know your audience. In this case, it's folks from your home town,
so they are probably not all hard-core "classical" vocal music
groupies. You want to avoid the "heavy" stuff - probably no Pierrot
Luniere for these folks, if they're at all like my home town. Is
there a large constituency of an ethnic group in town? (In my home
town, it's Germans and Scandinavians). You might want to do a set of
nicely-arranged folk songs from that group, or, as in the cse of a
town I have sung in with a large Finnish population, I programmed
Sibelius songs - he's a Finnish treasure.
2. Start off easy. Do something fun (if not funny) which is both
vocally easy and easy on the ears - the traditional paradigm would say
to start with early music, and while I don't always follow that, a few
Dowland songs, accompanied with piano or guitar(!) are quite a warm-up
act.
3. Program *something* you adore singing, even if it is from the
"hard-core" genre - but if it is difficult on this particular
audience, keep it short.
4. Do one flashy piece - audiences *love* the tightrope act.
5. End the recital in the vernacular (if in Frce, sing French, if in
the US, sing English...)
6. Do not program pieces of all one character. While a theme recital
can be great (more on that later) examine all sides of the theme - if
you do a recital based on love songs, make sure they examine all sides
of love, not just the bright side or the depressive side.
Ok, I said more on Theme recitals - good ideas could be something
like:
a recital with all Shakespearean texts.
a recital of all French humorous music.
a recital of all Schubert.
a recital of love songs... etc.
Of course, some of these things won't work in the setting you're
mentioning, but it's worth thinking about for future reference.
Accessible songs, however:
in English, British and American -
Copland American Folk Songs
Brittan Folk Song Arrangements
Songs by Roger Quilter, John Duke, Ralph Vaughan Williams, Richard
Hundley, Richard Cummings.
in French -
Poulenc - people love his music
Satie
Cantaloube
My favorites from the above lists - Trois Melodies by Satie, Love's
Philosophy by Quilter, The Astronomers and Come Ready and See Me by
Richard Hundley.
I think you *can* add some other genres - particularly if you choose a
theme recital. In a Shakespearean theme, you could program something
like this:
Lute songs on Shakespearean texts
Drei Ophelia Lieder - Strauss (very hard-core, but short)
Salice - Rossini's Otello.
Intermission
Romantic-era British songs on texts by Shakespeare
Some "Fairy songs" (from Midsummer Night's Dream, etc.)
Pieces from Kiss Me Kate, West Side STory (with program notes as to
the origin of the works and their basis in Shakespearean story-lines.)
an encore with Shakespearean text...
Have fun, and pick things which you know you sound good in...
--Nancy
howells@mit.edu
From ???@??? Sun Feb 05 13:35:00 1995
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From: Kathleen Treole
Message-Id: <199502040230.VAA10258@top.magnus.acs.ohio-state.edu>
Subject: Vocal hygiene education
To: vocalist@phoenix.oulu.fi (Vocalist)
Date: Fri, 3 Feb 1995 21:30:53 -0500 (EST)
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Reply-To: Singing Discussion List
Vocalists:
Thank you for the comments regarding support of one of my earlier postings
about harsh speech onset, voice rest, etc. I have had several personal
replies and the professionalism of the persons reading this group is amazing
compared to other groups I subscribe to!! A breath of fresh air!
Diane Clark mentioned that she is designing a course to educate regarding
correct voice production and someone commented how could a course for
correct voice production be efficient if there are so many different
types of voice production (i.e singing, conversational speech, accents/drama
voices for actors, etc).
Although yes, these do represent different types of voice production, the bits
and pieces of "stuff" that go into creating these voices are relatively the
same. No one will ever be able to maintain any voice if persitent hard glottal
attacks are used without some form of hypofunctional compensation. No one will
ever maintain healthy vocal cords if hydration is poor and diuretic (e.g.
caffeine, alcohol) intake is high....the vocal cords like to be moist. So,
I think a vocal care course could be beneficial to everyone. Gee, I'd love
the opportunity to teach such a course (Afte the PhD get completed, I'm
afraid!)
Let me try an analogy: (I use them in voice therapy all the time!!) There
are several different styles to playing tennis (or any sport). Backhanders,
Two handed swings, one handed swings, net players, line players, etc. However,
they are allplaying tennis, and good tennis. A two handed swing has different
parts of the skill of "tennis" emphasized than does a one handed swing, as
does opera singing vs. character acting. Do character actors need vibrato?
So as someone who wants to be a rich & famous voice educator, I do believe
that what I know about the voice, which is NOT geared to any one vocal
profession, can help any one who uses their voice extensively.
Now, that's not to say specific information can't be streamlined for specific
vocal professionals.
Thanks for the forum!
Kathy
_______________________________________________________________________________
Kathleen Treole, M.A. ktreole@magnus.acs.ohio-state.edu
Doctoral Student Speech-Language Pathologist
Department of Speech & Hearing Science Department of Otolaryngology
____________________________THE OHIO STATE UNIVERSITY__________________________
From ???@??? Sun Feb 05 13:36:03 1995
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Date: Sat, 4 Feb 1995 22:48:57 +0200 (EET)
From: Hanna K Graeffe
X-Sender: hgraeffe@plootu
To: vocalist@phoenix.oulu.fi
Subject: German pronunciation
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Reply-To: Singing Discussion List
(First I would like to say thanks to all of you. I really love this
list! :*)
I have a question about German pronunciation in singing. I always thought
you pronounce it like you do when speaking (I believe my German is not
very bad). However, yesterday I was talking to a German teacher who
claimed that in singing you should use a slightly different
pronunciation, in which end vocal -e(n), ge-, etc. would not be so
"schwa" but more open and 'e'. And in words like "sehet" you should
pronounce the 'h'. Is this really true??? (I hope there is someone who
understood my question despite the lack of vocabulary...)
Hanna Graeffe
hgraeffe@helsinki.fi
PS. If someone is there right now (22.48 EET), let's go to IRC!
From ???@??? Mon Feb 06 09:43:29 1995
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Date: Mon, 6 Feb 1995 08:53:00 CST
From: "Sarah A. Mir 312.444.5521"
Subject: RE: Choosing a grad school
To: vocalist@phoenix.oulu.fi
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Reply-To: Singing Discussion List
When I was looking for a grad school, Northwestern initially was my
first choice. You are right about the fervor with which they recruit
students. They made me feel really wanted there. However, I also
heard that the program had gone somewhat downhill. After looking at
several grad schools, I ended up deciding to go to Cincinnati, which
has an EXCELLENT opera program.
One of the biggest reasons I chose CCM over NU was financial. The
scholarship and assistantship offered by NU still would not even cover
tuition! At CCM, almost 100% of all grad voice majors are on a full
scholarship. There are also additional cash awards to winners of
various auditions there, to help cover living expenses as well.
I now live in Chicago, and have attended productions at NU, and they
have consistently been done well. (OK, so maybe I'm biased, but I
think CCM's productions were a little better.)
I must say that I have heard nothing but very good things about Bruce
Hall. I know a couple of people who have studied with him, and they
are very good singers. So if NU is what you want (and money is no
object), go for it! Chicago is a very exciting place to be for
singers. I wouldn't live anywhere else.
Good luck!
Sally Mir
MIR.SALLY@ntrs.com
From ???@??? Mon Feb 06 09:43:31 1995
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Date: Mon, 6 Feb 1995 10:27:34 -0500
From: ATMSteve@aol.com
Message-Id: <950206102728_14251196@aol.com>
To: VOCALIST@phoenix.oulu.fi
Cc: JRinsema@aol.com
Subject: Re: Greetings!!
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Reply-To: Singing Discussion List
Joel Rinsema wants to know something about the vocal scene in Chicago. A
complicated subject! There are lots of opportunities, and of course lots of
great singers vieing for those opportunities, including hundreds who are
trying to make a living more or less year round from singing and teaching.
And it's not just a one-year and out town - many of the best singers are
permanently based here. Also, the metro area is big, and the jobs are all
over - so nearly everybody drives.
The three major chorus gigs are Chicago Symphony Chorus, Grant Park Symphony
(summer only), and Lyric Opera. Nothing pro forma here - auditions for all
three result in changes every year. Otherwise most of the money is in church
jobs. (I tried to organize Grant Park people to participate in the AIDS walk
here in memory of our beloved long-time director Tom Peck, and got very small
turnout because it was Sunday morning!)
There are a number of small opera companies working, and some apprenticeship
opportunities in unpaid Gilbert and Sullivan, etc. I'm currently singing the
Sergeant of Police in a March production of Pirates in the south side company
(Mandel Hall, March 9-12); this company is always looking for a lead tenor
who can act, even a little!
The opera companies include Chicago Opera Theatre, Lincoln Opera, Light Opera
Works, Opera San Benedetto.
There are dozens of wonderful teachers here! Before you get settled in,
cruise the Fine Arts Building at 410 S. Michigan, and just listen. Since I'm
a baritone studying with a Soprano, I don't know much about tenors who are
teaching, but a number of tenors I know are studying with the redoubtable
Gisela Goettling on the 6th floor.
I hope other people will respond to you; because I own my own small business
(computers, not music) I don't depend on music for my income - I can only
report what I hear from my singing friends and see in the groups I'm a part
of. Anyway, I expect to run into you when you arrive, Joel - and any of the
rest of you that are heading this way should check in as well!
****************************************
Steve Andrews, ATMSteve@aol.com
****************************************
From ???@??? Mon Feb 06 21:07:05 1995
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From: Kathleen Treole
Message-Id: <199502070301.WAA12635@bottom.magnus.acs.ohio-state.edu>
Subject: Spelling of cords/chords
To: vocalist@phoenix.oulu.fi (Vocalist)
Date: Mon, 6 Feb 1995 22:01:45 -0500 (EST)
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Reply-To: Singing Discussion List
Interesting that Diane brought up the spelling of vocal cords/chords/kords
(joke!). In speech pathology, we are taught not to use vocal cords because
the vocal cords are really folds of muscle. Yes,there are two cord like
ligaments deep down inside everything, but if you view the "laryngeal
mechanism" (I'll be safe with that one!) under nasendoscopy or endoscopy, you
see pearly white folds of tissue vibrating. It's very exciting..I wish
I could give every singer a picture of their vocal folds/cords/chords.
For the sake of ease, I tend to slip into vocal cords because that is
what the public tends to know...I even use voice box more than I use
larynx when I am examining patients because the "typical" patient/client
doesn't know what the larynx is. SIngers: if you have the possibility to
examine your larynx (without going bankrupt---it's a medical test) do it..
you'll be thrilled.
I perform videolaryngostroboscopy at the Voice Center at Ohio State. We call
it "strobing". If you can get at strobe, you'll appreciate your voice much
more!
Kathy
From ???@??? Tue Feb 07 10:47:48 1995
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Date: Tue, 7 Feb 1995 00:04:44 -0500
From: WELLSRA@aol.com
Message-Id: <950207000443_14796268@aol.com>
To: VOCALIST@phoenix.oulu.fi
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Reply-To: Singing Discussion List
With regards to vocal health, Reginald Unterseher wrote:
>Basically, what you have to do is pour warm (not too hot!) normal >saline
(as salty as tears) up your nose and spit it out your mouth... I >use a
large drinking straw, fill it full of that warm normal saline, put >my finger
on the top so the water doesn't spill out the bottom, put the >bottom end in
my nose, and let it run in my nose, down the back of >my throat, and then
spit it out.
Let me add my confirmation that this technique works wonders (and yes, it is
rather unpleasant to think about, but well worth it given the level of relief
possible). Cleansing the nasal passages is great for prevention of the
drainage that can lead to irritation and eventual infection of the throat.
One suggestion for making the technique a bit easier:
If you own a Water Pic oral massage unit (or some similar appliance designed
to massage the gums with water), there is an available attachment (designed
specifically for this purpose) which fits conveniently in the nostril,
effectively directing the water in the appropriate places. One _must_ be
sure to set the appliance at its lowest pressure setting in order not to
cause any added discomfort or irritation from undue water pressure. Warm
saline works best. The results are quite amazing.
I have found this to be very effective in times of illness. My wife swears
by it as a non-medicinal method of dealing with severe allergies during the
spring and fall months. Those of you who suffer from allergies may wish to
confer with your physician - he/she should be aware of the procedure.
Good luck.
R. Wells