1.1.2.aDiagnosis? Rough Seas Ahead
Diagnosis? Rough Seas Ahead
James C. McKinney, in The Diagnosis & Correction of Vocal Faults, draws a powerful parallel between medical and vocal diagnostics. Just as a skilled physician gathers systematic clues—“symptoms, causes, cures”—to uncover an ailment’s root, a voice teacher must do more than notice “something is off.” McKinney points out that “the end purpose of diagnosis is not identification of a disease through its symptoms, but rather is gaining knowledge about the disease and planning proper corrective procedures.” In other words, guessing a fix without understanding why a fault arises leaves the singer vulnerable to repeated problems—much like resetting a faulty phone that never truly gets repaired.
Unfortunately, systemic pressures in music education can push teachers to bypass this crucial diagnostic step in favor of quick fixes, performance metrics, or attention to more advanced singers who already display fewer “symptoms.” Yet the absence of a careful diagnosis is precisely why so many conclude they’re “tone deaf” or remain stuck below their true skill level. Research has established a baseline for most singers’ potential, and it’s clear that both nature and nurture play pivotal roles in anyone’s effort to reach it.
Nature, Nurture, or Both
From a scientific perspective, nature refers to our genetic or biological predispositions—the innate traits affecting our physical, emotional, and intellectual makeup. Nurture describes the impact of learning and other environmental factors on these traits. Debate has long raged about which factor matters more, and the broad consensus is that both contribute.
Our earlier exploration focused on how nurture—environmental influences—shapes every human’s potential for sound-making. Now we turn to nature—the genetic factors that make us who we are. All healthy babies can produce every human speech sound, but they’re not all equally equipped to soar like Cynthia Erivo or Luciano Pavarotti. With basketball, it’s more obvious—height offers a visible clue to who might excel. Singing has no such outward markers.
A Personal Example
My half-brother, Marco, shares half my genetics but differs in striking ways. He’s six foot eight and won an Olympic silver medal in basketball. Meanwhile, I’m five foot eight and definitely not an Olympian. I can dribble a ball, and I’m sure Marco can sing, but those aren’t our strong suits.
When it comes to basketball, I’ve reached my baseline potential: I can dribble, shoot a free throw, and move around the court. Marco, through genetics and committed practice, rose to an elite level.
There’s nothing wrong with being at a baseline—most of us perform many skills at that level. Cooking a meal, biking to class, writing an email, or belting out a tune in the car all rely on basic competence. Some people, however, push well beyond baseline to achieve atypical excellence, whether it’s winning a Michelin Star, competing in the Tour de France, penning bestselling novels, or earning a Grammy. In such cases, nature and nurture often align seamlessly, bringing out world-class mastery—a point underscored by Sir Ken Robinson:
“My point is we all have natural talents. They’re all different, but many people never discover them. And the reason is that natural talent is like natural resources in the earth. It’s often buried beneath the surface. There have to be conditions which bring it up, and you then have to refine and cultivate these resources that you have.”
The Potential Spectrum
Human ability in sports, academics, or singing spans a broad continuum. At one end is a baseline most people can reach with normal exposure and practice. At the other extreme lies elite potential, fueled by genetic advantages and rigorous training. The rest of us develop somewhere in between. Recognizing the line between baseline and elite clarifies that most people can learn to sing, just as they learn to walk, bike, or cook.
In medicine and developmental psychology, milestones help track whether we’re meeting “baseline” human functions—like walking by around 12 months, forming simple sentences by age 2, or reading by age 5 or 6. Similarly, academicstandards measure reading and math at each grade. Day to day, we assume most people can learn to swim, ride a bike, or cook a basic meal if given the chance. Singing is no different: the ability to sustain lyrical tones, match pitch, and repeat a simple melody is attainable for almost everyone. Mastering a Mozart aria or a Sondheim tune is the next level, requiring more targeted training.
Giovanni Saggio and Giovanni Costantini established a scientifically backed baseline with detailed acoustic equations:
$$ \mathrm{HNR}(dB) = 10 \log_{10}\!\bigl(H/N\bigr) = 10 \log_{10} \!\Biggl( \frac{ n \int_{0}^{T} f_{A}^{2}(\tau)\,d\tau }{ \sum_{i=1}^{n} \int_{0}^{T_i} \bigl[f_{i}(\tau) - f_{A}(\tau)\bigr]^{2}\,d\tau } \Biggr). $$
Though most of us never need such advanced formulas, their research confirms:
“The voice is a complex mechanism involving various human systems, organs, and structures, such as the larynx, throat, windpipe, lung, and oral and nasal cavities. The voice is affected by psychological, physiological, and pathological conditions … From a psychological perspective, voice features relate to emotions, depression, or even dishonesty. Physiologically, voice characteristics change with factors like age, gender, body size, body mass, smoking habits, posture, and hormonal status... Pathological conditions can also alter baseline voice features [including] chronic laryngitis, laryngeal cancer or diseases, vocal fold edema, vocal polyps, asthma, neck cancer, endotracheal intubation, laryngeal hydration conditions, and Reinke’s edema.”
Breaking It Down
Multiple Body Systems Working Together
No single organ does it all—it’s a cohesive network of lungs, vocal folds, and the vocal tract.
Psychological Factors
Stress, depression, and anxiety can hold a singer back as much as any physical restriction.
Physiological Influences
Everyone has a baseline shaped by factors like age, gender, posture, and lifestyle choices.
Pathological Conditions
Vocal nodules, laryngitis, and similar issues can derail your voice. Proper diagnosis and treatment can help you reclaim lost potential.
Saggio and Costantini’s data confirm that singing involves the interplay of physiology, psychology, environment, and—when necessary—medical care. Because their formulas are beyond most daily needs, I came up with the unscientific “Bonamico-Baseline”: a human should be able to reproduce a simple melody in a way both they and an unbiased listener find tolerable.
Shoals, Sandbars, & Siren Songs
Notably, the research calls out psychological factors before anything else. In my experience, emotional or mental barriers are the top reason singers operate below their natural baseline—and that’s a real loss. Singing is a core human function, as instinctive as laughter. When someone is cut off from it, the wound runs deep. Any event potent enough to block such a basic expression qualifies as trauma. We can lump these obstacles under “negative stimulus,” which we’ll examine further. After that, we’ll consider how ineffective teaching also harms progress.
Moving Forward
If unresolved emotions or ingrained anxieties are keeping you from your baseline potential, understanding the hidden depth of such trauma is a vital step. We’ll explore what happens when negative experiences or beliefs overshadow your musical instincts—and what you can do to reclaim your innate capacity for joyful sound. Prepare to delve into some of the most pervasive and least acknowledged roadblocks that singers face, and discover practical ways to move beyond them.
Lesson Summary
This lesson explores the importance of proper diagnosis in understanding and overcoming vocal issues, emphasizing that both natural genetics (nature) and environmental factors (nurture) shape a singer’s potential. While everyone can achieve a “baseline” level of singing, psychological barriers often prevent individuals from discovering and refining their innate abilities. By recognizing the interplay of physical, mental, and emotional influences, singers can address obstacles that hold them back from a fuller, more liberated vocal expression.
Diagnosis Matters: Identifying the root cause of vocal problems prevents repetitive quick fixes.
Nature vs. Nurture: Genetic predispositions and environmental influences both contribute to a singer’s range of potential.
Baseline Capability: Almost everyone can achieve a certain functional level; elite skill requires further training and practice.
Psychological Roadblocks: Emotional trauma, stress, and anxiety can stifle natural vocal ability more than physical constraints.
Holistic Perspective: Effective singing involves a blend of physiological, psychological, and environmental factors.
Exercise or Activity: “Identify and Reframe Limiting Beliefs”
Self-Observation: Set aside 10 minutes to think about any moments of self-doubt or negative feedback you’ve received related to your singing. Jot these thoughts or memories down.
Explore the Roots: Next to each note, write any known origins—e.g., “I was criticized by a choir director,” or “I felt judged by classmates.”
Reframe Exercise: For each negative belief, replace it with a constructive statement that acknowledges your innate ability and potential (e.g., “I may be inexperienced, but I’m capable of learning and improving.”).
Vocal Check-In: Hum or sing a simple melody, noticing if your mind reverts to old beliefs. Gently return your focus to the positive statements you wrote down.
Reflect and Discuss: If possible, share your reframed statements with a supportive friend or teacher. Note how addressing these thoughts directly can shift your emotional and physical approach to singing.
