Vocal Studies

In her close professional relationship to composers, such as Luciano Berio, John Cage, Hans Werner Henze, Igor Stravinsky and Sylvano Bussotti, Cathy Berberian has productively tainted historical preconceptions about the authorial “work” and the role of the singer in the realization of the composer’s creation. Her flamboyant character on the concert stage, where she showcased her more popular work, captured the public’s imagination. The success of this performer–audience rapport was intrinsic to the singer’s performative persona; however Pieter Verstraete argues that through her own composed work ("Stripsody" is the best known), Berberian presented a myriad of personas. She achieved this primarily by deconstructing her own voice as instrument and object, thereby subverting the stability of her relationship to the authorial power of the musical score. Consequently, Berberian’s work invites us to rethink the authorial position of the composer in relation to the singer/performer as well as the enhanced position of the listener whose function it is to imagine such personas in relation to seeing and hearing the performer’s singing body over a number of changing instances.

Introduction: Vocal hygiene sensitization programs help in propagating the information about conservation of voice in a swift manner to a target population. Nurses being bridge between patients and doctors help patients understand or convey important information. Hence, nursing trainees formed the target group for the sensitization program on voice conservation and care. Materials and Methods: Ninety‑two nursing trainees and their faculty participated in a one‑day sensitization program on vocal hygiene. The program consisted of two lectures on the anatomy and physiology of voice and vocal hygiene for voice conservation and voice care. Participants’ familiarity of the topic was assessed using a questionnaire before and after the lectures. Results: There was a significant increase in percent correct response from 77.41% to 91.46% after the program. Out of 10 questions, eight had increase in scores, one had decreased score, and one question remained the same. Conclusion: Improved percent correct response scores of the participants in the post test implied better awareness about the voice production mechanism and conservation of voice and its care. The results could imply that such programs could improve dissemination of information pertaining to voice use, conservation of voice, and helping in reducing the occurrence of voice problems in different groups of professional voice users.

In the act of speaking, our vocal quality is subject to social, anatomical and professional facets, and even psychological traits (Behlau et al. 243) which either helps attract the attention of or deter others from listening. One’s use of their vocal presence and command over the content of their voice can sometimes shape the success of a speech communication. Speech can be described as an act of uttering a sound or making symbols (Searle, 188), or an act of the body where people communicate a “worldview” as their own “intellection of reality” (Feld, 1).  Speech communication is a general look at the process of communicating and the practice of speaking (Abdullah, 2). Theoretically, speech communication looks at the oral (perception, cognition, syntax, etc.), language tools (language identification, hearing defect and aids etc.) and signal process (vocal stamina, tension, resonance, breath, muscles etc.) involved in communicating through speech (Metsala and Walley 91; Kawahara et al. 188). For the purpose of this essay, the focus would be on signal process. Specifically, tension, resonance and breath and how they affect vocal stamina.

This study is designed to test the use of vocal training for articulation and accent defects which might be an important trouble while Turkish speaking. For this reason vocal training has been performed on a group of students selected voluntarily form the Erciyes University Turkish teaching profession 3rd class and the difference before and after vocal training accent and articulation defect improvements have been evaluated.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

This study was conducted in order to examine the physical properties of the voice and breath in the opera singing. To collect the study data a semi-structured interview form was applied. The interview form was implemented with 12 lecturers from Hacettepe, Ankara, Bilkent, Başkent, Anadolu University state conservatories and Ankara, state opera and ballet soloists and chorist artists. The obtained data are converted into frequency values by coding. This research is a case study in which
the physical characteristics of breathing and voice exercises in voice training for opera singers are examined. This research is limited to visual and written resources that can be reached to identify and describe. According to the results obtained, it is seen that theatre education in the opera singing education has made a positive contribution to the main aim (to reach the opera singing skill with a technique of producing a correct and comfortable sound). A proper singing education is to make the musical skill in the student more comfortable with an opera singer
voice developed by the use of the diaphragm muscles and strengthened by the tone and breathing exercises. Musical expression power, sound timbre, sound amplitude, vocalization, speaking culture and correct posture were found to be the most important characteristics of an opera student. It has been determined that breathing and body warming are priorities in Opera training. For this, first of all, by heating the body with the physical movements, using the diaphragm and abdominal muscles with breathing exercises, 15-20 min. it was determined that exercises of agility, Messa di voce, and mezza voce should be performed especially
after the vocal exercises. The voice color is the priority when determining the types of sound according to the experts of voice training in opera singing. Even if the voice has its loudness and width, it will lose its ability to express voice if it does not have a color and tone.

The way you use your voice affects the health of your thyroid.  This is because the thyroid gland is stimulated by vocal vibrations, being located adjacent to the voice box.  Shouting can over-stimulate the thyroid, just as being too quiet can under-stimulate it.  This link between the voice and thyroid stimulation can explain some cases of hypo- and hyper-thyroidism, and offers a non-medical option for the treatment of these conditions.

En el proceso de enseñanza/aprendizaje del canto, tanto los docentes como los alumnos emplean un tipo especial de comunicación que, junto a métodos directos e indirectos de enseñanza, permiten la adquisición de habilidades técnicas. Con la institucionalización de la enseñanza del jazz, se ha generado una apropiación de muchas de las estrategias educativas del canto lírico. Sin embargo, las diferencias estilísticas requie- ren la búsqueda y la creación de un lenguaje propio y la innovación en las tácticas pedagógicas. En este trabajo se explora esa interacción a través del análisis de las clases de canto jazz en Musikene, Centro Superior de Música del País Vasco, y se identifican estrategias metodológicas para comprender el proceso de construcción conjunta del significado.

Publicado en Actas del IX Congreso de la Rama Latinoamericana de la IASPM Caracas, Venezuela, 1-5 de junio de 2010

Peu d'instruments nous sont parvenus de Joseph Anton Moser (1731-1792), facteur d'orgues et d'instruments à clavier originaire de Bischofszell, établi à Fribourg et fondateur d'une dynastie de facteurs suisses de l'importance des Scherrer, Speisegger et Bossart. De ce fait, la découverte d'un orgue positif de c. 1767 attribuable à Moser est une révélation. Cet instrument, seul orgue positif connu de ce facteur, a été décoré par le sculpteur ornemaniste fribourgeois Domenico Martinetti, auteur également du décor de l'orgue Potier à Yverdon (1767), dont Moser a réalisé la menuiserie du buffet. Avec l'orgue de l'église de St. Stephan BE (1778), il s'agit du seul instrument de Moser conservé presque intégralement. Par son esthétique visuelle et sa disposition sonore, il constitue une synthèse originale, unique parmi les positifs, des influences non seulement suisses orientales et allemandes méridionales, de Manderscheidt et de Bihler, mais aussi françaises (alsaciennes), des Silbermann et de Potier. C'est donc une oeuvre-clé pour la facture d'orgues en Suisse au 18ème siècle.

Singer-songwriter Björk, the most famous Icelander since explorer Leif Eriksson, has been met with both praise and criticism, almost always directed at her difference – from Westerners, pop musicians, adults, even from humans. Known for her innovative, expressive music and quirky persona, Björk both rebels against conformity and yet is drawn to problematic concepts such as nationalism, multiculturalism, and gender essentialism. 

As star musical guest at the 2004 Summer Olympics Opening Ceremony, she exposed the international audience to Iceland’s feminist nationalist imagery in a message of peace.  Embodying Nordic scholar Eiríkur Magnússon’s 1864 nationalist icon “Iceland as a Mountain Woman,” Björk became Mother Ocean, uniting countries and athletes as stemming from one source, a metaphor made almost material through her dress, which unfurled as she sang, enveloping the entire field of athletes.  Icelandic feminism developed simultaneously with the move for national independence (begun in the late 18th century and eventually achieved in 1944), through an embrace of traditional gender symbolism that made space for maternal perspectives in sovereign, ethical governance.  However, Björk’s Olympics message utilized this legacy not to invest in nationalism but to perform peaceful world unity as a feminist reaction to the aftermath of 9/11/01. 

Her performance draws on a gender difference model unpopular with contemporary critical theory but informed by both Icelandic feminism’s challenging relationship with nationalism as well as the body-politics of the American Vietnam War-era counterculture.  I use this context to analyze Björk’s avant-garde a capella album Medúlla (2004), which contains her Olympic song “Oceania” as well as two songs “Pleasure is All Mine” and “Mouth’s Cradle” ground-breaking for their sensual maternalist aesthetic, which map out a nuanced politics of peace to challenge both terrorism and counter-terrorism.  Themes of motherhood, terror, and mortality are further developed in her subsequent work, the protest album Volta (2007), which features an array of instrumental collaborators (questionably) symbolizing the artist’s sense of humans as “one tribe.” A collaboration with Malian kora virtuoso Toumani Diabate, “Hope,” explores the troubling Western media reactions to a pregnant Palestinian suicide bomber.

Often misunderstood as an elf-like outsider to human experience or a hysterical extension of Iceland’s dramatic landscape, Björk is musically exploring difficult concepts of nationalism, difference feminism, and multiculturalism to address the most challenging and important questions of our time – the significance of identity and the future of humankind in a culture of war.

In international research and theatre practice, voice has returned as a problem and as a question mark. This article locates ‘absolute presuppositions’ (according to Collingwood) that have defined the way voice has been treated and staged, and counter-proposes 4 theses towards redefining voice: moving away from logocentric metaphysics; turning towards the material body that produces voice and the intersections of its identities; focusing on the area of the ‘vocal in-between’; and approaching voice as event, process and multiplicity. The epistemic strategy advanced in the article is the parallel discussion of theoretical lines of argumentation within interdisciplinary voice studies and cases studies from music, theatre and sound performance as well as systems of voice pedagogy. In this way, the embodied, materially enjoyable, intersubjective and multiply constructed voice is proposed as a field that is yet-to-come but ripe for further exploration. The writing style deployed in the article is ‘emphonic’: a manifesto-list, first-person quotes, hyperlinks, direct questions, and a playlist are mined as opportunities to restore vocality in the realm of research publication. Overall, the article argues that re-examining voice in the above-mentioned ways cultivates opportunities to break away from what has been constituted as vocally self-evident, in theatre and beyond.
• The English translation of the 4 theses proposed (4th page of this version of the article, p. 24 of the published article) is:
4 THESES ON VOICE
1. Voice is not—primarily or exclusively—the bearer of linguistic meaning.
2. Current research is moving away from the universal, abstract ‘I’ of voicing and towards voice as sensed materiality, as well as towards the various intersections of its embodiment.
3. The ways in which voice is studied and understood are shifting away from the distinct examination of vocal production and vocal reception, and towards the area of the ‘vocal in-between’.
4. Current research enquiry turns from the voice-object and the voice-subject to voicing as process, event and multiplicity.

Στη διεθνή βιβλιογραφία και σκηνική πράξη η φωνή επανέρχεται ως πρόβλημα και ερωτηματικό. Το άρθρο εντοπίζει απόλυτες προϋποθέσεις (κατά Collingwood) που έχουν καθορίσει την αντιμετώπιση και παραστασιακή πραγμάτωση της φωνής, και αντιπροτείνει τέσσερις θέσεις για την επαναδιαπραγμάτευσή της: την απομάκρυνση από τη λογοκεντρική μεταφυσική· τη στροφή στο υλικό σώμα που παράγει τη φωνή και τις ταυτοτικές διατομές του· την επικέντρωση στην περιοχή του φωνητικού ενδιάμεσου· και την προσέγγιση της φωνής ως συμβάντος, διεργασίας και πολλαπλότητας. Η επιστημολογική τακτική του άρθρου είναι η παράλληλη συζήτηση τάσεων στις διεπιστημονικές φωνητικές σπουδές και παραδειγμάτων από μουσικές, θεατρικές και ηχητικές περφόρμανς, καθώς και συστημάτων διαπαιδαγώγησης, με στόχο την κατάδειξη της ενσώματης, υλικά απολαύσιμης, διυποκειμενικής και πολλαπλά κατασκευασμένης φωνής ως πεδίου μη τετελεσμένου αλλά πρόσφορου προς περαιτέρω διερεύνηση. Ο τρόπος γραφής είναι έμφωνος: η λίστα-μανιφέστο, πρωτοπρόσωπα παραθέματα, υπερσύνδεσμοι, άμεσες ερωτήσεις και μία playlist αξιοποιούνται ως ευκαιρίες αποκατάστασης της φωνής στον χώρο της επιστημονικής δημοσίευσης. Συνολικά, το άρθρο διαπιστώνει πως η επανεξέταση της φωνής με τους παραπάνω τρόπους διαμορφώνει ευκαιρίες ρήξεων με ό,τι έχει καθιερωθεί ως (σκηνικά ή όχι) φωνητικά αυτονόητο.

The antiphony technique, according to which sacral music is interpreted in Orthodox churches all over the world, is well known: two chanters (or two choirs of chanters) facing each other sing alternately the musical parts of an acolouthia. Despite the fact that the chanters’ positioning in space is reminiscent of a battle array, its purpose is rather to achieve harmony and unity. In fact, in most works of ecclesiastic music (both older and newer) there is a similar structure in pairs. This is a composition technique, which definitely favors harmony and unity during interpretation, since the second chanter (or choir) essentially repeats, to a great extent, the melodic parts chanted by the first one. However, even though this fundamental arrangement seems to guarantee the much-desired unity on a technical level, in the concrete artistic expression of chanting interpretation there seem to be some latent factors (strictly musicological, but also historical, or even psychological and anthropological), which may instead lead to diversity and differentiation. Does the practice of antiphony in chanting reflect unity, variety, or both? This is the question that I will try to answer in the present communication.

The actor's preparation for theatre implies in a constant commitment in the research mechanisms to enable their bodies and voices for the performance moment. The aim of this article is to describe and think about a body and voice working proposal for actors, based on voice therapy concepts and specific acting techniques. With these discussions, I bring reflexions that I believe to be necessary to think about work alternatives for actors. However, I consider that actors also need some working pedagogies related to the specificity of
their stage work. What I have shown here is a unique pedagogical approach to the learning and technical training
for actors in theatre. The methodology exposed here serves as an example for pedagogical approaches that theatre schools can include in their curricula in order to provide a different perspective to actor's technical preparation.

Resumo: Vocalises são essenciais para o desenvolvimento técnico vocal e expressivo. Fortalecem, flexibilizam, aumentam a capacidade respiratória e a resistência do aparelho fonador; promovem o ajustamento da afinação, da dinâmica e da articulação; e também expandem a tessitura. Apresentamos diversos exercícios, indicando vocalises de estudo e de concerto como opção de repertório para o recitalista. Neste texto há referências para quem procura aperfeiçoamento na arte do canto lírico e considerações sobre textos de Abt, Garcia Jr., Louzada, Marzo e Panofka.
Abstract: Vocalises are essential for vocal and expressive technical development. It strengthens, flexibilizes and increases breathing capacity as well as resistance of the vocal tract; it promotes pitch, dynamics and articulation adjustments; it also expands range. We present several exercises, indicating study vocalises and concert repertoire vocalises as an option for the recitalist. In this paper there are references for those seeking an improvement in the art of classical singing as well as considerations on the texts by Abt, Garcia Jr., Louzada, Marzo and Panofka.

This article is an analysis of 'Leuangtengdong', a Hmong song melody which was recorded and transcribed by Jähnichen in 2000, while documenting a collection of Hmong songs in Laos. This new article is an effort to analyze melodic patterns of the song while considering its historical and social contexts through the personal gaze of the author with a specific background in singing and social experience. It is important to mention that the language sung in the song was unkown and that the emphasis of the analysis is on the musical shape. Finally, there is a conclusion regarding this song fitting in Jähnichen's hypothesis on Hmong song melodies which states that most musical phrases do not repeat; all lines are different in pitch, order and length; pitch order and intervals can indicate a specific type (of song); singers do not know which type they sing, only analysis shows; and analysis cannot prove ethnic groupings. "Very interesting is the general characteristic of generating absolutely individual melodic lines in each example and in all the other recordings there was no one song with a repetition of a single melodic line. Avoiding repetitions is therefore a remarkable sign of Hmong song melodies." (Jähnichen, 2011: 126). The given core hypothesis was the point of departure in this analytical article.

Livio Marcaletti investigates the notion of "ornamentation", as a way to modulate expressiveness, within the tradition of historical musical improvisation. Their practical and conceptual distinction is in fact the historical result of the evolution of musical notation and the contemporary approach to the musical score. Through a careful analysis of musical treatises of the last four centuries, Marcaletti shows that the conceptual opposition between the "essential" musical text and the "accessorial" improvisational ornament is not self-evident, but should be considered historically contingent. (See Introduction, Alessandro Bertinetto and Marcello Ruta, p. 11)

Este  estudo  aborda  o  trabalho  da  companhia  Vivarium  Studio,  dirigida  por  Philippe  Quesne  sob  o  prisma  de  sua  estética  vocal.  Explorando  qualidades  vocais  em  territórios  delicados  como  a  ineloquência,  o  destreino,  a  desarticulação, a timidez, a insegurança e a inaudibilidade, o Vivarium Studio faz um elogio à “falta de jeito”, que aqui chamamos de “bisonho”. O interesse de tal característi-ca é o fato de ela parecer não se enquadrar  nem  na  “vocalidade”  contemporânea, que enfatiza a materialidade sonora da  voz,  muitas  vezes  em  detrimento  do  sentido,  nem  nas  técnicas  de  voz  que  prezam  a  clareza  da  elocução.  O  artigo  busca, deste modo, refletir sobre tipo de vocalidade  pouco  contemplado  pelos  métodos  de  interpretação  e  teorias  teatrais,  procurando  expandir  a  noção  de  vocalidade.

This paper explores the extent of expressive tempo modifications as a function of textual content in four operatic arias recorded by Adelina Patti between 1905 and 1906. Their analysis made it possible to determine to what extent significant tempo modifications coincide with those moments in the music, in which special emphasis is demanded by the lyrics. A twofold approach was adopted: the paradigms of historical musicology provided the conceptual tools necessary to define the context, reconstruct the vocal practice, and understand the relationship between the lyrics and the compositional solutions underpinning them; the degree of tempo variability for each aria was determined by empirically measuring the crotchet beat lengths and by calculating the value of mean, mode, standard deviation and coefficient of variation. Results show that Patti's renditions of the four arias present tempo modifications which are instrumental to the expression of their dramatic content, as recommended by the singing methods and treatises which appeared in the course of the nineteenth century. Most crucially, they challenge the assumption that interpreters trained in the late romantic culture abused the composer's intentions and indulged in tasteless, exaggerated interpretive choices.

In diesem Text argumentiert Dr. Pieter Verstraete dass die interaktive Musik und ihre Technologien bis heute eine enorme Anziehungskraft besitzen, die ihnen – obwohl sie inzwischen bereits fast ein halbes Jahrhundert alt sind – bis heute eine quasi magische Aura verleiht, welche die zugrunde liegenden Mechanismen und experimentellen Kategorien verschleiert, die diese Beziehungen ausmachen. Stattdessen hat die neu entflammte Begeisterung für die körperlose Stimme in der interaktiven Musik in jüngster Zeit zu einem neuen „Empirismus der Geste“ in der akademischen Lehre geführt, der sich jeglichen Fragen nach sozialen und ästhetischen Einflüssen (in eine umfassendere „sozio-ästhetische“ Kritik) entzieht. Seiner These zufolge ebnete die „radikale Vokalität“, die von der menschlichen Stimme in der Maschine propagiert wird, den Weg für eine ganze Reihe von verblüffenden und „unheimlichen“ Experimenten, die ihrerseits die ästhetische Rezeption zeitgenössischer und experimenteller Kunstmusik veränderte. In seiner Argumentation sollen die körperlosen Stimmen „demaskiert“ werden, die hinter den Arbeiten der zwei wohl bedeutendsten Musiker, Sänger und Performer dieser Musikrichtung stehen. Ihre Werke sind selbst-reflexiv und loten die Möglichkeiten der Techniken und Technologien, die sie nutzen, immer neu aus: Die Rede ist von der schweizerischen Vokalistin, Sängerin und Klangkünstlerin Franziska Baumann und dem deutschen Sänger und Komponisten Alex Nowitz. Verstraete nehmt eine Analyse von Baumanns Electric Renaissance und Nowitz’ Studies for Selfportrait vor. In ihrer Gestenhaftigkeit offenbaren beide Werke ein Spannungsfeld, das sich zwischen autobiografischen Spuren der Stimme und den in ihren Performances geborenen musical/vocal personae bewegt.

This study is designed to test the use of vocal training for articulation and accent defects which might be an important trouble while Turkish speaking. For this reason vocal training has been performed on a group of students selected voluntarily form the Erciyes University Turkish teaching profession 3rd class and the difference before and after vocal training accent and articulation defect improvements have been evaluated. To reach this general purpose pre-test and pro-test applications have been tested by “Vitalograph Alpha, Model 6000” portable spirometer device and “Praat vocal analyze program”. Breathe management and thereby the accent factors that effect speaking are evaluated on even if they were improved after a programmed vocal training study over VC, FVC and FEV1 parameters. After voice training FVC (p<0.001) decreased and FEV1 (p<0.001) increased significantly whereas the VC has not changed significantly. Furthermore, with the help of the data obtained from the Praat vocal analyze program the accent and articulation defects have been evaluated over “Türk” and “vazifen” words and the duration of the voice the intensity, amplitude, maximum power frequency and pitch values are analyzed. This analyze revealed that after vocal training when we consider the “Türk” word, the intensity (p<0.05), amplitude (p<0.05), harmonics to noise ratio (p<0.05), duration (p<0.001) increased significantly. When we consider the word “vazifen”, the intensity (p<0.05), amplitude (p<0.001), harmonics to noise ratio (p<0.001) and duration (p<0.001) increased significantly, the pitch significantly decreased (p<0.001).In conclusion, in the students who are having Turkish speaking education, vocal training studies are seen to be useful to improve the articulation and accent defects, which means that it is helpful to state accent expressions and breathe management to express the Turkish words correctly.

In the present text we investigate the vocal approach of the Greek singer, performer, composer, researcher and multI-instrumentalist Demetrio Stratos as a type of regenerating the vocal instrument which springs, mobilizes, and invites to revolutionary perspectives. If according to Bakhtin “by speaking people create public spaces, they create worlds” then Stratos by broadening the limits of vocal potential linguistically, sonically, culturally, and experimentally, proposes the formation of a widened communicational world, able to extend the perceptual and expressive competence of whole human experience. Building on the research, artistic and pedagogical work of Stratos, we conceptualize voice as an intermediate sphere of contrastive trends such as: being/becoming, individual/collective, ubiquitous/ecumenical, temporal/atemporal etc. To examine the trans-meeting points of the above, we use interdisciplinary tools from vocal and sound studies, linguistic ontology, cosmology, political theory, specializing in Arendt, Wittgenstein, Whitehead and Bakhtin, as well as Adorno’s concepts of mimesis and communication. We support that the total breathing/vocal/bodily reconstruction that Stratos inserts, functions “revolutionarily” by both awakening the inherent human potential as well as by aiming to become common property and redefine the collective sphere. Finally, we investigate the evolution of vocal performance art after Stratos and compare his ecumenical ideals to its diverse futural materializations.

This study is designed to test the use of vocal training for articulation and accent defects which might be an important trouble while Turkish speaking. For this reason vocal training has been performed on a group of students selected voluntarily form the Erciyes University Turkish teaching profession 3rd class and the difference before and after vocal training accent and articulation defect improvements have been evaluated.