Bibliography- 1960 - 2008

Publications and papers before 2009 about, or
referring to, Lessac Kinesensics

Acker, B. 1987. Vocal Tract Adjustments for the Projected Voice. Journal of Voice
1(1):77-82.

Barrichelo, VM & Behlau, M. 2007. Perceptual Identification and Acoustic Measures of the Resonant Voice based on “Lessac’s Y-Buzz” - A Preliminary Study with Actors. Journal of Voice 21(1):46-53.

Barrichelo-Lindstrom, V & Behlau, M. 2007. Resonant Voice in Acting Students: Effects of the Type of Instruction on Perceptual Voice Analysis. Presented at the Voice Foundation’s 36th Annual Symposium: Care of the Professional Voice31 May, Philadelphia, PA.

Barrichelo, V, Cukier-Blaj, S & Behlau, M. 2007. Contribuicao do Treinamento da
Emissao Y-Buzz de Lessac - Estudo de Caso. Anais do II Encontro do Departamento
de Voz da Sociedade Brasileira de Fonoaudiologia.
 Sao Paulo, SP, Brasil.

Barrichelo, V & Behlau, M. M. 2007. Resonant Voice in Acting Students: Perceptual
and Acoustic Correlates of the Trained Y-Buzz by Lessac. Anais do II Composium
Internacional da IALP (International Association of Logopedics and Phoniatrics). 
Sao
Paulo, SP, Brasil.

Barrichelo, V & Behlau, M. 2006. Voz Ressonte em Atores: Efeito Imediato da
Emissao Y-Buzz de Lessac na Fala Encadeada. Anais do XIV Congresso Brasileiro de
Fonoaudiologia,
 Salvador, BA, Brasil.

Barrichelo, V & Behlau, M. 2005. Identificacao Auditiva e Analise Acustica da Emissao Ressoante “Y-Buzz” de Lessac comparada a emissao habitual – Estudo Preliminar com Atores. Anais do XVIII Congresso Brasileiro de Fonoaudiologia, Santos, SP, Brasil.

Berkely, N. 1973. The crowded Lessac-60-1: A speech program to beat the odds.

Berry, DA, VerdolinI, K, Montequin, DW, Hess, MM, Chang, RW, & Titze, IR.
2001. A Quantitative Output-Cost Ratio in Voice Production. Journal of Speech, Language and Hearing Research 44(1), Feb:29-37.

Bristow, D. 2006. Going beyond Theatre Appreciation: Making the Introduction to
Theatre Course Pertinent to non-majors. Paper presented at the International Conference on the Arts in Society. Scotland: Edinburgh.

Burke, K. 2006. Help for Monticello’s Guides. VASTA Newsletter2(1). 

Carroll, LM. 2000. Application of Singing Techniques for the Treatment of Dysphonia. Otolaryngologic Clinics of North America33(5):1003-1015.

Chabora, PD. 1995. A Descriptive Study of the Application of Research in Neurophysiology to Self-use Training for Actors. Unpublished dissertation. UMI
Dissertation Services.

Clay, J. 1972. Self-Use in Actor Training. The Drama Review: TDR 16(1): 16-22. 

Clay, J. 1968. Speech for the performer: Arthur Lessac’s Revolution. Educational
Theatre Journal.

Connell, MP. 1988. A Comparison Of The Voice Training Techniques of Arthur Lessac and Kristen Linklater. MA Dissertation,Marquette University, Wisconsin.

Day, S. 1975. An experiment in applying the Lessac principals in human voice and
body training to remedial reading. A thesis paper submitted to Department of Theatre. SUNY Binghamton.

Hampton, M & Acker, B (eds). 1997. The Vocal Vision: Views on Voice.New
York: Applause.

Hanson, AM. 1997. An analysis of the Physiological Assumptions in Vocal Instructional Systems for actors.  PhD dissertation. University of Kansas. Lawrence.

Hardie, Y. 2001. Peer-reviewed Article An Outcomes-Based Approach for the Optimal Development of the Adolescent Voice. Voice and Speech Review2(1):186-200.

Hardie, Y. 1999. The Emerging Voice and Outcomes-Based Education: Voice Building at Secondary Level (Grades 8-12). M.Tech, Pretoria Technikon, Pretoria.

Kimbourgh, AM. 2002. The Sounds of Meaning: Theories of Voice in Twentieth
Century Thought and Performance. PhD dissertation. Louisiana State
University, Baton Rouge.

Krebs, N. 2002. Reflection on the Lessac Summer Intensive Workshop 2002. VASTA
Newsletter 
16(2):3.

Kur, B. 1987. Stage Dialect studies: a continuation of the Lessac approach to actor
voice and speech training
. B. Kur.

Kur, B. 2005. Stage Dialect studies: a continuation of the Lessac approach to actor
voice and speech training
. 2nd Ed. B. Kur.

Kur, B. 1999. Lessac Institute Teacher Certification Procedure. VASTA Newsletter
13(2), Spring/Summer:10.

Lemmer, K. 2007. Peer Reviewed Article Accent/Dialect Coaching for a Multilingual Student Cast—A Case Study, Voice and Speech Review 5(1):120-127.

Lessac, A. 2000. Lessac Kinesensics: A Short Treatise of some of its Vocal Life aspects, in Standard Speech and other Contemporary Issues in Professional Voice and
Speech Training, 
edited by R Dal Vera. New York: Applause:91-192.

Lessac, A. 1998. A Short Colloquy of How I Approach Pathological and Functional
Voice and Speech Disorders through my Kinesensic Training and Research. Special Interest Division 3, Voice and Voice Disorders Newsletter 8(1), April:14-16.

Lessac, A. 1997. From Beyond Wilderness to Body Wisdom, Vocal Life and Healthful
Functioning: A Joyous Struggle for our Discipline’s Future, in The Vocal Vision:
Views on Voice 
edited byM Hampton and B Acker. New York: Applause:13-24.

 Lessac, A. 1997. The Use and Training of the Human Voice: A Bio-Dynamic Approach to Vocal Life.Mountain View: Mayfield Publishing.

 Lessac, A. 1981; 1978. The Use and Training of the Human Body. New York: Mayfield Publishing.

 Lessac, A. 1971. The Actor explores - Vocal life on the stage. Paper presented at
AETA (Chicago). Personal Archives.

 Lessac, A. 1970. The Use and Care of the Adolescent Voice. Paper presented at
AETA. Personal Archives.

 Lessac, A. 1969. Voice Training for Actors. Players Magazine.

 Lessac, A. 1969. A new definition of dramatic training. Quarterly Journal of Speech55(2):116-125.

 Lessac, A. 1967. The Use and Training of the Human Voice: A Practical Approach to
Speech and Voice Dynamics.
New York: DBS Publications.

Lessac, A. 1967. A single approach and a euphonic standard in voice and speech training. Paper published by Emerson College.

Lessac, A. 1965. Speech for the actor: An Eclectic Colloquy. Paper presented at
AETA. Personal archives.

Lessac, A. 1962. Your Personal Management – You can Learn To Relax: Supervisory
Management.
 American Management Association.

Lessac, A. 1960. The Use and Training of the Human Voice. Self-Publication.

Lessac, A. 1956. New Ways of Correcting Stuttering. New York Times, April 08, 1956.

Lessac, A. 1954. How you can Cut, Cultivate Foreign Accents. Sunday News, NYC,
October 24, 1954.

Lessac, A. 1947 What dreadful voices you women have. August 6, 1947 New York
Post.

Lessac, A. 1942. On the language as spoken from the stage. June 28, 1942. New York
Times.

Maes, K. 2013. Applying Theories of Learning Styles and Modalities to the Challenges of Coaching. The Voice and Speech Review, Film, Broadcast & e-Media Coaching3:77-79.

Maes, K. 2007. Peer Reviewed Article Examining the Use of Lessac Exploration in Shakespearean Text. The Voice and Speech Review, Voice and Gender5(1):263-272.

Markowitz, S & Lessac, A. 1954. What do you know about Jewish religion, history,
ethics, and culture. 
New York: First Carol.

Marx, D. 1999. Teaching Voice at the Secondary Level – Is it possible? VASTA Newsletter 13(1), Winter:1,3.

Master, S, De Biase, B, Chiari, B & Laukkanen, A-M. 2008. Acoustic and Perceptual
Analyses of Brazilian Male Actors’ and Non-Actors’ Voices: Long-term Average
Spectrum and the “Actor’s Formant”. Journal of Voice 22(2):146-154. 

McAllister-Viel, T. 2007. Casting Perceptions: The Performance of Gender as a Career
Strategy. The Voice and Speech Review, Voice and Gender 5(1):279-223.

McKenney, R. 1986. The Contribution of Arthur Lessac to American Voice and
Speech Pedagogy. Dissertation prospectus submitted to the faculty of the College of
Arts and Sciences, University of Missouri-Columbia.

 Melton, J. 1999. Common Denominators – Speaking and Singing. VASTA Newsletter.
13(1), Winter:11.

Mulholland, M. 1984. Speech Training for Actors in the Twentieth Century America:
change and continuity. PhD dissertation: University Microfilms International, Washington.
Munro, M & Wissing, D. 2007. Testing the Use of Lessac’s Tonal NRG as a Voice
Building Tool for Female Students at a South African University – A Perceptual
Study. Voice and Speech Review, Voice and Gender 5(1):333-342.

Munro, M. & Coetzee, M-H. 2005. The Lessac Approach as a Pedagogical Answer to
Outcomes-Based Education and Training, and Whole-Brain Learning. Voice and
Speech Review: Shakespeare Around the Globe and other contemporary issues in professional
voice and speech training 
4(1):186 -191.

Munro, M. & Coetzee, M-H. 2004. Lessac Approach as answer to outcomes-based
education and training and whole-brain learning. Lessac Newsletter. Lessac Training
& Research Institute, Inc. 1(2), May.

Munro, M. 2002. Lessac’s Tonal action in Women’s voices and the “Actor’s Formant”: A Comparative Study. PhD dissertation. PU for CHE, South Africa, Potchefstroom.

Munro, M. 2001. Towards demystifying Voice-Building in the New Millennium. South African Theatre Journal. 15(1): 107-118.

Munro, M & Laukkannen, A-M. 2001. On The Effects of Lessac Method On Female
Voices: Preliminary observations. Poster presented at PEVOC, Stockholm.

Munro, M & Wissing, D. 1999. Teaching Voice in a Multi-Lingual Set-up: Some
ideas for the Future. VASTA Newsletter 13(2), Spring/Summer:1.

Munro, M, Leino, T & Wissing, D. 1997. Lessac’s Y-Buzz as a Pedagogical Tool in the
Teaching of the Projection of an Actor’s Voice. South African Tydskrif. Taalk. Suppl. 34: 25-36.

Munro, M. 1999. The Lessac Institute gets ready for the new Millennium. VASTA
Newsletter 
13(2), Spring/Summer: 10.

Nix, JP & Simpson, CB. 2007. Semi-occluded vocal tract postures and their application in the singing voice studio. The Journal of the Acoustical Society of America121(5), May:3087-3087.

Park, S. 1997. Voice as a Source of Creativity f Acting Training, Rehearsal, and Performance, in The Vocal Vision: Views on Voice edited by M Hampton & B Acker, B.
New York: Applause: 107-119.

Park, S. 1996. The voice as a major source of creativity. Paper. Personal Archives.

Park, S. 1995. Lessac Voice and Body Energies as Acting Training. Paper. Personal
Archives.

Peterson, KL, Verdolini-Marston, K, Barkmeier, JM & Hoffman, HT. 1994. Comparison of aerodynamic and electroglottographic parameters in evaluating clinically relevant voicing patterns. Ann Otol Rhinol Laryngol103(5 Pt 1):335-346.

Raphael, B. 1997. A Consumer’s Guide to Voice and Speech Training, in Vocal Vision:
Views on Voice 
edited by M Hampton & B Acker, B. New York: Applause Books:203-214.

Raphael, B. 2001. Stage Violence: Greater than the sum of the parts. In: The Voice
and Speech Review, The Voice in Violence 
2(1):22-29.

Raphael, B. 2005. A Voice for Owen Meany. In: The Voice and Speech Review,
Shakespeare Around the Globe:
167-169.

Raphael, B & Scherer, R. 1987. Voice modification for stage actors: Acoustic analysis.
Journal of Voice 1:183-187.

Readerson, J. 1973. An analysis by comparison of portions of the Lessac system of
voice and speech with principals of singing pedagogy. (Dissertation).

Robbins, C. 2001. Lessac’s Last Summer. VASTA Newsletter 15(1), Winter:1.

Robbins, C. 2002. Why Buzz? Putting Lessac’s Y-buzz to work. VASTA Newsletter.
16(1):6.

Robbins, C. 2007. Training the Trainers – A Review of the leading programs for training voice trainers: The Lessac Voice, Speech & Body Work. TheVoice and Speech Review, Voice and Gender: 59-60.

Romanov, P. 1994. Training Opportunities for Voice Professionals: Lessac Workshop.
VASTA Newsletter8(1), Winter: 6-7.

Runk Mennen, D. 1998. Arthur Lessac: 1998 ATHE. VASTA Newsletter12(3), Fall:7.

Smith, C, Finnegan, E & Karnell, M. 2005. Resonant Voice: Spectral and Nasoendoscopic Analysis. Journal of Voice 19(4):607-622.

Sonnerberg, L. 2005. A therapeutic approach for improved vocal performance in individuals in teaching occupations. Unpublished MA Thesis. University of North Carolina: Greensboro

Spivey, N. 2008. Music theater singing…let’s talk. Part 1: on the relationship between
speech and singing. Journal of Singing 64(4),March/Apr.

Stern, D. 1979. Understanding voice quality by understanding voice function. Theatre
News 
11:14-16.

Tabish, D. R. 1995. Kinesthetic Engagement Technique: Theories and Practices for
Training the Actor. Unpublished dissertation. UMI Dissertation services.

 Tobolski, E. 2003. Coaching the Television Journalist. The Voice and Speech Review,
The Voice in Violence:
126-129.

Truce, G. 1971. Kinesensics education: The effect on long-distance running. Dissertation submitted to SUNY at Binghamton.

Utterback, A.S. 1997. Broadcaster Stress: A Chronic Problem. VASTA Newsletter
11(3):4.

Verdolini, K. 1998. Professional Voice Corner: Introductory Comments. In: Special
Interest Division 3, Voice and Voice Disorders Newsletter 
8(1), April.

Verdolini, K. 1997. Principles of skill acquisition: Implication for Voice Training, in The Vocal Vision: Views on Voice edited by M Hampton and B Acker. New York: Applause:65-80.

Verdolini K. 1993. Voice therapy and its effectiveness: overview of newsletter and special challenges in formal research. American Speech-Language-Hearing Special Interest Divisions Newsletter: Voice and Voice disorders3:1-4.

Verdolini-Marston, K, Burke, MD, Lessac, A, Glaze L & Caldwell, E. 1995. A preliminary study on two methods of treatment for laryngeal nodules. Journal of Voice 9:74-85.

Verdolini, K, Druker, DG, Palmer, PM & Samawi, H. 1998. Laryngeal Adduction in
Resonant Voice. Journal of Voice 12(3):315-327.

White, K. 1973. The Lessac system of vocal exploration: an approach to Arthur
Kopits’ Chamber Music through creative improvisation.

White, J. 1976. Notable Names in the American Theatre.

Wren, C. 1999. The Complete Lessac. American Theatre 6(1):40