BVA ARCHIVE: Book review from 'Communicating Voice'
Review by: Annabel Bosanquet, Speech and Language Therapist (voice) and trained actress.
Care of the Professional Voice (2nd edition)
D Garfield Davies & Anthony F Jahn
Published by A & C Black 2004
Originally published in 1998 this book, described on the cover as a "guide to voice management for singers, actors and professional voice users" has been generally updated reflecting the advances in knowledge of the care and management of the voice. A new chapter by Anat Keidar on "A singer's guide to self-diagnosis" has been added, the suggested reading list augmented and the glossary substantially expanded.
In the introduction, the authors, both of whom have many years of experience working with performers, state that they have tried to appeal to a broad audience: vocal performers and teachers, as well as physicians who treat voice disorders. The book clearly aims to be both informative and practical; there are, as might be expected, useful chapters explaining how the laryngeal mechanism develops and works, and on laryngeal disorders - diagnosis, treatment and prevention; other chapters cover such topics as attributes of a good vocal performer; medications and the professional voice; travel and the vocal performer; anxiety, artistic temperament and the voice; popular music and the musical theatre; a visit to the laryngologist; surgery and the vocal artist.
In the field of voice, as in any other professional field; there are diverse opinions and strongly held beliefs about the training, production and management of the professional voice. There may be statements in this book with which different schools of thought might take issue; I am not addressing such issues in this review. I do think that there are some assumptions made that are in danger of being stereotypical which can be off-putting or misleading: e.g.. in the context of whether a vocal fold cyst need be removed, "Housewives, office workers and factory employees may not be affected by a voice which is slightly husky and effortful." Similarly, elsewhere there is an assumption made as to the performer's personality type "usually extrovert and loquacious." Some are of course - many are not. It may be that useful points are being made but some readers might find the examples patronising.
Setting aside these criticisms, the book has much to offer. It contains practical advice and is sympathetic to the performer. The style aims to be accessible and informal, and being a lightweight paperback it could easily be carried around when touring. In some instances the layout could be improved to help clarification; perhaps breaking up the text a little more or having summary points at the ends of chapters. The authors acknowledge that some of the medical sections may be rather technical for the reader with no previous knowledge; an inevitable difficulty perhaps when trying to reach a wide readership. The expanded glossary is a great improvement on the first edition and is helpful; though I query some of the definitions - e.g. "voice teacher - someone who chiefly teaches singing technique:" Is this is a question of differences in terminology used in Britain and the USA? The roles of speech and language therapist/voice therapist are not clearly defined in the book and perhaps could have been included in the glossary.
The final chapter is Anat Keidar's "A singer's guide to self-diagnosis". There may be statements made in this chapter that are controversial but there is also much good sense, and here the value of the multi-disciplinary team is emphasised. Elsewhere in the book other practitioners e.g. voice therapists, counsellors, are certainly mentioned, but not in sufficient detail to give the performer reading this book a sense of how the whole support network and multi-disciplinary team can work together to help in diagnosis and ongoing care. It is surprising that this updated edition does not fully acknowledge the growth in voice clinics since this is where a performer is very likely to be seen.
From the performer's perspective I think this book provides substantial information and guidance about voice care and management: However, this would be greatly enhanced if they had a therapist/singing teacher/ laryngologist with whom to discuss some of the issues. While it is undoubtedly helpful for a performer to gain knowledge and understanding of their own instrument, there is also a need to avoid becoming preoccupied with potential problems or symptoms. The fourteen colour photographs showing various conditions of the vocal folds are likely to be of interest to all readers, and of assistance to singing teachers and voice therapist/teachers; a singer or actor looking at them without reference to a voice practitioner might find them alarming. In the final chapter certain vocal tasks or "swelling traps" are suggested as a means of detecting vocal fold swellings; it could be argued that this might increase anxiety or confusion in an already worried singer.
This book would be useful for those practitioners who have not had a great deal of experience working with performers, though it does offer some good information for the more experienced practitioner too. Despite reservations already stated, performers and professional voice users will find many aspects of the book interesting and helpful.
