Voices In Education Research Articles

Flipping the Voice Pedagogy Frame: Background, Foundation, and Framework

Abstract: Most music degrees focus on developing successful performers in lieu of developing proficient voice teachers. While they may take one voice pedagogy course as part of their curriculum, most singers do not receive focused training in educational principles. This article presents (1) a foundation for designing learning objectives using Bloom’s revised taxonomy, (2) a rationale for using a flipped pedagogy model, and (3) case study examples for using these models within a voice pedagogy curriculum. This framework develops and refines both marketable voice teaching abilities and so-called “soft skills” for musicians enrolled in voice pedagogy courses.

Defining Trauma-Aware Voice Pedagogy with Recommendations for Practice

Abstract: There is increasing interest in how to define and practice trauma-informed voice pedagogy. Voice teachers sometimes feel a need to react to trauma-related responses during lessons or to contextualize interactions between trauma experience and voice use, yet clear guidance on defining and implementing trauma-informed voice teaching is not routinely available. This paper includes an overview of trauma-informed practice and discusses implications for voice pedagogy, specifically singing teaching. It offers recommendations for singing teacher practice, with the aim of identifying and underlining teacher responsibilities regarding reasonable and ethical trauma-aware approaches to voice pedagogy.

Reflecting, Rethinking, Revising, and Reframing

Abstract: In this article, associate editor Matthew Hoch offers thoughts on how to reinvigorate one’s teaching, artistry, and scholarship. Many seasoned pedagogues fall into routines that can become uninspired or stagnant if not intentionally revitalized. Conscious efforts to get out of one’s comfort zone through embracing technology, being fully present, and staying up to date on recent scholarship and research can provide a pathway to explore new possibilities. Letting go of perfectionism through positive reframing can also enhance the learning environment. The author concludes with an invitation to follow one’s passion and explore unanswered questions in the field of voice pedagogy.

Singing Voice Teaching and Voice Science: Where is the Meeting Point?

Abstract: Five panelists gathered at the 14th Pan European Voice Conference for a round table session called Voice Science—Do We Need It? Finding Meeting Points Between the Science and the Craft . All were experienced singers, and most were also teachers, with all but one of them a published researcher. Each panelist was tasked with addressing the challenges of aligning two diverse communities of practice: namely, voice science and singing voice pedagogy. This article is a report of the individual perspectives of the panelists along with the session chair’s summary of the presentations and questions from the audience.

Keep it Clean! A New Approach to Imagery in Singing Pedagogy

ABSTRACT As the debate over the place of imagery in scientifically informed singing teaching continues, proponents of imagery-based methods continue to seek strategies for its validation. This article argues that the continued dominance of patriarchal systems and quantitative methods bias in voice pedagogy significantly reduces efforts as they perpetuate a hierarchy of knowledge that neglects the importance of personalized, embodied learning. To address these concerns and improve imagery-use, this article proposes an updated, person-centered approach to imagery based on “Clean Language Coaching.” Aligned with current understandings of personalized, embodied, and experiential learning, a “Clean” approach to imagery necessitates a shift in attitudes surrounding the teacher-student relationship. Such a shift can be achieved by embracing a feminist paradigm for learning that values student knowledge as highly as “expert” knowledge. It is argued that a Clean Language approach to imagery can provide a practical epistemology, leading to a revitalization of traditional imagery strategies through meaningful, personalized experiential learning.

Fat Liberation in the Singing Voice Studio

ABSTRACT In recent years, creating a sense of belonging for marginalized identities within singing voice pedagogy has increased in both visibility and cultural importance. Support and resources on the practice of cultural humility have bolstered the role of social justice in singing voice studios and called attention to the link between affirming students’ identities and their ability to access their fullest artistic expression. However, body size is still often left out of conversations about social justice. If teachers wish to be considered progressive and inclusive, there is a duty to lead the charge for fat liberation within singing voice pedagogy. Through the voices of 66 singers who identify as fat, this article details how anti-fat bias can manifest in the voice studio and identifies common pedagogical practices that have historically failed to serve fat singers. Underpinned by data from 66 interviews, recommendations for dismantling implicit anti-fat bias, working inclusively within the studio and beyond, and advocating for systemic change will be made. The article concludes with specific guidance on how to become a fat liberationist so that students of every body size may find a true sense of belonging in the singing voice studio.

Critical Appraisal of Science-Informed Voice Pedagogy Publications

Abstract: This column proposes a six-question framework to help the voice teacher critically appraise science-informed voice pedagogy publications. The evaluation framework addresses: (1) the Singing-Voice-Production-Chain (SVPC) describing the teacher's possibilities for affecting the student's voice production; (2) descriptive, correlational, and causal types of observations; (3) subjective versus objective information; (4) factual correctness; (5) describing how singing is or how it should be; and (6) usefulness of the information in a teaching situation. This framework will empower the reader to scrutinize the structure and quality of science-informed voice pedagogy texts more deeply, thus helping to move toward evidence-based information.

What Would Barbara Doscher Say?

Abstract: This editor’s commentary considers the legacy of renowned voice pedagogue Barbara Doscher (1922–1996) based on this issue’s “Voice Pedagogy” column in which seventeen former students and colleagues of Doscher reminiscence about the impact of her teaching. The author suggests a thought exercise for voice teachers to begin the new year, as captured in this column’s title.

ВОКАЛЬНАЯ ФОНОПЕДИЯ ЧЕРЕЗ ПРИЗМУ ВОКАЛЬНОЙ ПЕДАГОГИКИ

In their study, the authors consider through the prism of some vocal-pedagogical settings such a relevant interdisciplinary section of medical speech therapy as voice therapy (phonopedic voice pedagogy), namely its subsection — vocal-voice therapy. Relying on serious scientific sources, the authors define the very process of singing phonation as a valuable rehabilitation and preventive resource for voice disorders. The article reveals the modern scientific approach to the interpretation of vocal breathing, in particular, in the context of a differentiated approach to it in relation to speech breathing, since traditionally the basis of voice therapy is the work on correction of phonation breathing. The inverse nature of vocal breathing carries significant correctional potential for the patient during the rehabilitation. The authors consider vocals as an important component of psychotherapeutic influence when working with a patient with impaired voice function. The article also describes two modern Western systems of vocal pedagogical voice training, “Estill Voice Training” (EVT) and “Complete Vocal Technique” (CVT), as a mechanism for rehabilitation effects on the voice. Some recent studies by colleagues in this direction are touched upon.

Beyond Bel Canto: Applications of Contemporary Commercial Music (CCM) Voice Pedagogy in the Secondary Choral Classroom

Bel canto singing style is a foundational cornerstone for vocal technique in choral ensemble classes. Yet there are reasons to question whether bel canto pedagogy alone can help students navigate the many different genres they sing as part of a diverse and balanced curriculum. This article examines the specific performance demands associated with arranged spirituals, global musics, and popular styles and some ways students might benefit from further study of Contemporary Commercial Music (CCM) voice pedagogy when singing such genres in choir. Strategies for enabling students to healthily engage with CCM genres are also recommended.

Physical Touch in the Voice Studio: A Closer Look

Physical touch as a teaching methodology for voice teachers is a subject that must be confronted. The issue is a timely one considering recent social movements that are shedding light on systems of power that lead to abusive practices within society. Furthermore, there is a lack of information and consensus in recently published vocal pedagogy and music education literature regarding the effectiveness of physical touch as a teaching modality. Some voice teachers feel physical touch is necessary for quickly correcting a technical problem, while others feel that physical touch is the only way to demonstrate certain technical concepts. Currently, voice pedagogy literature that advocates for the use of physical touch in a private voice lesson is predominately supported anecdotally rather than by research, and significantly lacks the perspective of the student. The field of motor learning research can be useful in informing voice pedagogy in specific areas of intersection. Additionally, when considering other factors (such as trauma and power dynamics in the voice studio), other equally viable teaching options must be considered. Given the current state of the field of voice pedagogy, it is of the opinion of the author that physical touch as a pedagogical technique in a voice lesson should be abandoned.

Clinical Reasoning in Voice Pedagogy: A Systematic Foundation for Developing Intuition in Novice Voice Teachers

Voice pedagogy literature often draws a parallel between a doctor’s ability to diagnose illness and prescribe treatment and a voice teacher’s ability to identify vocal obstacles and design solutions. The core of these parallel procedures is an ability to utilize critical reasoning skills within highly specific contexts. Medical literature describes this as “clinical reasoning,” and students of medicine study it as a learned and systematic process. In contrast, voice pedagogy literature has traditionally described it as an innate process that is developed through studio experience. This article broadly examines the ways in which medical literature has broken down clinical reasoning into specific cognitive processes and proposes a model through which these processes can be adapted to the needs of developing voice teachers. An emphasis is given to the development of intuition and empathy from teacher to singer, as well as a reexamination of how voice teachers interact with voice literature and research.

Reorganizing the Pillars of Voice Pedagogy: A Tiered Approach to Teaching Voice

Many pedagogy texts and classes are organized around a linear progression: alignment, respiration, phonation/registration, resonance, then articulation. While this organization is easy to understand and implement, it does not inherently account for the complex interrelationships among the various subsystems. This article proposes a conceptual framework that reorganizes some of the key elements of vocal technique into hierarchical tiers. This four-tiered model acknowledges that some concepts are more foundational than others. However, it also recognizes that the elements within the tiers interact in complex ways. Woven throughout each tier is the relationship between technique and expression. Students have reported that this organizational structure has made their practice more efficient and increased their self-efficacy and autonomy as musicians.

The Constitution of Voice Knowledge

The editor in chief considers the fund of knowledge upon which singers draw by first considering how this knowledge is “constituted” (a term coined by author Jonathan Rauch), then how knowledge advances over time via academic writing and adult learning opportunities like the new NATS Science-Informed Voice Pedagogy Institute. She calls for both sides of the pedagogy aisle (science and art) to cross over by echoing cognitive musicologist David Huron’s call to learn as much as possible through effort, and by cognitive scientist Gary Marcus’ example of learning to play a musical instrument as an adult with no previous experience.

Harnessing Machine Learning in Vocal Arts Medicine: A Random Forest Application for "Fach" Classification in Opera.

Vocal arts medicine provides care and prevention strategies for professional voice disorders in performing artists. The issue of correct "Fach" determination depending on the presence of a lyric or dramatic voice structure is of crucial importance for opera singers, as chronic overuse often leads to vocal fold damage. To avoid phonomicrosurgery or prevent a premature career end, our aim is to offer singers an improved, objective fach counseling using digital sound analyses and machine learning procedures. For this purpose, a large database of 2004 sound samples from professional opera singers was compiled. Building on this dataset, we employed a classic ensemble learning method, namely the Random Forest algorithm, to construct an efficient fach classifier. This model was trained to learn from features embedded within the sound samples, subsequently enabling voice classification as either lyric or dramatic. As a result, the developed system can decide with an accuracy of about 80% in most examined voice types whether a sound sample has a lyric or dramatic character. To advance diagnostic tools and health in vocal arts medicine and singing voice pedagogy, further machine learning methods will be applied to find the best and most efficient classification method based on artificial intelligence approaches.

Origins of Theatre Performance and Voice Training in Canada: Consciously Bringing Trauma-Informed Voice into View

ABSTRACT This article highlights the origins of performance training and voice pedagogy in Canada developed, in part, through the work of Michel Saint-Denis and Iris Warren. It further connects the origins of performance voice to the social sciences, highlighting the historical influences that psychodynamic therapeutic approaches have had toward informing somatic voice methodologies and pedagogy. By revisiting one thread within the historic collaboration between these fields, the article encourages actively revisiting cross-disciplinary collaborations to support knowledge-creation; which has the potential to advance both fields and encourage the development of trauma-informed, embodied frameworks to support integrated pedagogies and accessible interventions across disciplines.

What I Did on my Summer Vacation—Go NATS!

Summer 2023 began with the NATS voice pedagogy trip to England that began with a mini-­conference that brought together 110 voice teachers from eight countries. Our tour group visited three music preparatory schools and two music universities. Celebrating the English choral tradition, we heard rehearsals or services at Eton College, St. Paul’s Cathedral, King’s College, Cambridge, and Trinity College, Cambridge. Overlapping the Pedagogy Trip, the NATS Intern Program was held at West Chester University, where five Master Teachers worked with sixteen Interns. Next, the NATS Board gathered in Florida for our annual meeting. In late June, the inaugural NATS Science-Informed Voice Pedagogy Institute was held at Utah State University where clinicians presented a wealth of information to fifty-five attendees. July 7–9, we gathered in San Diego for the Summer Workshop. Sessions focused on a variety of repertoire; in addition, the 2023 NSA Finals were held. In mid-July, the South Africa NATS Chapter held their first conference at Stellenbosch University in Cape Town.

La solita forma: Examining the Musical and Dramatic Structure of bel canto Arias

Classical voice pedagogy is rooted in the principles of bel canto technique. A specific and common aria form associated with the bel canto aesthetic in Italian opera of the first part of the 19th century (the primo ottocento), was the double aria, or cavatina/cabaletta. This form became known as la solita forma, a term defined as “the usual way” to describe a normative practice. This article considers the musical and dramatic structure of la solita forma as embodying the principles of bel canto style (the hallmarks of which are sostenuto and agility) and offers modern singers, teachers, and opera lovers a window into the conventions of primo ottocento opera.

Bookshelf

Debra Greschner reviews three recent publications. Perfect Italian Diction for Singers: An Authoritative Guide by Timothy Cheek and Anna Toccafondi (Lanham, MD: Rowman & Littlefield, 2022) is highly recommended as a guide to achieving accurate Italian lyric diction that is informed by current practice and pedagogy. The text includes an overview of the language and insight into its salient features. Musical Theater Voice Pedagogy: The Art and Science by Christopher Arneson and Kirsten S. Brown (Gahanna, OH: Inside View Press, 2023) provides information to classically trained pedagogues who wish to begin teaching musical theater singers. The book discusses musical theater pedagogy from perspectives of both voice science and artistry. Uniting Music and Poetry in Twentieth-Century Spain by Nelson R. Orringer (Lanham, MD: Lexington Books, 2021) proffers a study of nine pairings of twentieth century Spanish composers and poets.

Singing Redefined

Associate editor Matthew Hoch revisits Walter C. Foster’s 1998 book Singing Redefined, reconsidering its arguments within a twenty-first century context. Hoch uses Foster’s compendium of historical writings on various aspects of voice pedagogy as a starting point for examining the challenging task of defining pedagogic terms and concepts. Hoch argues that published definitions are a product of their era and the endeavor of defining pedagogic concepts is a perpetually moving target that always involves the periodic redefining of terminology as new science emerges and society evolves, recontextualizing our knowledge of the singing voice. The author concludes by speculating on several emerging trends that may inform pedagogic discourse and expand our lexicon moving forward.