Objective:
Anecdotal evidence suggests that some singers find benefit in using the Valsalva ear pressure equalization maneuver during operatic performances. The PI of the current study (IDN) observes a beneficial auditory change following this pressure equalization in his own singing, particularly in his high frequency auditory self-perception. The prevalence of this behavior in other singers, and its potential benefit have not been examined. This qualitative study investigates this practice in high level operatic singers.

Methods:
This study was designed as an exploratory, qualitative, comparative study using semi-structured interviews with twenty operatic singers (Bunch/Chapman taxonomy levels 1-2) who self-report using a Valsalva ear pressure equalization maneuver while performing.

The following research questions will be explored:
• What are some perceived benefits of using the Valsalva maneuver while singing?
• In what settings did the singer feel the need to use this maneuver (practice room, stage, concert hall)?
• How frequently did the singer use the Valsalva?
• Were physical, acoustical or environmental factors involved in necessitating the use of the Vaslava maneuver (physical illness, acoustics of the space, environmental conditions such as humidity or allergens)?

Conclusion:
The researchers hope to further our knowledge of opera singers’ use of the Valsalva ear pressure equalization maneuver. The pedagogical implications of this maneuver and any perceived benefits will be discussed. Future studies may examine the functional basis of the Valsalva ear pressure equalization maneuver, and the many physiological and psychological challenges singers face in performing operatic repertoire.