MENC: The National Association for Music EducationShould I Use a Classroom Microphone? Pros, Cons, and Other Considerations for thePreservation of Vocal Health in Music TeachersAuthor(s): Karen SalvadorSource: Music Educators Journal, Vol. 97, No. 2 (December 2010), pp. 53-56Published by: Sage Publications, Inc. on behalf of MENC: The National Association for MusicEducationStable URL: http://www.jstor.org/stable/40960203 .Accessed: 19/01/2015 17:36Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org. .Sage Publications, Inc. and MENC: The National Association for Music Education are collaborating withJSTOR to digitize, preserve and extend access to Music Educators Journal.http://www.jstor.org This content downloaded from 132.174.255.49 on Mon, 19 Jan 2015 17:36:56 PMAll use subject to JSTOR Terms and Conditionsby Karen Salvador ShouldI Use a Classroom Microphone? Pros,Cons, and Other ConsiderationsforthePreservation ofVocalHealthinMusicTeachers Abstract:Musicteachersin all specialties seemto struggle withvoice problems.Although little researchhas beendone specificallyregarding music teachers, teachersin general areknownto be at riskfor developing voicedisordersthatcan lead to difficultyteaching or evento leaving the profession. In an attempt to preventthis, someteachershave adopted use ofa microphone in theclassroom. However,many teachersuse a microphone (or refuseto use a microphone) withlittleawarenessofthe impact thiscouldhaveon theirvoicesor on theclassroomclimate. Thisarticle presents a literature-based exploration ofthe pros andconsof using a microphone in themusic classroom, illustrated by a case study ofone choirteacher. Keywords:career, classroom management,health,medicine,music,technology,therapy, voice My voicestartedto give outmorethan just for...musicalweek.. . . The firsttimeI really noticed it, it was gone fora good three weeks, andthenthenext year itwasa month, andthenext year itwassixweeks. . . and it consistentlygets worseand worse, to the point to whereit got whereI wasn't recovering. I might recovera littleoverthe holidaybreak, come back, and twomore weeksinto it, I'm right backwhereI was . . . not being ableto sing ordemonstrate. WhenI workwithmusicteacherson pre- serving vocal health,they oftensharestories of theirown vocal healthissues or tellme about the voice problems of a colleague. We all know musicteacherswho struggle withtheir voices, and we also knowteachers who use classroom microphonesystems in an effortto preserve theirvoices.Thisarticle addressesthe pros and cons of classroom microphone use for music teachersbased on the researchliteratureand illustrated by examples and excerpts from my case study of one high schoolchoirteacher. Thereis littleresearchon musicteachers to indicatehow many sufferfromvoicedisor- ders, but classroomteachersare considered to be at significant riskfor developing occu- pational voice problems.1 Studiesindicate thatthisvoice dysfunction is likely caused by the amountof talking thatclassroomteach- ersdo each day (their"vocal load"), the ways in which they overuseand abusetheirvoices (vocalhabits), and theamountof noise they are forcedto talkover (background noise).2 Researchrevealsthatvoice disorders among teacherscan causean inability to perform the necessary tasksof teaching - suchas commu- nicating withstudentsand parents - andcould KarenSalvadoris currentlyworking onherdissertationon differentiating instructiontomeettheneedsofalllearnersin elementarygeneral music.Shelivesin RoyalOak,Michigan, andcanbe contactedat huberkar@msu.edu. Coulda microphone help save your voice and your career? Hereis whatone teacherdiscovered. Copyright 2010MENC:TheNational AssociationforMusicEducation DOI:10.1177/0027432110387828 http://mej.sagepub.com www.menc.org 53 This content downloaded from 132.174.255.49 on Mon, 19 Jan 2015 17:36:56 PMAll use subject to JSTOR Terms and Conditionseven necessitate leaving the teaching professionentirely.3 It standsto reasonthatmusicteach- erstalkatleastas muchas theirclassroom teacher counterparts andthatmusicteach- ersalso sing a great deal. So, not only do we useourvoicesatleastas muchas other teachers, but the quality of our voices mustalso allowus to provide a modelof musicality and artistry forstudents. Many musicteachersalso talkand sing outside the scope oftheschool day,bysinging in or directing churchor communitygroups, not to mentionextracurricularschool responsibilities, suchas directing musical theatre.Even under optimalconditions, mostmusicteachersmustuse theirvoices muchmorethanis healthy. SusanThi- beaultandher colleagues examinedoccu- pational riskfactorsandfoundthat among all teachers, thosewho taught vocal music, other performingarts, and chemistry were at highest riskfor developing voicedisor- ders.Chronicvoicedisordersweremore prevalentamong teachersofvocalmusic than any other teachingspecialty.4 Thisarticlewas inspiredby my case study of a high schoolchoralteacher.At thetimeofthe study, thisteacherwas forty years old andhadbeen teaching ina sub- urban high schoolandmiddleschoolsince 1991.Informationforthecase study was collected through observationsand inter- viewswiththeteacherand a focus group of hisstudents.WhenI began the study, theteacherhad recently recoveredfrom vocalnodulesand had adopted use of a classroom microphonesystem in an effort to protect his voice. The thoughts and perspectives ofthecase studyparticipant (referredto as "theteacher")and his stu- dentswill provide a frameworkforthisdis- cussionofmusicteachervocalhealthand use ofa classroom microphone. WhatCausesVoiceProblems forMusicTeachers? The teacherand hisstudents agreed that vocal load was the primary reasonfor hisvoice problems. As stated above, the researchliteratureon classroomteachers supportsthis idea.Theteacher(likemost musicteachers)does have a heavy load ofcurricularand extracurricular teaching thatresultsin his talking and singing for morethanten hoursa day. However, I observed manypersonal decisionsthat affectedhisvocalload. For example, the teacher usuallysang withstudentsdur- ingwarm-ups and whilehe was working on musicwiththe choirs.Even though the microphone meantthathe did not have to sing as loudly, thesewere still timeswhenit may have been healthier, and even more pedagogicallysound, to choosenotto talkor sing. The studentstoldme thattheteacher allowsmore background noisethansome teachers, so he had moresoundto talk over.The amountof background noise we allowin ourclassroomsas teachersis a personal decision. However, thelitera- tureindicatesthatthemorenoisewe have totalk over, theworseitis forourvoices. A microphone does notsolvethis issue, becausea sortof"armsrace" develops in whichthe microphone increasesthevol- umeoftheteacher's voice, whichmakes thestudentstalk louder, and so on. This particular teacherlikesan energetic buzz intheroomand does notmindchatteras long as thestudentsattendwheninforma- tionis directedat them.Thisis another place wherethe microphone is not saving hisvoice as muchas it could.It may be moreeffectiveto adopt stricterclassroom noise policiesalong withthe microphone to preserve vocalhealth. The studentsalso mentionedthatthe teacher rarely drinkswater during the school day andtalksabouthowhe sleeps very little.A Wellnessmodel of voice injuryprevention would include getting adequate restand hydration as well as eating welland gettingplenty ofexercise. Essentially,anything thatis good for your overall health,Wellness, andimmune sys- temis also good for your voice. WhatArethe"Pros"to Using a Microphone intheMusic/Band/ Choir/OrchestraRoom? Oneofthe things [the microphone has] donethebestformeis thatI candem- onstrate healthfully, and thenthestu- dentsare responding.So, beforethe microphone, I may have projected the sound...the volume, a littlebitmore in my demonstrationand therefore, was getting a morestridentsound. Now, I can letthe microphone do the work,provide thebreath support nec- essary, makethesoundas pretty as I can . . . whichstillisn't anything like I used to be able to do, butis better. I thinkthere'sless stressand tension inthevocal production of my choir- becauseI'mnot pushing thetoneinan effortto get themto support. After incorporating the microphone intohis classroom, the teachernoticed a change in thetone quality ofhischoir. It seemsthatthe microphone enableda gentler, morebeautiful tone, whichwas echoed by thestudents.Thestudentstold methattheteacheralsoseemednicerand gentler in termsof personality and more in controlof the class. Severalstudents commentedthathe raisedhis voice less withthe group and thatwas a welcome change. WhenI askedtheteacherabout the students' perceptions, he said that beforethe microphone, his frustration withhis voice problems did sometimes show in class: "Sometimesbefore[I had the microphone], I would getveryupset withthem.AndI would say ...'You're being rude and disrespectful and you know my voicecan'thandle this, and yet the way you'rebehaving taxesme even more. Please stop.'" The teacheralso pointed out thathis difficultyproducing anything buta rough, effortfulvoice might have resultedin his students' perceiving himas yelling evenifhe was not upset. The main effectof the microphone appears tohavebeenanincreaseintheabil- ity ofthestudentsto hearandunderstand theteacher.Thisease of understanding was broughtup frequentlyby studentsand by theteacher.In addition, thestudentsalso noticedthattheteacherlosthisvoiceless and soundedbettermostofthetime.The teacheralsomentioned needing fewersick days becausewiththe help of themicro- phone, therewerenotas manydays thathis voicedidnotallowhimto teach.(See the "Microphone ProsandCons"sidebar.) WhatArethe"Cons"to Using a Microphone intheMusic/Band/ Choir/OrchestraRoom? Duringmy observationsin the classroom, I witnessedseveraltechnicalissues.The 54 Music Educators JournalDecember2010 This content downloaded from 132.174.255.49 on Mon, 19 Jan 2015 17:36:56 PMAll use subject to JSTOR Terms and Conditionsmicrophone deviceworn by the teacher mustbe positionedproperly to pickup the voice, andthebatteriesneedtobe changed frequently.Perhaps the most problematic technicalissuewas thatthe microphone was calibratedfora gentlespeakingvoice, so each timetheteacherdemonstratedin a projectedsingingvoice, the speakers popped andcrackled.These types of prob- lemscanbe overcomewith planning(e.g., carrying extrabatteries)and bypurchasing a high-qualitysystem thatcan attenuate different dynamic levelsfromtheteacher. Finally, I did notwitnessthisin my case study, butwe shouldall be awareof the possibility of classroom microphonesys- tems pickingup other signals (suchas from passing semitruckswithCB radios). In termsof any possible negative effectsof the microphone on the class- room climate, theteacherhad"wondered sometimes...ifbecause they [thestu- dents]can hearme more. . . they feel freerto talk amongthemselves, because it'seasierto [hearme]. . . but generally I don'tthinkthat'sthecase."The students mentionedthisidea as well,although the studentsattributedexcessivesideconver- sationsto a lackof leadership orofmatu- rityamong choirmembersratherthanthe microphone'smaking iteasierto hear.As an observer, I noticedthatthe students feltfreerto chatbecause they couldstill hear whatthe teacherwas saying and thereforedid notneed to listenas care- fully or focusin as directly as theymay havewithoutthe microphone. Perhaps the most troublingnegative aspect oftheuse oftheclassroommicro- phone is thattheteacher'svoicewas still not healthy.Although his noduleshad disappeared (while on vocal restover the summer), therewas stillaudibleevi- denceofvocal problems. He had trouble phonating, therewas hoarseness, and he saidthathis range haddecreasedand his ability to use a falsettovoice had nearly disappeared. Thisindicatesthathe is still inneedofvoice therapy orlessonsfroma singing health specialist to retrain healthy speaking and singing habitsbeforehis voice can fully heal. The microphone is allowing himto teach day to day butis not requiring himto use his voice cor- rectly so thathisnoduleswillnotrecuror he willnot developany new problems. WhatShouldMusicTeachers DotoPreventVocal Injury? The literatureand thiscase study both indicatethat incorporating a microphone into your classroomis helpful butnota cure-all.If you are overusing or misusing yourvoice, a microphone willnotneces- sarily save you fromvoice health prob- lems.Preventionof vocal injury involves attentionto Wellness (adequate hydra- tion,exercise, rest [sleep and stress relief], and good nutrition).In termsofthe voice, preventive behaviorsincludereductionof vocalload and attentionto correct speak- ing and singingtechniques. If you are not yetexperiencingdifficulty with your voice, do somecarefulassessmentofhow you can preserveyour vocalWellnessand then go the distanceto makesure you incorporateanynecessarychanges. (See the "Five Ways to PreserveYourVoice" sidebar.) WhatIfI Am Already Experiencing VoiceProblems? Whilea microphone can helpyou to be heardwhen you are having voice prob- lems, itwillnotsolvethe underlying cause ofthe problem, norwillit necessarilyhelp your voiceheal.Someonewho is always www.menc.org 55 Microphone Pros Teacher maintainsa healthier voice, both in termsof staminaand ability to demonstratea beautifultone Studentscan understandand heartheteachermore easily. Increased perceptionby thestudentsthattheteacheris gentler/nicer/more incontroloftheclass Decreased numberofsick days taken by theteacher Microphone Cons Technicalissues,such as rattling inthe speakers when singing ina projectedvoice, or running outofbatteries Possibility thatsome studentsare talking more during instructionbecause the microphone is louder, so they do notneed to listen The microphone has notbeen a cure-all, so theteacherstillmustaddress other issues, such as allergies and speaking and singing voice training and/or therapy. Five Ways toPreserveYourVoice 1)Incorporate routineslo reducetheamount you use your voiceeach day. Teach and use non- verbal signals forcommonclassroomevents.Consider using studentleadersforeventssuch as attendanceor musicdistribution. 2)Refuseto talkover students,particularly when they are playing or singing.Incorporate class- room managementstrategies thatremindstudentswe have twoears and one mouthfora reason. 3)Experiment with reducing theamount you lead with your voice duringwarm-up and rehearsal. It may be that your students initially falterwithout yourleadership, but you mightactually strengthen their independentmusicianshipby backing offor not singing at all, and you may be surprisedby what you hearwhen you are not singing. 4)Takesome voice lessons,especially if you haveneverstudied singing before.Evenif you were a voice major in college,youmay be surprisedby the experience of getting back inthestudio. Ask your teacherto helpyou finda resonant speaking voicewith clean,easy phonation that willbe gentler on your throatbutwill carry better (project) and keep you resilientand prevent vocal injury. 5)Use a microphone. As long as you incorporate the otherfourrecommendations(thatis, you have reduced backgroundnoise,you have reducedtheamount you use yourvoice, and you are sure you are usingyour voice correctly), a microphone is a helpful toolto help you get through a vocallyheavyday. This content downloaded from 132.174.255.49 on Mon, 19 Jan 2015 17:36:56 PMAll use subject to JSTOR Terms and Conditionshoarseor fatigueseasily, forwhom speak- ing/singing is painful, or who has expe- rienceda significantchange in thevoice (e.g., suddenormarked changes in range, inability to phonate, acute pain on pho- nation)shouldschedulean appointment withan ENT (a physicianspecializing in problems of the ears,nose, and throat, also calledan otorhinolaryngologist) who is experienced in the diagnosis and treat- mentof occupational voice disorders, and thenfollowthe treatment protocolpre- scribed.Forsomeonewhose problems are notso severe, consultationwitha voice teacher may be enough to help one leam touse one'svoicemore efficiently. Unfortunately,many teachers respond to voice problems like manypeople res- pond to otherhealthissues involvingpre- vention,treatment, andbehavioral change. That is, people acknowledgethey are at riskfora certain problem, but they fre- quently do notconcentrateon preventing it. Then, when theyrecognize that they havea problem, evenif theygo toa doctor fora diagnosis,onlyrarely do people fol- low through withthebehavioral changes necessary to actually fixthe problem. Simi- larly,many musicteacherswillnot change theirvocalhabitsand classroomclimates to save their voices, and hope that using a microphone will be enough. The real solution - changing how you use your voice and how you run yourclassroom, perhapsaccompaniedby theadditionof a microphone - is likely to be morediffi- cult, butmuchmoresuccessfulinthe long run. Hopefully, thathardworkwill pay off inthe ability to use ourvoicesas teaching tools(and perhaps even enjoysinging and talking) untilretirementand beyond. Notes 1.N. R. Williams,"OccupationalGroups at Risk of Voice Disorders:A Reviewof Literature,"Occupational Medicine 53, no. 7 (2003):456-60. 2.Felix I. de Jong, Piet G. Kooijman, GeorgeThomas,Wendy J. Huinck, Kees Graamans,and HarmK. Schutte, "Epidemiology of Voice Problemsin Dutch Teachers," Folia Phoniatricaet Logopeaedica: Official Organ of the InternationalAssociationof Logopedics and Phoniatrics 58, no. 3 (2006):186- 98; and Piet G. Kooijman, Felix I. de Jong, GeorgeThomas,Wendy J. Huinck,Kees Graamans, and HarmK. Schutte, "Risk FactorsforVoice Problemsin Teachers," Folia Phoniatricaet Logopeaedica: Official Organ of the InternationalAssociation of Logopedics and Phoniatrics 58, no. 3 (2006):159-74. 3. Jacqueline A. Mattiske,JenniferM. Oates, and KennethM. Greenwood,"Vocal Problems among Teachers:A Review of Prevalence,Causes, Prevention, and Treatment," Journalof Voice:Official Journalof the VoiceFoundation12, no. 4 (1998):489-99;and Piet G. Kooijman, GeorgeThomas, Kees Graamans, and Felix I. de Jong,"PsychosocialImpact of the Teacher's Voice throughout the Career," Journalof Voice:OfficialJournal of the VoiceFoundation21, no. 3 (2007): 316-24. 4.Susan L. Thibeault,Ray M. Merrill, Nelson Roy, Steven D. Gray, and Elaine M. Smith,"Occupational Risk Factors Associated withVoice Disorders among Teachers," Annals of Epidemiology14, no. 10 (2004): 786-92. 56Music EducatorsJournal December 2010 The Culture of Shared Practice: Music Assessment across Cultures and Continents The 3rd International Symposium on Assessment in Music Education University of Bremen, Bremen,Germany and the University of Florida,Gainesville,Florida, USA March 8-11, 2011, University of Bremen, Bremen,Germany The music education faculties of the University of Florida School of Music and the University of Bremen willhost a Symposium on Assessmentin Music Education on the campus of the Uni- versity of Bremen in Bremen, Germany. This symposium willfocus on identifying and exploring the shared practices and foundations for assessmentin music education acrossthe world's culturesand continents.Weinvitemusic educators fromacross the world to join us in Bremen. KeynoteSpeakers Dr. GaryMcPherson,University of Melbourne, Australia Dr.Maud Hickey, Northwestern University USA Dr.Franz Niermann,University of Music and PerformingArts,Vienna, Austria Special Guest Presenters Dr.Dee Hansen, The Hartt School, University of Hartford Dr. Ming-JenChuang, National TaichungUniversity, Taiwan Dr. SergioFigueiredo, State University of Santa Catarina, Brazil Dr.AndreasC. Lehmann,University of Music,Wuerzburg,Germany Undergraduate music education students from any universitymay obtain 2 credithours forat- tending the symposium. For details, go to the symposium website, and click on Undergraduate Study7 Abroad Program . - *-7 . tip - College of *- FineArts ^^^^^^^^ UlSchool tf Musk ^^^^^^^^ EJRHHHB UNIVERSITY of FLORIDA N III . .lin HlHWFIfIU11,.x UNIVERSITY - of FLORIDA jfiAir-iiyjj Universitt . .lin Bremen HlHWFIfI gmBEa http://conferences.dce.ufl.edu/ISAME U11,.x-jfiAir- vS/ This content downloaded from 132.174.255.49 on Mon, 19 Jan 2015 17:36:56 PMAll use subject to JSTOR Terms and Conditions