National Center for Voice and Speech

08/28/2026

I guess they made a lot of noise.

08/27/2026

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08/26/2026

"Parkinson’s disease (PD) is widely known for its impact on movement: tremor, rigidity, and slowed gait. Less visible, but equally disabling, are the changes it imposes on the voice (Duffy, 2020). Most people with PD (PwPD) develop hypokinetic dysarthria, the first symptom of which is usually reduced vocal intensity (a hallmark of hypophonia), along with a diminished pitch range and reduced articulatory precision (Duffy, 2020). These changes compromise communication quality and, consequently, social participation and quality of life (Kavya et al., 2022).

Voice production is a complex process that is both motor and non-motor, which is key to understanding the voice deficit in PwPD, who present symptoms of both types (Poewe et al., 2017). This complexity represents both a clinical and a scientific challenge. Many PwPD do not perceive changes in their own voice, such as a reduction in loudness; they may fail to notice this change, or believe their voice is adequate, even when those close to them repeat phrases such as “I can’t understand you” or “speak louder” (Silbergleit et al., 2021; Contreras-Ruston et al., 2024). This mismatch manifests in two distinct ways, how PwPD perceive their own voice in real time while speaking, and how they describe their own voice when asked about it without having spoken, or even after speaking. Both patterns reflect a deeper alteration, a failure in the sensory feedback systems that normally allow speakers to control and adjust their voice in real time (Hammer & Barlow, 2010), as well as in how that system updates information about one’s own voice after speaking, a process related to voice awareness."

from the introduction to "Is It Self-Awareness or Is It Sensory Feedback? Difficulties in Self-Perception of One’s Own Voice in People with Parkinson’s Disease." by Francisco Contreras-Ruston. First published in NCVS Insights, 26 August 2026

08/25/2026

Available now.

Read one of the latest publications on SOVT by Ingo Titze and Karin Titze Cox.

08/24/2026

"Airflow is required for every sound that is generated in speech and song. Since the supply of air from the lungs is limited by the vital capacity, most people have experienced the need to conserve air during prolonged phonation. The question is, how does one conserve air without seriously reducing vocal (acoustic) power?

Let's briefly review how much air we have to work with. A typical vital capacity for humans is about one gallon (approximately four liters) of air. Only a small fraction of this (about 10% to 20%) is used in a quiet breathing cycle. Likewise, in conversational speech, where the length of a phrase is not dictated, only a small portion of the vital capacity is used. During strenuous activity, however, which may include singing and shouting, most of the vital capacity may be drawn upon.

The raw aerodynamic power available from the lungs for sound production is the product of lung pressure and mean (average) flow. Thus, all else being equal, more airflow provides more raw aerodynamic power for speech. But the acoustic output power, which is always a fraction of the available aerodynamic power, depends as much on the abruptness with which the flow is changed as on the amount of flow itself. In particular, the high-frequency content of the sound, to which our ears are most sensitive, is very much dependent upon the suddenness with which the air disturbance is created."

from "Conserving Airflow in Singing" by Dr. Ingo Titze. First published in NATS Bulletin, a predecessor to the Journal of Singing. September/October 1986

08/21/2026

Speaks well of them.

08/20/2026

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08/19/2026

"This study aimed to investigate the relationships between kymographic parameters derived from high-speed videoendoscopy (HSV) and simultaneously recorded acoustic signals. The research provides insights into the vibratory dynamics of various glottal pathologies, assessed across different glottal widths, and their mutual relations with audio data. Methods: The study included 192 participants categorized as normophonic or having functional or organic lesions (benign, premalignant, and malignant). Parameters describing vocal fold oscillations were calculated using HSV kymography for three glottal widths, along with corresponding acoustic data. Initially, linear correlations between these parameters were assessed. Next, the consistency in cycle detection and its influence on the correlation levels were evaluated. Results: The fundamental frequency (F0) and mean Jitter (Jita) showed the highest correlations between the HSV- and audio-determined parameters (F0: 0.97, Jita: 0.40–0.70), with even stronger correlations when the number of detected cycles was consistent (F0: 0.99, Jita: 0.68–0.98). The correlations for other parameters ranged from low to moderate, with no significant differences observed between the diagnostic subgroups (functional changes and benign and malignant glottal lesions). However, in the premalignant lesions group, high correlations (0.77–0.9) were observed between the HSV and audio parameters, but only for measures describing period perturbations. Beyond F0 and mean Jitter, consistency in cycle detection did not significantly affect correlation levels. Conclusions: The simultaneous audio signal proved useful in verifying the accuracy of HSV quantification measures, particularly for F0, which showed strong agreement between the methods. Discrepancies in other parameters and low correlations between HSV-derived kymography and audio data may suggest the influence of the throat, mouth, and nose resonators, which are added to the glottal signal. While the kymographic analysis based on HSV provides detailed descriptions of vocal fold oscillations, it does not fully capture the three-dimensional structure and complex functionality of the vocal folds."

From the Abstract to "Assessment of the Interdependencies Between High-Speed Videoendoscopy and Simultaneously Recorded Audio Data in Various Glottal Pathologies" by Magdalena M. Pietrzak, Wioletta Pietruszewska, Magda Barańska, Aleksander Rycerz, Konrad Stawiski, and Ewa Niebudek-Bogusz. First published in Biomedicines, 18 February 2025.

08/18/2026

Available now.

Book Bundle: Purchase these 4 books together for the best value. When you purchase this selection you will receive the following books: Vocology: The Science and Practice of Voice Habilitation Principles of Voice Production The Continuing Influence of Ingo R. Titze on Voice, Science, and Music: A Fe...

08/18/2026

"What about singing after running? For me a minimum of two hours, but preferably four, are needed to overcome the effects of heavy cardio-vascular activity before full control of the larynx can be regained. I don't know what to attribute this to, but can only guess that perhaps the larynx is rhythmically still geared to "breathing" or that some fluid imbalance has occurred in the tissue that takes several hours to stabilize. Whatever it is, it does not seem to affect the voice adversely if the transition period is adequate. Even very cold air does not appear to make a big difference, although deep breathing in a warm, dry house or gym after running may have an additional drying effect on the vocal fold tissues.

Singing and running are also comparable in warming-up and cooling down procedures. Light, intermittent vocalizations over the entire keyboard, with repeated soft vocal attacks, are not unlike stretching and flexing of muscles in different postures. If there has been mild injury, warm-up seems to be accelerated by a warm drink, not unlike a warm pad placed over a sore knee or ankle. After vigorous exercise, on the other hand, cold drinks and ice packs keep the swelling and temperature down in the larynx and limbs, respectively (so I think).

In summary, I have concluded that patterns of response of the larynx can be modeled after those of arms and legs under daily exercise routines. Singers who tend to be somewhat analytic (or at least philosophical) about their daily routines could possibly benefit from having another medium of experimentation, another way of gathering information about an instrument that is so deeply biological. Besides, it can't hurt to be in good physical condition."

from Running and Singing by Dr. Ingo Titze. First published in NATS Bulletin, a predecessor to the Journal of Singing, March/April 1986