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

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...

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Main Author: Meadath, Brock Irvin
Other Authors: Zebrowski, Patricia M.
Format: Others
Language:English
Published: University of Iowa 2016
Subjects:
Online Access:https://ir.uiowa.edu/etd/3142
https://ir.uiowa.edu/cgi/viewcontent.cgi?article=6486&context=etd
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spelling ndltd-uiowa.edu-oai-ir.uiowa.edu-etd-64862019-10-13T04:49:53Z Effects of Fitzmaurice Voicework® on the voice of graduate student actors Meadath, Brock Irvin 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. 2016-05-01T07:00:00Z thesis application/pdf https://ir.uiowa.edu/etd/3142 https://ir.uiowa.edu/cgi/viewcontent.cgi?article=6486&context=etd Copyright 2016 Brock Irvin Meadath Theses and Dissertations eng University of IowaZebrowski, Patricia M. publicabstract Actors Fitzmaurice Voicework Theatre Vocal Outcomes Voice Training Speech Pathology and Audiology
collection NDLTD
language English
format Others
sources NDLTD
topic publicabstract
Actors
Fitzmaurice Voicework
Theatre
Vocal Outcomes
Voice Training
Speech Pathology and Audiology
spellingShingle publicabstract
Actors
Fitzmaurice Voicework
Theatre
Vocal Outcomes
Voice Training
Speech Pathology and Audiology
Meadath, Brock Irvin
Effects of Fitzmaurice Voicework® on the voice of graduate student actors
description 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.
author2 Zebrowski, Patricia M.
author_facet Zebrowski, Patricia M.
Meadath, Brock Irvin
author Meadath, Brock Irvin
author_sort Meadath, Brock Irvin
title Effects of Fitzmaurice Voicework® on the voice of graduate student actors
title_short Effects of Fitzmaurice Voicework® on the voice of graduate student actors
title_full Effects of Fitzmaurice Voicework® on the voice of graduate student actors
title_fullStr Effects of Fitzmaurice Voicework® on the voice of graduate student actors
title_full_unstemmed Effects of Fitzmaurice Voicework® on the voice of graduate student actors
title_sort effects of fitzmaurice voicework® on the voice of graduate student actors
publisher University of Iowa
publishDate 2016
url https://ir.uiowa.edu/etd/3142
https://ir.uiowa.edu/cgi/viewcontent.cgi?article=6486&context=etd
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