LECTROMYOGRAPHY is an impor-

tant tool in the study of physiol-

ogy. When a muscle is active a minute
electrical charge is present. If a needle
is inserted in the tissues it can transmit
this to a sensitive recorder that will reg-
ister its voltage, and hence the degree
to which the muscle is exerting itself.
The exact voltage is not too important,
since it depends upon how lucky the
placement of the electrode may be. For
this reason it is useless to compare the
EMG of two different muscles, or even
the same muscle on two different occa-
sions; but if a number of different tasks
are performed while the electrodes are
in place, the relative voltages give a
clear indication as to which task re-
quires the greatest effort in each partic-
ular muscle.
Laryngeal electromyography goes
back at least as far as the work of Kat-
suki in 1950. Faaborg-Anderson de-
voted a career to such investigation,
the first major report of which ap-
peared in 1957. However, the elec-
trodes in those days were too cumber-
some for the most satisfactory results
in a delicate organ like the larynx.
Recently Basmajian and Stecko have
developed a new technic for placing
much more delicate electrodes. It con-
sists of inserting a hypodermic needle
into the muscle to be studied. In the
hollow needle are two insulated wires,
almost as fine as human hair. Once
they are in place, and the electroniyo-
graph registers that these fine wires are
reporting the muscle function, the hy-
podermic needle can be removed, leav-
ing them in place.
Minoru Hirano has perfected the
skill of placing these electrodes in the
human larynx, and William Vennard,
bass, is perhaps the first professional
singer to serve as a subject. After the
initial discomfort of the insertion of the
electrodes, he was able to sing normal-
ly,
(or nearly so) in all the registers of
his voice. As the data on his laryngeal
musculature was progressing, Lois Cep-
paro became interested and volunteered
as a subject. Mrs. Cepparo is a past
president of the Los Angeles Chapter of
NATS, a soprano with much experi-
ence as singer and teacher. Some time
later two younger singers joined the
project: Merle Moore, graduate student
at the University of Southern Califor-
nia, and tenor soloist at the Hollywood
Presbyterian Church; and Joann Rob-
bins, high soprano, doctoral candidate
LARYNGEAL
SYNERGY
IN
SINGING
jcam 'eic#evTd,
eew
#td
,9c?
4ot alwo,
at USC, and member of the faculty of
Loma Linda University. The subjects
will be designated in these reports by
the initials of their surnames. Their
ages ranged from 22 years for Subject
M to 59 years for Subject V.
It is now possible to state definitely
how the most important muscles of the
voicebox behaved in the performance
of many tasks, including scales through-
out the entire range from a low C2 in a
bass voice to an E7 over an octave
above High C in a soprano voice, at
least as far as these four subjects are
concerned. To the extent that this be-
havior was uniform in two sopranos, a
tenor, and a bass, the inference is
strong that most larynges would pro-
duce EMG such as are shown in this
and the subsequent articles. However,
no two individuals are identical, and
the differences are also interesting.
Procedure
The technic has been described in
detail by Hirano and Ohala. Their stud-
ies, including those in this series, were
carried out in the Phonetics Labora-
tory, presided over by Peter Ladefoged,
at the University of California at Los
Angeles. The research was partially
supported by the National Institutes of
Health, United States Department of
Health, Education, and Welfare, the
Office of Naval Research, and the Na-
tional Science Foundation.
All the muscles of the larynx can be
reached through the skin of the neck.
The hypodermic needle is inserted ei-
ther directly into the cricothyroid or the
lateral cricoarytenoid, which are readily
accessible, or it passes through the cri-
cothyroid ligament, coming out in the
space just below the vocal cords. In this
latter case the first needle is used to
spray the subglottal cavity with Xylo-
caine, a local anesthetic that will obvi-
ate the coughing reflex. A second nee-
dle then follows the first containing the
fine wires, which are inserted either i n
the vocalis muscle (internal thyroary-
tenoid) or in the interarytenoid (trans-
verse arytenoid). The latter muscle was
studied only in Subject V. The posterior
cricoarytenoid is the most difficult to
reach in this technic, and was not stud-
ied in these four subjects, but this was
no great loss, since this muscle is used
for opening the glottis in silent breath-
ing, and is not important in phonation.
By far the most interesting muscles
are the cricothyroid, lateral cricoaryte-
noid, and vocalis. These were investi-
gated in all four subjects. Usually the
energy potentials of all three muscles as
well as the sound itself were record-
ed simultaneously on four channels of
magnetic tape.
There were two hazards which some-
what impaired the findings. The first
arises from the fact that to reach the
cricothyroid the needle must pass
through the stcmohyoid which overlies
it, and to reach the lateral the needle
must pass through both these muscles.
In the course of the work it is possible
for the wires to become partially dis-
lodged and slip out of the deeper into
the more superficial muscle. Such an
accident is always recognizable in the
EMG, and therefore does not cast
doubt on the first part of the exper-
iment, but from the moment of the
shift of the electrode the balance of the
data is obviously inapplicable. Some of
the recordings of the lateral in Subject
C and of the cricothyroid in Subject V
were lost in this way.
A second hazard is known as the
"microphonic effect." It occurs only in
the vocalis muscle. All the signals are
recorded on tape, and when energy po-
tentials of the muscles are played back
they sound like static. When such a re-
cording is contaminated with micro-
phonic effects the vocal tone is heard
on the playback, along with the static.
In other words, the wire electrodes in
the vocalis muscle have functioned like
a microphone. Unpredictably, the me-
chanical vibration of the vocal cord (the
body of which is the vocalis muscle) is
sometimes recorded electrically, rather
than (or in addition to) the energy po-
tentials. It makes it impossible to eval-
16THE NATS BULLETIN
A4 A4
0 1ieond-
cricothyroid
'404:.4.tfr.'*.'lM*..),-a
lateral
2I0 V
4" W O W - . - . . I $L4 , J
- - . U- . - u r
]
vocalis
4 0 0 V
audio

--- - ----------. ---

--ii.- -
CLEARINGGLOTTAL PLOSIVEIMAGINARY [h]
THROAT
F
0 I,econd
cricothyroid
L.
- 4 wpnw4gsrd,1.
lateral
2GOAV
IfIL
vocalis
4 4 V
- _
- - _' - _il -rI-ri-
-.
Vowel {o]
audio
Subject CASPIRATE ATTACKSOF T ATTACK
FIG. I.' VARIOUS ATTACKS, F EMALE Voics. TOP LINE SHOWS F UNDAMENTAL F REQUENCY (F 0)
WHICH THE EAR PERCEIVES AS PITCH. A, IS ON THE TREBLE STAF F . NEXT THREE LINES ARE
EMG OF CIUCOTHYROID, LATERAL CRICO ARYTENOID, AND VOCALIS MUSCLES. BOTrOM LINE
(AUDIO) IS THE MICROPHONE SIGNAL. IT SHOWS THE INTENSITY, WHICH IS PERCF IVED AS
LOUDNESS. NOTE RESEMBLANCE OF GLOTTAL PLOSIVE TO CLEARING THROAT.
uate the energy potentials, especially
when the microphonic effect is greater
than the static. The higher voices are
more susceptible to this defect, and
both Subject C and Subject R had a
good deal of it. In the case of the latter
almost the entire vocalis record was
unreadable.
In spite of these hazards, a great deal
of data was accumulated, which will be
reported in this and the next two arti-
cles. In addition to the intrinsic muscles
mentioned, five extrinsic muscles were
also investigated: the digastric, thyro-
hyoid, sternohyoid, palatopharyngeus,
and levator veil palatini. The behavior
of these muscles will be reported in the
final article of the series.
At first glance the EMG data seem
to be the same for all the muscles, es-
pecially the intrinsic muscles. Anyone
hoping to find clearly that one muscle
does something specific (for example,
produces chest voice) and another mus-
cle does something else (like produc-
ing falsetto) will be disappointed. The
physiology of the larynx is not that
simple. When one muscle works, most
of the others do also. As analysis of the
data progresses, the logical concepts of
physiology based upon the location of
the muscles are confirmed, and in sub-
tle ways muscular independence can be
traced, particularly with reference to
registration. But it would give a wrong
impression to present these findings
first.
Laryngeal synergy in the attack
EMG of the glottal plosive show all
the muscles contracting somewhat ex-
cessively before the attack, and drop-
ping off to the effort needed for that
particular tone as it is being sustained.
The muscles in every case show activity
before the actual sound is heard. Some-
times the amount of time between the
first sign of energy in a muscle and the
beginning of the tone is longer than
that of other muscles. This is often the
case with the cricothyroids, which
stretch the cords, and set up the appro-
priate tension for the desired pitch
before the tone is attacked. The differ-
ence in time between the onset of en-
ergy potentials in the EMG and the on-
set of sound in the audio recording is
expressed as: At. The symbol "s" is
used in mathematics to stand for some
significant difference, and "t" stands
for "time." The word "latency" is also
used for this.
When a subject is asked to use
marked glottal plosives, his at may be
rather long, because he is selfconscious
about it. However, it was found, espe-
cially when attacks were made in rapid
succession, that the latency period was
no greater for the glottal plosive than
for other attacks. F our different attacks
were performed repeatedly by each
subject, over 250 in all.
The glottal plosive (often called the
"glottal stroke") and the aspirate at-
tacks need not be defined again. The
"soft attack" is one in which the tone
does not reach full power until a few
tenths of a second after its onset. All
four subjects in this study prefer the
"imaginary [hi," which is like an aspi-
rate, except that the amount of time
and breath wasted is so little that no
aspirate is heard. A pneumotacho-
graphic study of the "imaginary [h]"
appeared in The NATS Bulletin in
1964 (Vennard and Isshiki). EMG of
different attacks are shown in F igs. 1
and 2.
Laryngeal synergy in the vowels
The difference between the vowels
is not seen as clearly in the intrinsic,
musculature as it is in the extrinsic.
That is to say, vowel pronunciation is
more a function of the resonators than
it is of the vibrator. Isshiki noted in
1959 that if a subject intends to sine
the vowels [i] [u] [a] all at the same
loudness, he will actually produce an
[al with much greater intensity than
the others, because he will produce the
same subglottal pressure for all three
vowels, and the greater mouth opening
for [a] will allow more sound to emerge.
If, however, the subject will watch a
sound level meter and bring all the
vowels to the same intensity, it will re-
quire greater pressure for the vowels [i]
and
[u].
(The ear interprets intensity
as loudness, though in this ease the
difference between the vowels is prob-
ably not perceived as being as great
as the intensity differential actually is.)
This was confirmed in the present
study, in which Subject V sang 75
sustained tones with changes of vowel
(see F ig. 3). Subglottal pressure is
changed by differences in muscular re-
[Please turnthe page.]
OCTOBER / 1970171
F
o
03
----.-.--.---.---.--
03
cricothyroid
________
0Isecond-

II
lateral
1501V
-, _._*4o *1t*- ]
vocalis
4001jV
-_
audio
--
-tz._.__------
COUGH
GLOTTALPLOSIVE
IMAGINARY-h]
03
0I second
I5OpV
---ii
l5OjV
--,------
4OIiV
F
cricothyroid
lateral
vo cat is
sistance to the breath flow.When effort
was the same for all three vowels,[a]
was much more ample.When the sub-
ject kept all the vowels at the same
level,the EMGof all three muscles
were greater for [i] and
[u].
With these
trained singers the larynx did not ap-
pear to behave differently for different
vowels unless the singer took pains to
keep them all at the same volume.
However,with abnormal production
some differences between vowels did
occur.
Laryngeal sy nergy in changes
of
pitch and intensity
Hundreds of scales on different
vowels and with varieties of registra-
tion and of production technics were
performed.They will be reported in
detail in future articles.Subject V sang
octave leaps,ascending and descend-
ing,with and without portarnento.Each
vocalise was done six times.It is well
known that the cricothyroids stretch
the vocal cords for higher pitches,and
so the change in cricothyroid activity
was no surprise.However,the lateral
and vocalis made the same change.
(See F ig.4.)
The upper line of the graph shows
and it shows changes in volume.It is
similarly correlated with energy in the
three muscles.
Laryngeal synergy in the vibrato
It is apparent in all the EMGthat
the vibrato,as heard in the pitch and
intensity of the tone,is following a vi-
brato in the muscles themselves at an
interval of about 0.05 second.The only
muscle which does not show a vibrato
is the interarytenoid (see F ig.5). This
muscle adducts the vocal folds,and
holds them together during phonation.
Other muscles fluctuate,and some-
times even become inactive during pho-
nation,but if this happened in the in-
terarytenoid the glottis would open and
phonation would cease.The interary-
tenoid increases activity with the other
muscles for greater phonatory efforts
(either in loudness or in altitude of
pitch) but it never falls below the
minimum needed to keep the vocal
cords together.Vibrato was found at
least part of the time in all the other
muscles studied,including the extrin-
sic.
Each subject was asked to sing sus-
tained tones with normal vibrato,slow
marcato,rapid marcato,and chuckling.
Three more or less distinct rates were
discovered,as shown in Table I.In-
cidentally,none of the subjects had a
vibrato rate of 6-7.75per second,such
as Seashore found in the singers of
Caruso's day.
The normal rate of the vibrato in-
fluences the tempo at which voluntary
marcato can be performed.Examples
of staccato,slow marcato,fast mar-
cato,and chuckling are shown in F ig.
6.The slow marcato has three vibrati
pitch,or fundamental frequency (ab-
breviated 17 0 ).When the descending
skip was made without portamento all
three muscles showed a sudden de-
crease in exertion,and in 0.1 second
the pitch had dropped an octave.When
there was a portamento the muscles
diminished their effort more gradually,
especially the vocalis,and it took more
like 0.4second for the pitch to drop
all the way.The lower line of the graph
is the record made by the microphone,
audio
Vowel [o] ASPIRATEATTACK

SOF TATTACKSubject V
FIG. 2:VARIOUSATTACKS, MALEVoicn.NOTERESEMBLANCEOF (;IOTrALPLOSIVF .TO
COUGHING.
C4
F .
'!_--
C4
_-_------.-----
C3
-0Isec_-_
cricothyroid
I50pV
44I ---
lateral
I5 0 p V
-_4__.-
-*4
Me-
vocalis
%$NiSSIiSNdH
audio
--
- -
Vowel [a]NO PORTAMENTOPORTAMENTO Subject
FIG. 3:CHANGESOF PITCH WITHAND WITHOUTPORTAMENTO.THEREREALLYISAPORTA-
MENTOINBOTHCASES,BUTONEISSOBRIEF AND ATSUCHALOW VOLUME(ASSEENINTHEAU-
DIOGRAPH) THATITISNOTPERCEIVED.
18THENATSBULLETIN
F. C4C
0Isecond-
cricothyroid1 5 0 V
lateral
WA
*Wft1N(**j
vocalis
audio
--
[u][a][i J
Vowels
JJL
[i]
[I
[U I

Subject V
FIG. 4: Caias OF VOWEL, wnu AND wrrsiou'r CONTROL OF VOLUME. SEE DISCUSSION DS
TEXT. THE ATTEMPT TO HOLD DOWN THE VOLUME OF [a] IN THE R]Glff-HAND GRAPH CAUSES
THEVIBRATO TO DISAPPEAR (SEE PITCH GRAPH AT rop , F0).
C4C4
F 0
i oecon
lateral
sliMy
4 44p1
4]
interarytenoid

__________
audio
Vowel [a] STRAIGHTVIBRATOSubject V
FIG. 5: PRESENCE AND ABSENCE or VIBRATO. VIBRATO CAN BE SEEN IN LATERAL CR1-

COARYTENOID MUSCLE, AS IN ALL OTHER MUSCLES, EXCEPT INTERARYTENOID.

Normal Vibrato FastMarcato Chuckle
Subject R 5.25/second 6-7/second 10-11/second
Subject C 5.75/second 6.25-7.5/second 7.5-9/second
Subject M 5/second
5-6/second 10-10.5/second
Subject V 5/second 6.5-7/second 7.5-8.5/second
TA BLE 1 : RATES OF PULSATION IN VOCAL TONE.
for each accent, at the normal rate of
the vibrato, which in this case is 5/sec.
When the marcato is done entirely by
breath impulses the pitch is more
steady. When the laryngeal muscles
contribute to the marcato, there is a
drop in pitch before each accent. This
is not readily perceptible to the ear,
because it is very brief and there is a
drop in loudness at the same time. In
the rapid marcato, the vibrato is made
to conform to a faster frequency. 7/sec
here. The chuckle is still more rapid.
8/sec.
The same rates apply to melisma, or
florid ornamentation. Ordinary singing
is likely to assume tempi in which the
normal vibrato rate will come out even,
but demands for accelerandi will speed
this up. All four subjects performed
rapid scales and arpeggios in various
ways: as legato as possible, marcato
using abdominally produced breath im-
pulses, and with chuckling technic. It
was assumed that attempting to per-
form the runs in the manner of chuck-
ling could speed them up. This suc-
ceeded in only a few cases, and is
probably used best only for brief orna-
ments, like turns and mordents. Most
of the florid work, including runs from
Handel's "Messiah," were performed at
the fast vibrato rate. Subject C pro-
duced a good trill at 6.5/sec, her fast
marcato frequency.
Vibrato did not appear continuously
in all the muscles, but when it did the
intrinsic all synchronized in this re-
spect. The same was true also of the
extrinsic muscles. At first it appeared
that the idea of diadochokinesis, of an-
tagonistic muscles working alternately
to produce trembling, was not sup-
ported by this study. However, in one
instance, shown in Fig. 7, the electrodes
originally placed in the cncothyroid
slipped out and registered the energy
potentials of the sternohyoid instead.
Diadochokinesis was discovered be-
tween this muscle, which is extrinsic,
and the lateral cricoarytenoid, which is
intrinsic. The vocalis was not very ac-
tive at this moment, but to the extent
that it showed vibrato it synchronized
with the lateral.
A check of vibrati registered in all
the muscles studied showed that while
the energy peaks in the vibrato of the
intrinsic muscles preceded the high
phases of the pitch vibrato, the energy
peaks in the vibrato of the extrinsic
muscles coincided with the high phases
of the pitch vibrato. This behavior was
not completely consistent, but at least
eighty percent of the vibrato peaks con-
formed to this pattern. In other words,
the vibrato of the tone followed the
vibrato of the intrinsic muscles, and
between each two peaks in the vibrato
pattern of the intrinsic muscles there
was a reaction in the form of a vibrato
peak in the extrinsic muscles.
Summary
Four professional singers, two so-
pranos, a tenor, and a bass, participated
in an electromyographic investigation
of the cricothyroid, lateral cricoary-
tenoid, and vocalis muscles. In one
subject the interarytenoid was in-
cluded. Five extrinsic muscles were
also studied.
Scales were performed throughout a
range from C2 to E7 . There were
(roughly) 6 four-octave scales, 75
three-octave scales, 75 two-octave
scales, 150 scales of an octave and a
fourth, 37 5 one-octave scales in various
registers, vowels, and singing technics.
Sustained tones were sung for a va-
riety of purposes. There were over
250 in various registers, 200 swelltones
(messa di voce), 400 using assorted
technics and vowels, 250 brief tones
using different attacks.
In addition 125 florid or melismatic
vocalises were performed. Several voice
[Please turn the page.]
OCTOBER/ 197019
G 3
Fr , '
lateral
vocalis
I
audio
-------)-
STACCATO
D
1-,.
G 3

U Isecond
lateral
vocalis
audio
RAPIDMARCATO
F0 1
I
Isecond
lateralI
irtte rarytenoid
audio
-. ..A
( .1 3
MARCATO
U liecond
I
soav
15IsV
CHUCKLING
0 3
oI second
5OOV
m*-impl,.r.w9.. r E \
S l5OpV
-.-t.. -. - ;
FIG 6: Vious
RATE S OF PUL-
SATION. NOTE
THAT TIME-
SCALE IS DOU-
BLE DTOFACIL-
ITATE COUNTING
OF FRE QUE N-
CIE S. CHUCK-
LING MAYBE
CALLE DANE X-
CE PTIONTOTHE
RULE THAT THE
INTE RARYTE NOID
NE VE RSHOWS
VIBRATO. Acn.i-
ALLY THE RE -
LAXING OF THIS
MUSCLE SE VE R-
ALTIME S PE R
SE CONDIS WHAT
G IVE S THE FE E L-
ING OF ASPI-
RATE S, "HA-us-
HA," ALTHOUG H
BOTHTHE PITCH
G RAPH(F,)AND
THE AUDIOG RAPH
SHOWTHAT
COMPLE TE SE P-
ARATION(AS IN
STACCATO)DOE S
NOT TAKE PLACE .
-----0 I second--
saaJ J v
... .-
I50 ,V
A,
Vowel [a].
RAPIDMARCATOCHUCKLING
A4..
'0
sternohyoid
iav
lateral
vocal is1
.
audio
Vowel [a]Subject C
!-7G 7: DI.thoclIoKlNIsls BLTWI-LNINTRINSIC ANDE XTRINSIC Muscuis. NOTE THAT BOTH
TIME -ANDAMPI ITUDE -SCALE S ARE DOUBLE THOSE OF THE FIRST FIVE FIG URE S. THIS IS TO
MAKE THE VIBRATI E ASIE RTOSE E . Subject C WAS ALTE RNATE LY INHIBITING ANDRE LE ASING
HE RVIBRATO. PLACING AVE RTICAL. STRAIG HT E DG E INTHE G RAPHS WILLSHOWTHAT PE AKS
INTHE STE RNOHYOIDG RAPHCOINCIDE WITHPE AKS INTHE PITCHG RAPH(F0 ). THE Y
COME J UST AFTE RTHE PE AKS INTHE LATE RALCRICOARYTE NOIDG RAPH. PE AKS INTHE
VIBRATOOF INTRINSIC MUSCLE S ALWAYS PRE CE DE PE ARS INTHE PITCH-VIBRATO. THE RE
IS k RI FMISHINTHE VOCALIS G RAPHAT THE BE G INNING OF THE TONE . Ti-us IS ANARTIFACT
OF THE 1-QUIP ME NT ANDDOE S NOT RE PRE SE NT THE BE HAVIOROF THE MUSCLE ,
Subject V
building exercises were sung, over 225
examples. Samples of normal whisper-
ing, stage whispering, and vocal fry
totaled over 125.
Since not more than three muscles
could be studied simultaneously, the
above totals must be assigned over one
half to intrinsic and the balance to
extrinsic investigations.
The most readily observable fact
was synergy in whichall the muscles
showed more or less parallel E MG . The
vibrato appeared at least part of the
time in all muscles, the intrinsic mus-
cles alternating withthe extrinsic in di-
adochokinesis. The interarytenoid was
an exception. It showed no vibrato, and
there was a minimum level of intensity
belowwhichit could not fall if phona-
tion were to continue.DO
RE FE RE NCE S
BASMAJ IAN, I. V., and G . STRcK0: A new
bipolar electrode for electromyography.
J ournal of Applied Physiology, 17, 849,
1962.
FAABORG -ANDE RSON, KNUD: E lectromy-
ographic investigation of intrinsic laryngeal
muscles in humans. Copenhagen, Acta
20
THE NATS BULLE TIN
Physiologica Scandinavica, Vol. 140, Sup.
140, 1957.
HIR.uo, MINORU, JOHN OHALA and TIM
SMITH: Current techniques in obtaining
EMG data. Working Papers in Phonetics,
7, UCLA, Nov. 1967.
HIRAN0, MIN0RU and 101114 OHALA: Use of
hooked-wire electrodes for electromyog-
raphy of the intrinsic laryngeal muscles.
Journal of Speech and Hearing Research
(in press).
HIP.ANo, M., W. VENNARD and I. OHALA;
Regulation of Register, Pitch and Inten-
sity of Voice; an elect romyographic in-
vestigation of intrinsic laryngeal muscles.
Folia Phoniatrica, Vol. 22, No. 1, 1970.
HIR0T0, IKucHIRo, MINoRu HIRANO, Y0RI-
KAZU TOYOGUMI and TAXEMOTO SHIN:
Electromyographic investigation of the in-
trinsic laryngeal muscles related to speech
sounds. Annals of Otology, Rhinology and
Laryngology, 76, No. 4, 861-872, 1967.
HIR0T0, et al. (above): A new method of
placement of a needle electrode in the in-
trinsic laryngeal muscles for electromyog-
raphy. Oto-rhino-laryngology Clinic, Kyo-
to, 55, 499-504, 1962.
lssl-UKI, NoBuinKo: Memoirs of research
center of voice science. Kyoto, Oto-rhino-
laryngology Clinic, 52, 195 9.
KATSUKI, YAsuji: The function of the pho-
natory muscles. Japanese Journal of Phys-
iology, 1, 29-36, 195 0.
VENNARD, WILLIAM, and NoBumKo I5 SHIX I:
Coup de glotte, a misunderstood expres-
sion. THE NATS BULLETIN, Feb. 1964.
This research, the first in a series of dcc-
tromyographic studies, was partially support-
ed by the National Institutes of Health,
United States Department of Health, Educa-
tion, and Welfare. The electromyography
was done at the University of California at
Los Angeles, in the phonetics Laboratory,
presided over by PETERLADEvOGED. Support-
ing aerodynamic studies were carried out at
the Institute of Laryngology and Voice Dis-
orders, HANS VON LEDEN, director, affiliated
with the University of Southern California.
N41NOR11 JIIRANI), M.D., is now in the De-
partment of Otolaryngology, School of Medi-
cine, University of Kurume, Kyushu, Japan.
/l was in the United States on a Fuibright
hange,
performing
research at tire Insti-
uie of Laryngology and Voice Disorders (of-
'i'iated with USC) and at the Phonetics De-
partment, UCLA.
JOHN 011A, PH.D., is now in the De-
partment of Linguistics at the University of
California at Berkeley. He was a graduate
student at UCLA and assisted in the re-
,arch of Dr. Hirano,
after
which he spent
a year at the Research Institute of Logo-
t'eJics and Phoniatrics. School of Medicine,
f',zinersity of Tokyo.
WILLIAM VENNARD, M. M., is a past presi-
dent of NA TS. He is chairman of the Voice
Department of the University of Southern
California and has taught summer sessions
at the Meadow Brook School and the BIos-
rn Festival School.
SEE YOU IN DALLAS
NATS
PLACEMENT
SERVICE
?4'et4 , 1 6 4 e e
_ORSOME TIME NATS members
Jr have requested a placement service
where applicants and institutional rep-
resentatives could be brought together
at the national convention for inter-
views and auditions. We are happy to
announce that such a service will be
available for the first time at the Dallas
Convention this December.
All NATS members interested in lo-
cating a new position and all institu-
tions with openings are urged to regis-
ter with the NATS Placement Service.
All applicant vitae and position de-
scriptions must be filed prior to De-
cember 20, 1970, with WESLEY
ABBOTT, NA TS Placement Service Co-
ordinator, LUTHERCOLLEGE, DE-
CORAH, IOWA 5 2101. Applicant vitae
must also be accompanied by a $10.00
placement service fee.
Institutions with an opening should
submit a copy of the position descrip-
tion normally prepared and distributed
by the institution. It will also be help-
ful to know whether or not the institu-
tion will be represented at the Dallas
Convention by someone prepared to
interview applicants.
NATS members wishing to take ad-
vantage of the placement service
should submit a vita, typed on 8" x
11" paper, one side only. Non-members
must also submit a Membership Appli-
cation Form accompanied by a separate
check covering membership dues.
This vita must contain the following
information in this order [Please write
legibly!]:
1.Name, age, marital status.
2. Address (current and permanent)
including ZIP, phone.
3. When available.
4. Voice, list three representative Se-
lections from repertoire.
5 . Subjects qualified to teach, in order
of preference.
6. Education: List institutions attended,
degrees earned, teachers studied
with. Include dates.
7. Experience: List employers or in-
stitutions, responsibilities or subjects
taught. Include dates.
8. Significant honors and awards.
9. List names, addresses and relation-
ship to you of three or more persons
who could provide letters of refer-
ence and whether or not these letters
are already in some accessable place-
ment tile, like a university placement
service. Do not send references
or
have re
f erences
cent to THE NATS
PLACEMENT SERVICE.
10.Other information pertinent to your
qualifications or type of position
desired.
11.
Are you a NATS Member? If not,
is membership application and check
covering dues enclosed.
12.Are you planning to attend the
Dallas Convention?
At the Dallas Convention, applicants
and institutional representatives will
have access to the information con-
tained in the files. It must be under-
stood that all information pertainiilg to
vacancies supplied to applicants will
be considered confidential. An audition
room with piano will be available.
The success of this long-needed ven-
ture depends upon many things, but
it is especially dependent upon insti-
tutions listing their vacancies with the
service and then sending a representa-
tive to the convention.
Be sure your
school takes advantage of
this ser-
vice.
013
LUNKLEY .....
[Continued front page iS.]
wonderful shops and stores because the
Statler Hilton is downtown only a block
or two from famed Neiman-Marcus
and other special places.
There will be more program delights
announced in coming weeks. VERA
REDGROVE NEILSON, program chair-
man, and her committee from the six
states of the region have worked hard
to find and bring exciting and stimulat-
ing persons for your edification and en-
joyment. The chairmen of the conven-
tion, BRUCE G. LUNKLEY, EDWARD
BAIRD, and JAMES McKINNEY, hope
that you will journey to Dallas and help
make this a big, happy, exciting, and
enriching convention. There is a regis-
tration blank and hotel reservation
form for your use on cover four of this
publication. You are urged to pre-reg-
ister for both the convention and your
hotel accomodations so that your arri-
val in Dallas can be pleasant and quick-
ly handled. You-all come! [Bruce G.
LunklevjDO
OCTOBER/ 1970
21