latively recently, the technology has been too expensive and therefore unavailable to anyone except those working in extremely well equipped laboratories. Nair (1997) pointed out that some teachers, such as Richard Miller at Oberlin, have had the luxury of budgets permitting the purchase of spectrographic equipment in his voice studio. Others, however, have only observed the results of voice training augmented by the spectrogram.
Teaching the aspiring singer to control his or her vocal productions, to manage the breath, and to "listen" to his or her own vocalizations are part of the educational process (Moore, 1992). For some time, vocal instructors and coaches have been aware that the new electronic or computerized technologies have a role to play in this process (Moore, 1992). William McIver (1992), for example, wrote almost a decade ago that teaching voice culture is a complicated activity that has as many approaches as there are teachers. McIver says these approaches can be classified into two general
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