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The article examines the often-overlooked skill of vocal agility in modern voice training, advocating for its development through targeted practice rather than relying solely on innate talent. Topics include the pedagogical approaches of historic and contemporary voice teachers, techniques for improving chromatic runs and staccato articulation, and methods for enhancing vocal turns and grupetti.

The article explores the intersection of voice science and singing voice pedagogy, reporting on a round table session that addressed the integration of these two fields. Topics include the challenges of merging scientific research with teaching practices, the impact of voice science on pedagogy, and the need for a common vocabulary between scientists and teachers.

The article examines the challenges and strategies for teaching contemporary commercial vocal styles, emphasizing the importance of adapting to each singer's unique vocal qualities. Topics include the necessity of student-centered teaching, the need for flexible and clear assessment practices, and the importance of balancing technical adjustments with stylistic authenticity.

The article offers strategies for teachers to make the most of the back-to-school season by refreshing their teaching materials and practices to avoid burnout. Topics include updating repertoire and textbooks, leveraging auxiliary resources, and prioritizing personal well-being to enhance teaching effectiveness.

While research is emerging on how the emotional state of voice users can impact voice quality and production, the emotion of shame has been underrepresented in that research. This paper examines what research currently exists regarding shame and offers future directions for future research in this area. [ABSTRACT FROM AUTHOR]

For decades, the benefits of semi-occluded vocal tract exercises (SOVTEs) in voice training and rehabilitation have been extolled, most especially how SOVTEs impact phonation. However, a second important, yet neglected aspect of SOVTEs identified in numerous research studies is how they affect the shape of the vocal tract. This article highlights how SOVTEs can passively expand the airway, alleviating unintended constrictions, freeing singers from attempting to "open the throat" through direct muscular activation. This expansion can serve as a vocal tract "reset," allowing singers to selectively shape the vocal tract, facilitatating the wide-narrow contrasts needed for singing in a variety of musical genres. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Registration in singing has long been considered to have its basis in adjustments of the intrinsic laryngeal musculature, but most pedagogues also agree that there is an acoustic or resonance component to the production or perception of vocal registers. Shifts in thinking about register adjustment may have led some pedagogues to concentrate on resonance adjustments to produce a particular quality, sometimes without adequate attention to balanced muscle use. This article provides some context for pedagogic consideration of pitch/register adjustment and examples of what can happen if muscular balance is not optimized in singing training for all genres. [ABSTRACT FROM AUTHOR]

An issue that voice teachers face, particularly in the early stages of their career or when encountering a unique compositional style, is determining the difficulty level of a song. Various voice pedagogues have developed grading rubrics to guide teachers in making informed repertoire decisions. Two small comparative studies of six grading rubrics were conducted in order to understand how songs are currently evaluated, what criteria are used, what the challenges are for assessing difficulty, and to determine whether or not there should be a standardized grading rubric. The utility of tailoring a rubric to a specific composer or genre is also considered. [ABSTRACT FROM AUTHOR]

Eighteenth-century vocal literature abounds with trills, so approaching this skill methodically is advised. This article includes a literature review of four eighteenth-century vocal treatises (Tosi, Agricola, Mancini, Hiller), which agree about the importance of mastering the trill, but neglect practical suggestions about how to develop it. Four nineteenth-century vocal methods (Vaccai, Panofka, Lütgen, Marchesi) are discussed, including plans for how to practice the trill. Mozart's opera Così fan tutte is utilized as a case study in the synthesis of vocal treatises and vocal method books. Musical examples from each role are complemented with links to recordings of well-produced trills. [ABSTRACT FROM AUTHOR]

This article considers the many ways that musical partners can encourage and empower partnership in the form of joint musical expression. Examining, unpacking and living within the text--its words and punctuation, origins, emotion and subtext--is a very accessible, discussion-provoking, and effective way to nurture that sought-after shared sense of ownership of a particular piece of music. Through exploration of structure, meaning, and timing, teams can unleash the expressive potential of their unified musical voices. [ABSTRACT FROM AUTHOR]

In 1907--1908, the Ladies Home Journal published a series of articles in which people could send questions to the famous voice teacher Mathilda Marchesi (1821--1913) to be answered in print. These articles are a rare glimpse at first-person, uninterpreted information. To the author's knowledge, this collection of articles had not been previously republished in its entirety until this three-part series within Provenance, of which this installment--containing an exercise designed to train the trill--is the final one. [ABSTRACT FROM AUTHOR]

Singers are unique among musicians because their instrument is their body. Undergraduate singers studying at Ontario universities participated in a study investigating the effectiveness of Body Mapping education for undergraduate-level voice students, in the belief that an understanding of the body aids a deeper understanding of singing, leading to enhanced performances, heightened personal discoveries, and reduced instances of injury. This article describes key findings of the study, including students' experiences of greater ease and improved vocal function following Body Mapping, while panelists' bias and their ability to rate students objectively was also observed. The article ends with the author's observations of lessons learned as a new researcher. [ABSTRACT FROM AUTHOR]

The phrase trauma-informed has gained popularity in the singing voice community, especially since the outbreak of COVID-19. Although it is a critical area of education and research, there can be a lack of consensus on its definition, and how we can responsibly integrate trauma-informed principles into voice education. In this article, the authors touch on the definition, effects, and statistics of trauma and on principles of trauma-informed practices. Additionally, the authors offer suggested guidelines to be supportive in the potential presence of trauma-related reactivity, but in a manner that is completely within the scope of the voice specialist. [ABSTRACT FROM AUTHOR]

This article is the second part of a two-part series examining so-called "fatal flaws" in voice science, with an emphasis on qualitative studies. This type of research looks for evidence to explore real-world phenomena, and asks questions like, "why?" or "I wonder what, or how?" The most common errors noted in qualitative studies include researchers' overestimation of their expertise, failure to practice intellectual humility, failure to control for researcher bias, and privileging the "expert in the room" rather than participants' perspectives. Interview protocols are examined, including a common method for ensuring trustworthiness called "member checking." Recommendations for avoiding common errors in survey research, both qualitative and quantitative, are discussed. [ABSTRACT FROM AUTHOR]

In 1907--1908, the Ladies Home Journal published a series of articles in which people could send questions to the famous voice teacher Mathilda Marchesi (1821--1913) to be answered in print. These articles are a rare glimpse at first-person, uninterpreted information. To the author's knowledge, this collection of articles had not been previously re-published in its entirety until this three-part series within Provenance, of which this installment is Part Two. While Marchesi fields a range of questions, a persistent theme in this installment involves the appropriate age to begin serious study of voice, as well as Marchesi's opinion of diaphragmatic, "lateral" and clavicular breathing. [ABSTRACT FROM AUTHOR]

Author Justin John Moniz addresses the evolving demands of operatic, musical theatre, and popular styles of singing, and the need for active recovery both during and after vocal activities. A discussion surrounding rate of perceived exertion as it relates to a singer's heart rate, breath rate, sweating, and fatigue, provides the framework for self-assessment principles which serve as tools to assist in cultivating longevity and success. [ABSTRACT FROM AUTHOR]

Performing a research project which explores aspects of singing voice production can be a very rewarding endeavor or a very frustrating one, since high-quality research requires great care in the design and execution of the experimental protocol. In this article and the subsequent one, the authors address readers who seek to perform scientific studies on the voice. We discuss certain standards that need to be met for the results to be meaningful, including the types of equipment used to make measurements as well as their calibration, the control of experimental variables, issues concerning the subjects and subject populations, the experimental tasks the subjects perform, and statistical power. We present this in the form of "fatal flaws" to avoid in doing an experiment. [ABSTRACT FROM AUTHOR]

This column includes reviews of a four-volume opera anthology series organized by voice type (soprano, mezzo, tenor and baritone), by American composer Jake Heggie. Also reviewed are art song settings of the poetry of Harlem Renaissance poet Langston Hughes: "Dream Variations" by American composer Mark Carlson, and "Three Dream Portraits and Three Original Songs" by Margaret Bonds; the latter appears in an edition by scholar Louise Toppin. [ABSTRACT FROM AUTHOR]

In this article, some theories about who could have been the first singer are considered. [ABSTRACT FROM AUTHOR]

Associate editor Justin John Moniz discusses how investigative listening can support effective teaching practices in the voice studio setting. An emphasis is placed upon the processes surrounding the diagnosis and correction of vocal faults, communicating corrective solutions, and student self-regulation. [ABSTRACT FROM AUTHOR]

Inhaled corticosteroids are used commonly to treat asthma, and occasionally to treat other conditions. Inhaled steroids can have adverse effects on the vocal folds and voice. Some formulations are less problematic than others. Singers and singing teachers should be familiar with inhaled steroid medications, their potential adverse effects, and with treatment options. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

This column will help the voice teacher better understand and evaluate voice research publications. Three main topics are discussed: 1) the basic structure of a scientific paper, 2) a method for quickly reading and understanding scientific papers, and 3) a method for evaluating voice science publications. A fictious ChatGPT-generated study is critiqued with the authors' method. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The theme of World Voice Day 2024 is "Resonate, Educate, Celebrate!" NATS members are urged to celebrate the transformative power of singing through concerts and campaigns to raise awareness of the importance of singing and advocate for vocal diversity on Tuesday, April 16. Performers and teachers can broaden repertoire choices, incorporating varied musical traditions, new, and underrepresented voices, and suggests a "Giving Tuesday." In preparation for NATS' 80th anniversary and the upcoming NATS National Conference, NATS announces its partnership with the non-profit organization SocialOffset. [ABSTRACT FROM AUTHOR]

Benign vocal fold masses are seen commonly in amateur and professional voice users. Data shows that patients presenting with similar benign vocal fold masses are treated with different modalities at different rates based on their gender identity and patient preference. Professional and amateur voice users are also found to have different rates of treatment. Singing teachers have unique longitudinal relationships with their students. Knowledge of the effects of benign focal fold masses on the voice and glottic function along with treatment modalities can help singing teachers provide extra surveillance to students who may be at risk of suboptimal treatment. This article focuses on benign vocal fold mass classification, causes, symptoms, medical diagnosis, and treatment relevant to singing teachers with respect to the patient's gender. Professional voice use is discussed as a potentially confounding factor to seeking treatment of benign vocal fold masses in the context of gender differences. [ABSTRACT FROM AUTHOR]

This second article of the "Time Spent" series examines the eight-hour workday and considers its potential usefulness or applicability to studio voice teaching. The article explores the origin of the eight-hour workday and provides perspectives on how effective (or ineffective) it is in other fields, especially for those considered to be "knowledge workers." It then presents alternative models to the eight-hour workday, including advocacy for shorter overall hours of work each day or interspersed periods of rest throughout the workday. Finally, the article offers suggestions for voice teachers as to how they may adjust their schedules to bring more focus and energy to a full day of teaching. [ABSTRACT FROM AUTHOR]

The author discusses how teachers might utilize efficient pedagogic practices to assist singers in optimizing vocal function. Through a systematic approach to versatility training, the author addresses practices that support increased levels of vocal efficiency and sustainability. [ABSTRACT FROM AUTHOR]

Marijuana is derived from the cannabis sativa plant originating in central and southeast Asia. In recent years, there was increasing popularity and use of marijuana in addition to the legalization of its recreational use in parts of the United States. Singing teachers should be fam iliar with the voice effects of marijuana so that they may counsel students about marijuana usage. The authors sent a web-based questionnaire to adult voice center patients. The survey was designed to collect relevant demographic data, past laryngeal history, marijuana use history, and beliefs about effects of marijuana on voice. Those who used marijuana reported voice symptoms that they attributed to marijuana use, including hoarseness, breathiness and weakness. Smoking marijuana may cause immediate and long-term voice dysfunction. No positive changes to the voice have been identified. Further research is necessary to evaluate changes to the voice and safety of marijuana use, but voice teachers should be aware of the common adverse effects. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Traditionally, music has been viewed as the quintessential non-visual art. In past centuries, a handful of blind individuals became renowned composers, singers, or organists. In fact, popular culture helped form a rather inaccurate relationship between blindness and music to the extent that visually impaired people are often expected to excel by default in the musical arts. In some cultures, parents tend to automatically choose music as their blind child's ideal vocation. As a totally blind professional singer and voice pedagogue herself, the author has evaluated a significant number of young, visually impaired vocalists who seemed unable to use their voices as reliable instruments. Researchers have found that blindness affects the developmental stages of a person with regard to posture, gross motor skills, and muscle development and coordination.1 As a voice instructor, the author finds that visually impaired youths whose developmental stages have deviated from the norm must follow a specially designed curriculum in order to effectively learn the psycho-motor aspects of vocal technique. The goal of this article is to illuminate a path that voice teachers may follow to ensure that their blind students can maintain healthy voices and engage in rewarding singing. [ABSTRACT FROM AUTHOR]

The article focuses on a conversation with James Maddalena, discussing the difference between live recordings and studio recordings in terms of performance and manipulation of sound. Topics include breath management in singing, the challenges of teaching voice, and Maddalena's interest in acting and the symphonic repertoire.

The article focuses on the coordination of articulator movements in the motor cortex. Topics include the complex motor behavior of singing, precise control and timing required for sound production, the role of the sensorimotor cortex in pitch processing and motor control, and the influence of language on articulator positioning.

The article focuses on Dutch lyric diction and the lack of literature on the topic. It discusses the reasons why Dutch composers often choose languages other than Dutch for their musical compositions. It also explores the challenges of Dutch pronunciation and the presence of various dialects within the Netherlands and Belgium.

The article focuses on the perception versus physiology of the tongue in voice pedagogy and explores historical perspectives from influential voice pedagogues, such as Manuel García II, Lilli Lehmann, William Vennard, D. Ralph Appelman, Richard Miller, and Peter Ladefoged.

The article discusses transformative experience of pregnancy for singers and highlights the lack of documentation on how pregnancy impacts singing with topics including the hormonal, emotional and personal changes, as well as the effects on vocal health and career choices.

The article discusses The Met Opera on Demand has become the industry leader of its kind by offering a user-friendly service with high technical quality and a vast archive. However, there have been recent concerns that its principles have shifted as the rate at which new broadcasts are being added to the service has almost slowed to a halt, with frustrating omissions remaining unaddressed.

The article discusses the diagnosis and treatment of two patients with voice disorders. The first patient, a man with a high, naturally tenor voice, suffered from cramping of the chords and throat on generating tone, which was treated by teaching him to relax his tongue, jaw, and neck and to assume the "smiling eye" position while inhaling and exhaling to secure poise of larynx. The second patient, a university student with a strong, robust health.

The article titled "World Voice Day and the Pedagogic Community: Retrospection, Reflection, and Reassessment" discusses the history of World Voice Day and its development from National Voice Week in Brazil to an internationally recognized day. The article also addresses the lack of centralized information and resources on the day and offers thoughts for voice pedagogues looking to observe the occasion.

The article discusses American composer John Musto's cycle of five songs titled "Viva Sweet Love," which sets poetry by E.E. Cummings and James Laughlin and explores love in its various forms. The article provides biographical information on Musto, as well as details on his compositional style, technical considerations for performers, and analyses of the cycle's songs.

The article offers The study "Examining How Voice Teachers Influence Student Achievement" investigates different attributes and characteristics of expert voice teachers—background, experience, empathy, and leadership—specifically in relation to their influence on student success. The research focuses on classical and music theater voice teachers as the overlap in their pedagogic roots makes them optimal for comparative analysis.

The article argues that student pianists should be given academic credit, instead of monetary compensation, for serving as studio accompanists in academic institutions. It also recommends offering an Introduction to Accompanying course to eager and technically proficient students interested in collaborative skills, as it can be valuable for developing their musicianship and ensemble skills.

The article discusses the intricate behaviors of the glottis and how the brain controls it. It mentions the recent research which differentiates the functional differences of the ventral and dorsal laryngeal motor cortexes, which can facilitate targeted pedagogic approaches in singing, education and speech therapy.

The author discusses her experience as a voice teacher, who fell in love with teaching voice and has been teaching for 21 years. She emphasizes the importance of performing to keep her voice fresh and provide real-world stories to her students while addressing the physical and financial challenges of being a freelance singer.

The article discusses the importance of understanding the components of the human voice, including vocal fold masses, to improve singing teaching techniques and recognize unhealthy voice. It mentions the causes and treatment of vocal fold masses, including nodules, polyps, and other pathologies, which can impair vocal fold closure during phonation and result in excess air egress. It also mentions that Singers and their teachers should be aware of the potential hazards of nonvocal performance.