|†† Good afternoon.† It is a pleasure to be in such
distinguished company.† My friend John
Nix says that there are plenty of you who can talk about analysis window
sizes and flow declination rates, so that I donít have to talk about
them.† Thatís really good, since my
ideas on these topics are very slight.†
What I would like to talk to you about is the practical side of using
the spectrograph in an everyday voice studio.
|†† It was at my first Richard Miller seminar
that I became interested in spectrographic analysis.† At my second one I actually gave up the
afternoon master classes to go and sit in the Otto B. Schoepfle Vocal Arts
Lab until I began to connect what I saw on the spectrograph with what I heard
as a voice teacher.† I ended up
convinced that a spectrograph would be useful in my studio --especially when
working with beginning students who were trying to develop a resonant sound.