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VOICEPrints Volume 16, Number 1 JOURNAL OF THE NEW YORK SINGING TEACHERS’ ASSOCIATION September--October 2018

TABLE OF CONTENTS Season Opening Event: Master Class with Soprano Jennifer Rowley...... 1 President’s and Editor’s Messages...... 2--6 2018--2019 Events Calendar...... 7 Call for Singers...... 8 NYSTA Professional Development Program...... 8 Feature Article: The Voice Teacher as Advocate: Making a Case for Arts Integration, by Nathan Krueger...... 9--11 Feature Article: Singing For A New World: How Voice Can Save The Culture, by John Nix, Lynn Helding, Erin Guinup, Constanza Roeder, and Allen Henderson...... 12--15 Book Review by Susan Williams: Performance Anxiety Strategies...... 16--18 Book Review by Chadley Ballantyne: Kinesthetic Voice Pedagogy...... 19--22 NYSTA New Members 2018...... 23-24

Season Opening Event & Reception JOSEPHINE MONGIARDO GREAT COACHES SERIES Master Class with Soprano Jennifer Rowley (Appearing courtesy The Metropolitan Opera) Sunday, October 14, 2018 4:00-6:00 PM EDT Marc Scorca Hall at National Opera Center, 330 Seventh Avenue, NYC Free for NYSTA members, students, and guests. Donations welcome. © Famous Studios Four singers will be selected to present two operatic arias for Ms. Rowley. See Call for Singers (page 8) for application information. Soprano Jennifer Rowley is acclaimed worldwide for her unforgettable voice and remarkable stage presence. Her triumphant Metropolitan Opera role debut in Alfano’s Cyrano de Bergerac inspired universal critical praise. This fall she will appear at the Met as Tosca and Adriana Lecouvreur. In recent seasons, Ms. Rowley has also sung at the Royal Opera House/Covent Garden, Teatro Colón, Norwegian National Opera, Savonlinna Festival, Opéra de Lille, Théâtre de Caen, West Australian Opera, the Grand Théâtre de Luxembourg, and Opera Hong Kong. In the US, the soprano has enjoyed notable successes with the New York City Opera, Cleveland Opera, Toledo Opera, New Orleans Opera, and at Spoleto Festival USA, Caramoor Music Festival, and Carnegie Hall. This summer she starred in the title role of Mayr’s Medea in Corinto in New York. The highly decorated soprano has been recognized by many international voice competitions. She holds a master of music degree from the Indiana University’s Jacobs School of Music and a bachelor of music degree from the Baldwin Wallace College Conservatory of Music. She holds a certificate of performance achievement from the Instituto Superior del Arte of the Teatro Colón, and was a Max Kade Scholar at Middlebury College’s German for Singers program.

1 Vol. 16, no. 1, September--October 2018 © NYSTA PRESIDENT’S MESSAGE Voice Pedagogy: Celebrating the Past with One Eye Fixed Firmly on the Future

In May 2018, I had the privilege of attending a symposium at the University of Southern California entitled “The Art and Science of Great Teaching: Celebrating the Legacy of William Vennard.” As we complete the second decade of the twenty-first century, we cannot take for granted that younger teachers of singing are familiar with Vennard and his work. Older generations (including mine) certain- ly are: the 1967 enlarged edition of his Singing: The Mechanism and the Technic was virtually unrivaled as the standard voice pedagogy Matthew Hoch textbook in university classrooms for two decades, until it was replaced in many circles by Richard Miller’s The Structure of Singing in 1986. Vennard’s legacy looms large, and his treatise became a foundation for much of what came after it in the modern “fact- based” era of voice pedagogy. NYSTA’s Oren Lathrop Brown Pro- fessional Development Program is firmly grounded in the scientific voice principles for which Vennard so passionately advocated. For those (perhaps younger) readers who are less familiar with Vennard and his work, I think it is worth it to take a few paragraphs to introduce Vennard and discuss his career and important contributions to voice pedagogy. 1 1 Portions of this message draw William Durham Vennard was born on January 31, 1909, in Normal, from an article that I recently Illinois. He earned his first undergraduate degree in English at published in Voice and Speech Taylor University in Upland, Indiana, in 1930. He later became Review—“The Legacy of William interested in music (and singing opera in particular), and he earned Vennard and D. Ralph Appel- a bachelor’s degree in vocal performance from Northwestern Uni- man and Their Influence on versity in 1941 and a master’s degree in vocal performance from the Singing Voice Pedagogy: American Conservatory in Chicago in 1943. After several years of Reflections after 50 Years (1967– freelance work and part-time teaching, Vennard joined the faculty of the University of Southern California in 1946. He became chair of 2017)” (volume 11, no. 3, 2017). the voice department at USC in 1950, a position that he held until his death on January 10, 1971, in Los Angeles, California. In addition to being a successful singing teacher and academic, Ven- nard was also extremely active in professional organizations, particularly the National Association of Teachers of Singing, an organization which he served as president from 1964 to 1966. In a lengthy tribute in the February/March 1971 issue of the NATS Bulletin, Karl Trump wrote: The Art and Science [Vennard’s] work as a teacher of singing and vocal pedagogy, his of Great Teaching authorship of an unsurpassed book on the singing voice and of Celebrating the Legacy of numerous articles in the NATS Bulletin and other scholarly jour- WILLIAM nals, his interest in and his unique contribution to scientific re- VENNARD Friday, May 18, 2018 search on the vocal mechanism as it applied to singing, and his University of Southern California many appearances as lecturer and clinician all contributed to his

2 Vol. 16, no. 1, September--October 2018 © NYSTA reputation both in America and wherever singing is studied abroad. Each of us in NATS should grieve at the passing of William Vennard. For if ever one man embodied all that is best in our profession and in our organization, he was that man. 2 2 “In Memoriam: William D. Vennard, 1909–1971,” NATS Although Singing: The Mechanism and the Technic will always be Ven- Bulletin 27, no. 3 (1971), 1. nard’s primary legacy, he also collaborated with director Janwillem van den Berg (1920–1985) on the film entitled Voice Production: The Vibrating Larynx, which won several awards in Europe. He was awarded an honorary doctorate from Pepperdine University in 1970 for his contributions to singing and voice science. The symposium at the University of Southern California celebrated not only Vennard’s contributions to our field, but also acknow- ledged the inauguration of the Vennard Collection: a new archive of Vennard’s personal writings, research files, and memorabilia. It was fascinating to browse through these materials, which were on display for all symposium attendees to examine during intervals between sessions. Keynote speakers at the symposium included Stephen F. Austin, Kenneth Bozeman, Thomas F. Cleveland, Cindy Dewey, Lynn Helding, Scott McCoy, and Kari Ragan, all of whom presented lectures on various pedagogic topics. While all of these speakers offered fascinating insights into twenty- first-century voice pedagogy, perhaps the most forward looking were the lectures by Helding and Ragan. Helding presented a ses- sion entitled “The Missing Mind: The Third Pillar of Voice Peda- gogy.” In it, she convincingly argued that singing voice research over the past several decades has focused overwhelmingly on biomechanics and acoustic theory, but the brain’s role in singing— including topics such as cognition, perception, procedural learning, neuroplasticity, and motor learning theory—has been a largely neglected aspect of voice pedagogy. Ragan proposed a dynamic new approach to the intersection of the interdisciplinary “voice team”—a term for the triumvirate core group consisting of the singing teacher, speech-language pathologist, and otolaryngolo- gist—which she labels “Evidence-Based Voice Pedagogy.” The inter- William DurhamVennard (1909-1971) disciplinary nature of our field has never been more front and center. At the conclusion of the Friday symposium, forty pedagogues from institutions across North America remained for an additional two days to discuss voice pedagogy curricula with the goal of produ- cing a white paper that would chart a course for the future. Through breakout sessions, small and large-group discussions, and compromise, the following six questions were examined: Question 1: Why Do We Teach Pedagogy? Question 2: What Skills Are [Should Be] Possessed by the Ideal Singing Teacher? Question 3: What Skills Are We Currently Teaching Well? Question 4: What Are Our Current Weaknesses? Question 5: Where Is the Profession Going and How Do We Serve It? Question 6: How Can We Move Forward Employing the “Best Practices” Model?

3 Vol. 16, no. 1, September--October 2018 © NYSTA The resulting discussions were fascinating, in no small part due to the collective minds present in the room—nothing short of a “Who’s Who?” list of living legends in the voice pedagogy world. One theme that strongly emerged was the ever-increasing interdisciplinary nature of our field, which seems to grow more complex and expansive as each year passes. Brain research—the topic of Helding’s lecture—for example, seems to reinvent itself with every paper published. Thus, the “third pillar” of voice pedagogy is also a moving target. As we examine curricula—like NYSTA’s Professional Development Program core curriculum—these new topics will necessarily need to be covered, as they are essential to our quest to more deeply understand the complexity of the human voice. Our field is still in its in- fancy, and our 2018 understanding of voice pedagogy is likely to look in 2067 a lot like Vennard’s textbook—with its smudgy gray pictures (which were state-of-the-art when the book was first published)—looks to us today. The history of singing voice pedagogy is something of a microcosm of the history of intellectual thought. The early Greek philosophers dabbled not only in philosophy, but also science, religion, mathematics, and a host of other topics. They were the great thinkers of the era, and all of these disciplines were young at the time. No mathe- matician studies “mathematics” (broadly) anymore—rather, they specialize. Polymaths like Vennard, Coffin, and Miller were pivotal figures who left an indelible mark during the earliest years of the fact-based era, but the twenty-first century suggests that a new paradigm is necessary. The ever-expanding body of knowledge makes it increasingly impractical—if not impossible—for a singing teacher to be up-to- date in all arenas, making it all the more necessary to rely on a network of voice professionals who collectively represent various areas of expertise, including biomechanics, acoustic theory, psy- chology, cognition and perception, holistic practices, and all of the related health and wellness fields that are the province of medical professionals. The Big Bang of singing voice pedagogy continues to expand at exponential speed. If you have any thoughts on topics you would like the board of directors to consider as we work through the process of updating and expanding our core curriculum, please do not hesitate to contact me at [email protected]. I invite your help and input with these endeavors as we work toward an exciting pedagogic future.

Sincerely, Matthew Hoch, DMA President, New York Singing Teachers Association (NYSTA)

4 Vol. 16, no. 1, September--October 2018 © NYSTA EDITOR’S MESSAGE What I did on Summer Vacation, and Some Thoughts on Advocacy

Dear Colleagues,

As I write this, the first days of school are quickly approaching, and I admit to feeling that it’s a race against time to finish all my summer projects, both professional and personal. In June, I Anna Hersey attended the first block of the Summer Vocology Institute, a voice science training program run by the incomparable Ingo Titze. It was a transformative experience, one which I highly recommend, and I hope to return in future summers to complete the program. I spent most of July teaching—not voice, but world music!—at beautiful Blue Lake Fine Arts Camp in Michigan. It was a nice change of pace, and reminded me how much beautiful music exists in our world. I’ve also been busily preparing a song cycle by Norwegian composer Johan Kvandal for a performance with Matti Hirvonen at the Nordic Music Festival in Oshkosh in October.

By the time this issue is released and you’re reading it, I hope you’ve accomplished all your summer goals, and you’re ready to return to the studio, the university, or the stage.

I recently read a contentious exchange on a Facebook forum for professional voice teachers. This has me thinking again about how we all have to work together. I would like to suggest that we all work as advocates for good teaching and for good teachers, and for professional, respectful, and factual exchange of ideas. As voice teachers, we take on many roles. Our contrib- utors in this issue provide us with ideas for—and reasons VOICEPrints behind—using music for advocacy in various contexts. Volume 16, No. 1 Dr. Anna Hersey Will there always be some “bad” teachers of voice? Surely— Editor-in-Chief just as there will always be poor doctors, mathematicians, professors, secretaries, writers, journalists, etc. But we do our Dr. Loralee Songer discipline no favors by using a broad brush to paint one group Associate Editor of teachers—based on the genres and styles they teach or the setting in which they teach—as better or worse than other groups. Dr. Ian Howell Associate Editor NYSTA has long welcomed members from varied backgrounds in our discipline: those with formal/advanced education, and John Ostendorf those who have learned primarily “in the trenches” as artists; Designer those who have focused primarily on classical music, those who

5 Vol. 16, no. 1, September--October 2018 © NYSTA excel at CCM styles, and those among us who are able to do crossover work in both areas; those whose pedagogical background has focused on technique, and those who work as musical coaches. Our PDP offerings and yearly events have featured a variety of presenters from all areas of our discipline, from academia, to the commercial music industry, to Carnegie Hall.

I yearn for the day when our discipline can be unified in the pursuit of good singing and good teaching. As we begin again this fall, let us all resolve to support each other in becoming the best teachers we can be, regardless of setting or genre. Anna Hersey Editor-in-Chief

Nomination Announcement for NYSTA’s Board of Directors 2020-2023 The NYSTA Board of Directors has appointed a committee to select the officers for the 2020–2023 term. Open positions include President, First Vice President (membership), Second Vice President (professional development), Secretary, and Treasurer. Nominated individuals must be NYSTA members in good standing. Please send all names, with a short recommendation statement, to Matthew Hoch at [email protected] by October 15, 2018.

6 Vol. 16, no. 1, September--October 2018 © NYSTA 2018--2019 EVENTS CALENDAR

Fall Season Opening Event & Reception Josephine Mongiardo Great Coaches Series Master Class with Soprano Jennifer Rowley (appearing courtesy of the Metropolitan Opera) Sunday, October 14, 2018 4:00-6:00 PM EDT Marc Scorca Hall at National Opera Center, 330 Seventh Avenue, NYC Free for NYSTA members, students, and guests. Donations welcome. Four singers will be selected to present two operatic arias for Ms. Rowley. See Call for Singers (page 8) for application information. © Famous Studios

Holiday Event & Reception Master Class with John Bucchino Sunday, December 2, 2018 6:00-8:00 PM EST Marc Scorca Hall at National Opera Center, 330 Seventh Avenue, NYC Free for NYSTA members, students, and guests. Donations welcome. Mr. Bucchino will work on his compositions with five singers on his compositions. Suggested song list will be posted on NYSTA website. See Call for Singers (page 8) for application information.

Winter Event with Live-Streaming Complete Vocal Fitness with Claudia Friedlander: Laryngeal and Articulatory Function Sunday, February 24, 2019 4:00-6:00 PM EST Pearl Studios, 500 Eighth Avenue, NYC Free for NYSTA members, students, and guests. Donations welcome. This workshop offers a practical overview of laryngeal and articulatory anatomy and function without a bias for any particular approach to technique. Four participants of varying voice types and level of experience will be selected. Interested singers should send their resume, photo and audio or video recordings of 2 contrasting selections to [email protected] by January 24 Spring Event College Audition Workshop with lorraine Nubar Sunday, April 28, 2019 3:30--5:30 PM EDT Pearl Studios, 500 Eighth Avenue, NYC Free for NYSTA members, students and guests. Donations welcome. In our first event specifically designed for high school voice students, Lorraine Nubar from the Juilliard School’s Pre College will work with five singers on how to prepare for your college entrance auditions. Interested highschool sophomores and juniors should send their resume, photo and audio/video recordings of 2 contrasting selections to [email protected] by March 28. . 7 Vol. 16, no. 1, September--October 2018 © NYSTA NYSTA Professional Development Program Since its earliest years, NYSTA has sought to foster standards in the profession. In the 1920s and 1930s, the organization led efforts to require certification by the New York State government for all On-Demand Learning voice teachers. While state certification was never implemented, with Dr. Scott McCoy its intent came to fruition with the establishment of our Profes- Study 24/7 at your convenience. Start sional Development Program (PDP). The program was guided by anytime and receive four months of access. noted pedagogue Oren Lathrop Brown, and spearheaded by past NYSTA President Janet Pranschke. Thanks to the continued ef- NYSTA’S OREN LATHROP BROWN forts of Past President David Sabella, online courses were devel- PROFESSIONAL DEVELOPMENT PROGRAM oped in 2007. Every year, the NYSTA board strives to bring new presents and innovative courses to all interested in learning more about the teaching of singing, bringing the most up-to-date information and filling the gaps that may be missed by traditional pedagogy VOCAL ANATOMY classes. Currently, 48 people have earned the honor of being a NYSTA Distinguished Voice Professional. AND PHYSIOLOGY This user-friendly course offers a detailed NYSTA’s Professional Development courses are led by top exploration of the major physiological experts in the areas of voice pedagogy and voice health. The systems of the singing voice. Muscular courses are designed to give a well-rounded education to those systems and topics covered include: wanting to learn more about fact-based teaching of singing. Respiration, Phonation, Articulation, After completing the five core courses (Vocal Anatomy and Laryngeal Function, & Resonance. Physiology, Voice Acoustics and Resonance, Vocal Health for Voice Professionals, Singer’s Developmental Repertoire, and Register at WWW.NYST.ORG Comparative Pedagogy) and successfully passing the exams, For information, contact NYSTA’s registrants earn a Certificate of Completion and the honor of Professional Development Program Director being a NYSTA Distinguished Voice Professional. Congratula- Felix Graham at [email protected]. tions to all those who have earned this honor!

CALL FOR SINGERS: Singers will be selected to perform in each of the two upcoming masterclasses. To be considered, send the following materials to [email protected]. Josephine Mongiardo Great Coaches Series Masterclass with Soprano Jennifer Rowley Sunday, October 14, 2018, 4-6 PM EDT Marc Scorca Hall at National Opera Center, NYC Submission Deadline: September 14, 2018 ■ Resume ■ Photo ■ Audio/Video recordings of two contrasting opera arias

Master Class with John Bucchino Sunday, December 2, 2018, 6-8 PM EST Marc Scorca Hall at National Opera Center, NYC Submission Deadline: November 3, 2018 ■ Resume ■ Photo ■ Audio/Video recordings of two songs by John Bucchino (suggested song list will be posted on NYSTA website after September 1, 2018)

8 Vol. 16, no. 1, September--October 2018 © NYSTA THE VOICE TEACHER AS ADVOCATE: MAKING A CASE FOR ARTS INTEGRATION by Nathan Krueger

As singing teachers, we want the best for our students. We guide them in obtaining a healthy and sustainable technique for a career in singing. We help them in gain entry into the college or conservatory of their choice, steer them through the competitive auditions of young artist programs, or even help the dedicated avocational land a role in a community theater production. In short, we work with them to help them reach their goals. Sometimes these goals vary widely and we try to be as well rounded as we can to meet all of their needs. We advocate for our students on an individual level. But what would it look like for our community of teachers to advocate for our art as well as for our students? How can we advocate for our art form, to our students, and to our communities? There are multiple ways that we can be advocates for our art form and provide leadership in this area. What is Arts Advocacy? Merriam Webster defines advocacy as “the act or process of supporting a cause or proposal: the act or process of advocating.”1 At the most basic level, singing arts advocates promote the importance of singing and the study of singing technique. We represent the art of singing to the communities in which we work. We speak for the art and speak to its value to our communities, and to the individuals who practice this art. All of 1 “Advocacy,” Merriam- this comes with a great responsibility and with considerable challenges. Webster.com; https:// www.merriam- An important avenue for promoting our art can be as outreach per- webster.com/dictionary/ forming artists. I have performed outreach throughout my career as a advocacy (accessed July 15, teacher and singer, and I have found it extremely rewarding. Performing 2018). outreach concerts in the early part of my career was a way of paying my dues, and for many young singers this is a practical way to earn money and make connections as they develop as performers. Most of this work is done in the form of outreach by opera companies and other professional music organizations. For classical singers, this usually means bringing performances of operatic repertoire designed for children (either children’s operas or condensed versions of operas) into the schools in the communities they serve. Opera companies view it as a way to develop audiences from the ground up. There are programs like Opera for the Young, based in Madison, Wisconsin, that design their touring productions to be interactive. These productions include a component in which students in each school participate on stage in the performance.

9 Vol. 16, no. 1, September--October 2018 © NYSTA Arts Integration Another opportunity for advocating for the singing arts is working as a teaching artist in arts integration. Teaching artists define them- selves in many ways. They are often also known as a “visiting artist” or “resident artist.” Eric Booth writes, “A teaching artist is a prac- ticing artist who develops the skills, curiosities, and habits of mind of an educator, in order to achieve a wide variety of learning goals in, through, and about the arts, with a wide variety of learners.” 2 2 Eric Booth, “A New Frame- Depending on the situation, the role of a teaching artist can differ, but work for Understanding the one of the greatest benefits is the consistency with which students are ‘Teaching Artist’ Field,” http:/ exposed to the arts and how they are connected to other subjects the /ericbooth.net/a-new-frame- students are learning. work-for-understanding-the- teaching-artist-field/ I first worked as a teaching artist in the Tucson Unified School (accessed July 18, 2018). District’s Opening Minds Through the Arts (OMA) program. One of the goals of OMA is to “integrate arts education with core curriculum.”3 For those new to arts integration, a clear definition was 3 Tuscon Unified School developed by the Kennedy Center’s Changing Education Through District, “Opening Minds the Arts (CETA) program. It states that “Arts Integration is an ap- Through the Arts,” http:// proach to teaching in which students construct and demonstrate www.tusd1.org/ understanding through an art form. Students engage in a creative Departments/OMA (accessed process which connects an art form and another subject area and July 18, 2018). meets evolving objectives in both.”

As an opera artist, I worked on a team with another singer and a 4 University of Wisconsin pianist. We collaborated with first grade classroom teachers to Oshkosh, “ArtsCore,” https:// develop lesson plans for their classrooms, integrating music and www.uwosh.edu/artscore drama with language acquisition and writing skills. Prior to this (accessed July 18, 2018). experience, I did not have any formal training in arts integration techniques or music education, and no experience working in a first grade classroom. I was strictly a classical singer, but one who was flexible and who possessed a certain intellectual curiosity. With excellent mentoring and professional development, I was able to translate my performance skills into the teaching skills I needed to become an effective teaching artist. The Tucson OMA program afforded a considerable amount of time in the classroom. As operatic artists, we went into the homeroom, not the music classroom, twice a week for an entire year. The end project was a short opera that the students wrote and performed using the skills they acquired throughout the year.

From an arts advocacy perspective, we were getting in on the ground level. First grade students throughout the school district were exposed to operatic singing in their own classrooms and they actively used the terminology they learned in creating their own operas. They also had the opportunity to experience an opera at the University of Arizona, and because they had the background information necessary to consume the performance, they were an attentive audience. Often they were disappointed that they had to leave at intermission, because they knew the plot and had improvised their own recitative

10 Vol. 16, no. 1, September--October 2018 © NYSTA conversation based on the characters they saw on stage. Since I worked in the program for five years, it was gratifying to see former students talk about the upcoming first grade opera performances each spring and hear them recall songs from their own operas.

The arts integration component is worthy of further exploration, especially in teaming universities and colleges with the school system. As teaching artists, we ourselves can work with teachers to integrate the principles of singing performance with other classroom subjects. Four years ago, my colleagues at University of Wisconsin Oshkosh, Dr. Wendy Strauch-Nelson (art education) and Dr. Louis Chicquette (special and early childhood education) secured a sizable grant to “help pre-service and early career teachers build competence and resiliency through the thoughtful use of arts integration.” With the support of the grant, called ArtsCore, and through a partnership with a local arts organization, The Paine Art Center and Gardens, a Nathan Krueger, DMA, is asso- professional development program for early career teachers was ciate professor of music at the Uni- created. 4 I was excited to come on board to help plan music inte- versity of Wisconsin Oshkosh, gration activities. I developed introductory workshops for classroom where he is coordinator of the voice teachers to approach music and singing from their own comfort and area and teaches voice and opera. experience level via an in-depth workshop I call “Operafy Your He holds degrees from University of Story.” This workshop helps teachers set a framework for the use of New Mexico (MM), the University recitatives, arias, and ensembles to recreate stories or timelines they of Arizona (DMA), as well as UW are working on in various subjects. For the past three years, I have Oshkosh (BM). He made his Carne- been working closely with cohorts of early career teachers, helping gie Hall debut this past spring and them gain skills to integrate music in their classrooms. The feedback sings regularly in Wisconsin with I receive about the Operafy lesson plan is inspiring. It’s wonderful to the Florentine Opera in Milwaukee hear instances of classroom teachers introducing the basic dramatic and the Madison Choral Project. He principles of opera in the classroom, integrating what students are has also performed with the Santa already learning in other subjects. Fe Opera, Madison Bach Musi- As we teach our students the most efficient way to sing and to cians, Milwaukee Opera Theatre, communicate with an audience, we must also instill the importance and Arizona Opera. of being a representative of our art form. Singing is worthy of study He has served on the Wisconsin and practice, but it should also be shared with our communities as a NATS board and been coordinator whole. It brings people together, and we have a responsibility to be for of the Wisconsin NATS chapter advocates for the singing arts. Think about what is happening in auditions for the past three years. your community. What are ways that you can connect? Encourage He worked as a teaching artist in your students to see the value in performing outreach. Learn about the Tucson Unified School District’s opportunities for teaching artists in your area and become familiar Opening Minds through the Arts with what the public schools already have in place, or take the ini- tiative to establish a program where one does not exist. Challenge (OMA) program for five years and yourself to be a leader in your community and know that taking on serves as the co-principal investi- extra responsibility is what it means to be an advocate for the arts. gator of the ArtsCore grant at UW Oshkosh. He employs his experience as a teaching artist to create arts- integrated professional development for early career teachers of all subjects.

11 Vol. 16, no. 1, September--October 2018 © NYSTA SINGING FOR A NEW WORLD: HOW VOICE CAN SAVE THE CULTURE By John Nix, Lynn Helding, Erin Guinup, Constanza Roeder, and Allen Henderson

What drew you to a life of teaching and performing? For 1 Stephen Clift, Ian Morrison, Ann many of you, you probably had an experience of being Skingley, Sonia Page, Simon Coulton, with other people and singing. Perhaps it was with family Pauline Treadwell, Trish Vella-Burrows, members, or a moment on stage in a high school musical, or Isobel Salisbury, and Matthew Shipton, singing in a school or church choir concert. There was some- “An evaluation of community singing for thing in that experience of singing together with others that people with COPD (Chronic Obstructive was life changing—and you realized what you had to do Pulmonary Disease),” Sidney de Haan with your life. Research Centre for Arts and Health of Canterbury Christ Church University, When we sing together, we not only have to sing our own June 2013, https://www.canterbury.ac.uk/ parts, but we also have to listen to and coordinate our sing- health-and-wellbeing/sidney-de-haan-research- ing with the other people performing at that time. It is a centre/documents/Singing-and-COPD-Final- shared experience, and a very “in-the-moment” activity. We report.pdf (accessed January 1, 2018). feel most alive when we are engaged in emotionally impor- 2 tant, in-the-moment activities. Josie Glausiusz, “Music and Dementia: Group singing sessions are found to Singing with others has many well-established health, social, improve cognition,” The American Scholar and spiritual benefits. Health benefit examples include the (February 25, 2015) https://theamerican- work of Dr. Stephen Clift, who has helped Chronic Ob- scholar.org/music-and-dementia/# (accessed structive Pulmonary Disease (COPD) patients increase lung January 1, 2018) 1 function through singing classes, and that of Drs. Linda 3 Betty A. Bailey and Jane W. Davidson, Maguire and Jane Flinn, who are finding benefits of singing “Adaptive Characteristics of Group 2 for Alzheimer’s patients. Social and spiritual benefit Singing: Perceptions from Members of examples abound: Drs. Betty Bailey and Jane Davidson a Choir for Homeless Men,” Musicae studied a Montreal choir comprised of homeless men; these Scientiae 6:2 (September 1, 2002): 221-256, men regarded the choir as the most meaningful thing in http://journals.sage-pub.com/doi/pdf/10.1177/ 3 their lives. On a societal level, group singing of spirituals 102986490200600206 (accessed January 1, was a unifying force for U.S. civil rights advocates. Martin 2018). Luther King noted: “The freedom songs are playing a strong 4 and vital role in our struggle.”4 This unifying effect of “Hope for America: Performers, Politics communal singing was evident as President Obama led and Pop Culture,” Library of Congress “Amazing Grace” at the funeral of State Senator Clementa Exhibition, opened June 11, 2010, https:// Pinckney, one of the victims of Charleston, South Carolina’s www.loc.gov/exhibits/hope-for-america/ Emmanuel Church shooting. 5 political-songs.html (accessed January 1, 2018). Many of the health, social, societal, and spiritual benefits of 5 President Barack Obama, Eulogy for singing mentioned above may be linked to the formation of Reverend and State Senator Clementa empathy in those who sing together. Empathy is defined as Pinckney, June 26, 2015, https://www.c- “the ability to feel the experience of others separate from span.org/video/?326769-1/funeral-service- oneself.” A recent study produced neural evidence of em- sc-state-senator-clementa-pinckney (accessed pathy’s existence in the brain, catapulting it to one of the January 1, 2018).

12 Vol. 16, no. 1, September--October 2018 © NYSTA hottest topics in social neuroscience. Sociologists have long Erin Guinup is an noted the pro-social benefits of empathy, such as self- active concert per- lessness and honesty, so a recent study which noted sharp former, conductor, drops in measures of “empathic concern” was received voice teacher, and with alarm, causing experts to warn of an “endangered public speaker. She emotion,” and a cultural “empathy deficit.” Several cures has performed a for this societal ill have been put forward by social psychol- wide range of oper- ogists, including reclaiming the art of conversation, and atic and musical engagement with art. Assuming that voice has the power to theater repertoire induce emotion, and emotion is a cornerstone of empathy, with ensembles and empathy is, in turn, a bedrock of a civilized society, the including Northwest Repertory Singers, authors wish to encourage NYSTA members to inculcate Ensign Symphony, and Tacoma Concert group singing back into our culture and hopefully instill Band. Her students have appeared on empathy among both singers and listeners. We believe Broadway, in regional theater and operatic communal singing can be a factor in creating healthy, stages, and on The Voice, American Idol socially connected, understanding, and hopefully less and America’s Got Talent. Erin is conductor violent communities. of the Tacoma Refugee Choir. Her workshops guide teams and Fortune 100 companies to In some communities in America, singing is being used to encourage healthy communication and bring people together. Here are just a few examples: teamwork as individuals find their voices, figuratively and physically, and she has The Tacoma Refugee Choir worked with speakers for TEDx talks and presentations for major corporations. (http://refugeechoir.org), led by author Erin Guinup, has the motto “It’s hard to not love people when you sing together.” United in compassion for the plight of refugees, Constanza Aileen choir members come from all walks of life including long- Roeder is founder time residents of the city and recent refugees and immi- and executive dir- grants. The Tacoma Refugee Choir has welcomed over 160 ector of Hearts people from 24 countries of origin to rehearsals in its first Need Art: Creative year. Powerful relationships develop through the singing Support for Adults and camaraderie, with one man saying, “I have been in with Cancer. A the U.S. for four months and never felt welcomed until survivor of adol- tonight.” The choir aims to spread a message of hope and escent leukemia, she kindness and emphasize that all voices are needed and uses her personal can contribute to greater harmony in our community. By experience with cancer and her music back- including a communal singing element in all of the group’s ground to bring the healing power of the arts events, the Tacoma Refugee Choir hopes to transition to cancer patients and their families. Roeder’s attendees from consumers of art to participants and crea- stage credits include such roles as Cosette tors so that they reap the benefits of singing without judge- (Les Misérables), Clara (Light in the ment and feel greater empathy for all in our community. Piazza), Laurey (Oklahoma), and Maggie (A Chorus Line), but her favorite gig has always been singing for cancer patients in Hearts Need Art the hospital. She earned her degree in vocal In San Antonio, Hearts Need Art (http://heartsneedart.com), performance from Bethany University, led by author Constanza Roeder, uses the arts to alleviate graduated from the CCM Vocal Pedagogy feelings of isolation and suffering in adult cancer patients Institute at Shenandoah University, and is and their families in the hospital. The organization pro- level three certified in Somatic Voicework, the vides Bedside Music, Gentle Movement and Meditation, LoVetri Method. Ms. Roeder maintains a Art Classes, and a Corridor Concert Series. High school vibrant voice studio, specializing in musical choirs, church choirs, private voice studios, and pro- theater and CCM singing.

13 Vol. 16, no. 1, September--October 2018 © NYSTA fessional musicians from the community participate in Tenor John Nix the Corridor Concert Series. The experience opens the eyes is professor of and hearts of the singers, fostering empathy and a passion to voice and voice create positive change in the lives of cancer patients in their pedagogy at The community. In all concerts, performers encourage group University of singing. In 2017, Hearts Need Art provided healing art Texas at San An- experiences to over 1,100 cancer patents, family members, tonio. He has and caregivers in the hospital. On average, those who par- taught at The ticipate show a 39% reduction in pain, a 61% reduction University of in anxiety symptoms, and a 39% reduction in depressive Colorado Denver, symptoms. When patients, family members, and staff sing Eastern New and laugh together, the sterile walls of fear and isolation Mexico University, and worked for four years break down. Patients are no longer a diagnosis, family at the National Center for Voice and Speech members are no longer caregivers, and the staff are not with Ingo Titze. He holds degrees from the defined by the color of their scrubs. University of Georgia, Florida State Univer- sity, University of Colorado, and a Vocology America Sings Together on M.L.K. Day Certificate from the University of Iowa. He America Sings Together on M.L.K. Day (https://www.face- has won grants from The Grammy Founda- book.com/events/383929255378975/), led by author John Nix, tion and NIH, and was awarded the 2006 seeks to unite persons across the country in a moment of Van Lawrence Award. He has published more communal singing on Martin Luther King, Jr. Day. Par- than 35 articles and edited or contributed to ticipants of all races, religions, and orientations join together five books, including the forthcoming Oxford in cities nationwide at 11:00 AM in their respective time Handbook of Singing. zones to sing the traditional hymn “Amazing Grace.” The Lynn Helding is event honors Dr. King, who led the nation-changing civil rights movement in the 1950s and 60s. Many of the concerns professor of practice raised by King are still serious problems. As musicians, we in vocal arts and have a special role in making King’s “Dream” a reality for coordinator of all Americans. After all, at the climax of his famous speech, vocology and voice what did King say? “…When all of God’s children, black pedagogy at the men and white men, Jews and Gentiles, Protestants and University of Catholics, will be able to join hands and sing in the words of Southern California the old Negro spiritual: Free at last! Free at last! Thank God Thornton School of Almighty, we are free at last!” You may be asking, “What can Music. She is an I do?” Here are a few practical ideas for NYSTA members to associate editor of try in their own communities. The emphasis in each activity the Journal of Singing and author of The below is to lead people in song as well as perform for them: Mindful Musician: Teaching, Learning and Performance in the Age of Brain Science. ■ When you perform or have choirs you lead or solo artists Her voice science honors include the 2005 Van you teach, give performances, program a participatory song L. Lawrence Fellowship awarded to research or two at the end of the concert. Invite the audience to sing neurological voice pathologies, and her election along. Print the words in the program. to chair the founding of the first non-profit ■ Take your students and choirs to public places, flash-mob vocology association, PAVA, incorporated in style, and spontaneously start songs. 2014. Helding studied voice at the University of Montana with Esther England, in Vienna, ■ Encourage sing-alongs of popular songs of various genres Austria with Kammersänger Otto Edelmann, at ballgames, other sporting events, community celebrations (town Fourth of July picnics, etc.); in churches; at retirement and at Indiana University. She currently centers; in hospitals; on military bases; on reservations. serves on the advisory boards of PAVA and the NATS Voice Science Committee.

14 Vol. 16, no. 1, September--October 2018 © NYSTA ■ Engage popular artists you work with to do sing-alongs NATS executive at concerts. director, baritone ■ Encourage opera companies and theaters to use curtain Allen Henderson calls to invite audiences to sing together with the cast. is professor of music at Georgia We would like to close with a challenge for NYSTA mem- Southern Univer- bers. The authors believe the time is right for all singing sity where he organizations (NYSTA, NATS, ACDA, AGO, etc.) to lead a teaches voice and renewal of group singing in the Americas. We believe, as diction. He holds a performers, teachers of singing, and directors of choirs, that bachelor’s degree we have a vested interest in encouraging more people to from Carson Newman College, a master’s sing: from where will the students, audiences, and singers of degree from the University of Tennessee, the future come? We also believe that there is a real need for and a doctorate from the College-Conserva- more empathetic, informed citizens: as Martin Luther King tory of Music at the University of Cincin- said, “[Songs] give the people new courage and a sense of nati. He has appeared in concert, opera, unity… they keep alive a faith, a radiant hope in the future, and oratorio with the Knoxville Opera, particularly in our most trying hours.” Finally, we believe Fort Worth Opera, Cincinnati Chamber no one is better equipped than the members of NYSTA, Orchestra, Tennessee Opera Theatre, NATS, ACDA, and AGO to lead this effort. Knoxville Symphony, Nashville Sym- phony, Bach Aria Festival, and Chautau- qua Institution, at Lincoln Center for the Mozart bicentennial and at the Ravinia Festival. A district winner and regional finalist in the Metropolitan Opera auditions, he has won many other awards and has also presented recitals and master classes at universities nationwide. As director of opera at Austin Peay State University, Henderson produced full productions of Le nozze di Figaro, Die Fledermaus, Candide, Trouble in Tahiti, and Trial By Jury. He can be heard on recordings of chamber operas by Schweizer and Shepherd on Aeolian Records’ Dimensions, and on his world premiere recording with guitarist Stanley Yates, Shadows, featuring works by John Rutter, Michael Fink, and Castelnuovo- Tedesco.

15 Vol. 16, no. 1, September--October 2018 © NYSTA BOOK REVIEW: Performance Anxiety Strategies: A Musician’s Guide to Managing Stage Fright Casey McGrath, Karin Hendricks, Tawnya Smith Rowman & Littlefield, 2017. Review by Susan Williams Every experienced performer knows the thrill of connecting with an enrapt audience, as well as receiving the applause that follows. Oftentimes, these peak experiences are what further drive artists to hone their craft and continue to perform at high levels. And yet the highs come with lows, and we performers are also familiar with feelings of anxiety that creep in when a performance is especially pressure-filled, or when circumstances have prevented us from feeling as if we are doing our best work.

How to negotiate these moments of inevitable anxiety is the focus of a new book—Performance Anxiety Strategies: A Musician’s Guide to Managing Stage Fright—by authors Casey McGrath, Karin Hendricks, and Tawnya Smith. The authors define the desired outcome of “flow” in music performance as a “state where concern for consequence and others’ opinions are upstaged by an Casey McGrath overwhelming sense of fascination and enjoyment.”1 They pro- pose the question: what is the formula for achieving or opti- mizing this state? The authors’ examination of this foundational premise has generated a book valuable for musician and music educator alike, especially in the event one has personally dealt with music performance anxiety (MPA), or taught students dealing with it. Although research cited by the authors suggests Karin 15-25% of performers experience MPA,2 those of us who perform Hendricks and work with students might estimate that the number is significantly higher. Indeed, the designation of MPA does not encompass the mild anxiety every performer will experience at some point during his or her career. Although this book is intended to introduce strategies to accompany the diagnosis of music performance anxiety, anyone who experiences even mild performance anxiety may benefit from the information pre- Tawnya sented. The authors are careful to provide a disclaimer that the Smith information in the book is intended as a guide and not a substitute for appropriate medical advice.

The book starts by defining music performance anxiety and 1 Casey McGrath, Karin Hen- calls for an open discussion surrounding MPA that cuts through dricks, and Tawnya Smith, cultural stigma surrounding mental health. From there, the Performance Anxiety Strategies: authors logically and systematically work their way through A Musician’s Guide to Managing many topics, first confronting the question of why performers Stage Fright (Lanham, MD: experience MPA. Several subsequent chapters are devoted to Rowman & Littlefield, 2017), vii. exploring the plentiful and multifaceted treatment options available today. Each treatment method is defined (e.g. medi- 2 Ibid., 1.

16 Vol. 16, no. 1, September--October 2018 © NYSTA cations, cognitive behavioral therapies, holistic methods, and expressive arts therapies, etc.), always referencing current research, and the authors provide enough information for the reader to have a sense of the techniques and methods. The extensive bibliography provides ample resources to consult for exploration of a treatment in greater detail. There are also written and guided activity exercises, which provide practical assistance as a starting point. For example, chapter two offers a “Thought Journal Exercise” with reflection questions and direction to notice one’s own judgment. The potential benefit from such an exercise arises from noticing or defining the thought patterns that precede or feed performance anxiety. The answers can then be used as a starting point to identify 3 Ibid., 45. triggers and outline necessary changes. 4 Ibid., 61. Chapter three delves into cognitive behavioral therapies 5 such as rational emotive therapy (RET), schema therapy, Ibid., 83. hypnotherapy, progressive muscular relaxation, electro- 6 Christopher Arneson, myographic biofeedback, and eye movement desensitization “Performance Anxiety: A and reprocessing (EMDR), a newer psychotherapeutic Twenty-First Century intervention strategy that uses eye movements to reorganize Perspective, “Journal of Singing, memories and lessen their emotional influence.3 The chapter May 2010; Lynn Helding, ends with an “affirmations” activity, an exercise for assisting “Mindful Voice: Music Perform- performers in creating new thought patterns, and instructs how ance Anxiety, “Journal of Singing, the activity can be integrated into practice. August 2016; Heather Winter Chapter four discusses exposure therapy, the act of per- Hunnicut and Scott A. Winter, forming itself as “antidote” to MPA.4 Prescription medications “Musical Performance Anxiety: are examined in chapter five, including both beta-blockers Adapting Psychotherapy Tech- and anti-anxiety medication. The authors address controversy niques of Desensitization to the surrounding these medicines, such as concerns regarding Voice Studio, Part 1,“ Journal of dampening the artistic spirit or creating an unfair advantage Singing, January 2011; Heather in a highly competitive field. They tackle the subject with a Winter Hunnicut and Scott A. well-balanced approach, including opinions both in favor of Winter,“Musical Performance and against their usage. Subsequently, holistic methods, Anxiety: Adapting Psycho- including emotional freedom technique (EFT, or tapping), therapy Techniques of Cognitive yoga, acupuncture, Feldenkreis, Alexander Technique, Restructuring to the Voice massage, meditation, and breath work are touched upon in Studio, Part 2,“ Journal of chapter six. The authors describe the general benefit of these Singing, March 2011; Heather integrative techniques as being “grounded in maintaining a Winter Hunnicut and Scott A. general state of well-being and aiding the body’s own natural Winter, “Musical Performance healing process.”5 Anxiety: Adapting Multiple Cognitive Behavior Therapy Chapter seven’s topic is expressive arts therapies such as art Techniques to the Voice Studio, therapy, music therapy, and guided imagery, highlighting the Part 3,“Journal of Singing, potential for a non-linguistic approach to assist with the musi- September 2011; Gwendolyn cal art form. Chapter eight is devoted entirely to how teachers Walker and Cody Commander, can assist in preventing music performance anxiety in their “The Emotionally Prepared students. It gives examples of statements that could be either Singer” Journal of Singing, benign or hampering for the student and addresses how January 2017. The subject was reframing them could yield a more fruitful response. also the focus of the April 15, 2018 SNATS chat.

17 Vol. 16, no. 1, September--October 2018 © NYSTA Music pedagogues who are performers naturally desire to aid their students to the best of their ability. The authors stress that while most pedagogues are not medical doctors or licensed counselors, they can be cognizant of their choice of language in the studio and classroom, and ask questions to avoid creating or worsening a problem. They argue that good teachers should lead students to viable solutions, especially when a situation calls for the help of a medical professional. Many chapters conclude with short statements by accomplished professional performers who share their own experiences and offer advice for working with anxiety, a proactive display evincing the authors’ desire to foster open dialogue and lessen the potential stigma attached to MPA. Susan Williams, soprano, was appointed In particular, the comprehensive bibliography is an excellent assistant professor of Voice at the Univer- resource, as is chapter nine, “Self-Help Books and Other Re- sity of Alabama in 2013. She has performed sources,” an annotated collection of other potentially helpful nationally and internationally in a wide resources. Despite the breadth of the bibliography, reference range of leading opera roles and as a vocal to articles published on the topic in the Journal of Singing, six soloist, with the Duke Symphony, Opera of which have appeared since 2010 6, is notably absent. The Birmingham, Cleveland Opera, and, under primarily instrumental background of the authors may be the baton of Franz Welser-Möst, with the the explanation for this omission. Cleveland Orchestra. She has been a soloist with the Tuscaloosa Symphony, Akron Ultimately, the competitive, multifaceted, and complex per- Symphony, Cleveland Pops Orchestra, sonal nature of the professional music field ensures that the and the Cleveland Bach Consort. In Graz, problem of Music Performance Anxiety will continue to be a Austria, she sang Mozart’s Coronation topic of interest in the future. Performance Anxiety Strategies is Mass and was a finalist in the Meister- an empowering resource for the budding musician, the singer Competition at the American experienced professional, and educator alike. Institute of Musical Studies. A graduate of Birmingham-Southern College, she earned the master’s degree at the University of Akron, and the Doctor of Musical Arts degree at the Cleveland Institute of Music. At Vanderbilt University, she was a 2013 member of the prestigious NATS intern- ship program where she worked under Kenneth Bozeman. Her scholarly interests include using body movement systems and the use of virtual anatomy to enhance student learning in the studio. Her article “3D Virtual Anatomy Technology in the Voice Studio: A Pilot Study to Evaluate the Functionality and Limitations of Visible Body®” can be found in the Journal of Singing Volume 69, Number 4, March/ April 2013.

18 Vol. 16, no. 1, September--October 2018 © NYSTA BOOK REVIEW: Kinesthetic Voice Pedagogy: Motivating Acoustic Efficiency Kenneth W. Bozeman Inside View Press, 2017 Review by Chadley Ballentyne Kinesthetic Voice Pedagogy, by Kenneth Bozeman, is the follow- up to the author’s first book, Practical Vocal Acoustics.1 The fundamentals of acoustic registration in PVA changed every- thing about my understanding of sound and vocal technique. It has quickly become the go-to text for acoustic voice pedagogy. In Kinesthetic Voice Pedagogy, Bozeman shows how to effectively apply voice acoustics in the voice studio. This new work provides a bridge between voice science and the somatic experience of singing. It also demystifies and enhances many of the subjective and kinesthetic aspects of singing. Don’t let the relatively brief (87-page) volume fool you: it is well- organized and packed full of insightful directions and 1 Kenneth Bozeman, explanations. It also offers a look into the teaching mind of Practical Vocal someone who, for over 30 years, has sought to combine Acoustics: Pedagogical historic pedagogy, contemporary voice acoustics, and the Applications for innate responses of the human psyche into a comprehensive, Teachers and Singers evidence-based voice pedagogy. His passion for voice peda- (Hillsdale, New gogy and the human voice is evident throughout this text. York: Pendragon, 2013). As voice teachers know, there is voice science, and then there is the art of teaching. Bozeman demonstrates how science can inform, celebrate, and empower the art of teaching voice. He does this by building metaphors and directives on principles of voice science and voice acoustics. Kinesthetic Voice Pedagogy translates acoustic, evidence-based voice pedagogy into simple, relatable metaphors. It also provides exercises and demonstrations for use in the voice studio. These include directives for beneficial pre-tuning of the vocal tract, acoustic interpretation of historic Italian bel canto pedagogy, and concise comparisons between teaching treble and non-treble students in both classical and contemporary styles.

While the author points out that KVP will be most beneficial to readers who have digested the concepts laid out in his previous book, many ideas in this new book are also applic- able for readers who haven’t fully internalized the concepts of acoustic registration. In particular, the chapters on emotional affect and re-mapping the open throat can be used without wading too deeply into voice acoustics.

Bozeman lays out a unifying principle based on emotional expression and the urge to communicate. Affective expres-

19 Vol. 16, no. 1, September--October 2018 © NYSTA sion can influence vocal tract alignment. He details how to tune the vocal tract during inhalation and before phonation through authentically motivated affect. Emotion is therefore essential to efficiently and fully realizing a singing technique informed by acoustic voice pedagogy. By combining anatomy, body mapping, and novel ways of discerning the con- figuration of the vocal tract, the author gives new insight and precision to the concept of the open throat (gola aperta). The achievement of this convergent, chiaroscuro vocal tract Kenneth W. alignment is often complicated by “false kinesthesia.” 2 Bozeman Bozeman reconciles the perception of the open throat with the reality of the vocal tract. For example, he points out that 2 Kenneth Bozeman, Kinesthetic if we judge the open throat by pharyngeal space, the vowel Voice Pedagogy: Motivating Acoustic /i/ is actually the most open-throated vowel and /a/ is one Efficiency (Gahanna, Ohio: Inside of the least. Therefore, an inhalation that sounds like an /a/ View Press, 2017), 8. is rather narrow-throated and an inhalation that is relatively noiseless is open-throated. Whispering in different ways can be used to demonstrate convergent or divergent resonator postures.

KVP adds a new aspect of voice acoustics not covered in the author’s previous book. With permission, Bozeman offers his adaptation for the studio of Ian Howell’s work on psycho-acoustics and absolute spectral tone color (ASTC).3 3 Ian Howell, “Parsing the spectral This concept challenges our perception of the sounds of the envelope: toward a general theory human voice. It also translates psycho-acoustics into a of vocal tone color” (DMA diss., deeper understanding of the art of vowel modification and New England Conservatory of vowel perception in Western classical singing. The work of Music, 2016). both Bozeman and Howell with ASTC is an advancement in our understanding of how vowel modification works and how to most effectively teach it to students. As the author recommends, those wanting a deeper explanation of ASTC 4 should refer to Ian Howell’s writings and videos. In ad- 4 “Ian Howell: Local Spectral dition, you can recreate Bozeman’s demonstrations using the Coherence,” YouTube video, a Madde Voice Synthesizer and VoceVista Video. Once you presentation at the Pan-American hear these ideas for yourself, Bozeman’s concept of “under Vocology Association Conference on vowel” and “over vowel”—the tone color contributed by October 20, 2016, https://youtu.be/ the first and second formants, respectively–is easier to TUKYSmF7d10 (accessed July 13, understand. 2018).

Bozeman offers an evidence-based explanation of placement sensations experienced by singers. Importantly, he offers insights on how to interpret these often contradictory and counter-intuitive experiences. He also summarizes common student errors and how to guide singers through somato- sensory experiences to the best possible outcomes. While this discussion is based on the most up-to-date research and understanding of the physical experience of our own voices, there are many questions on this topic that have not yet been answered. “Placement” phenomena are ubiquitous to the

20 Vol. 16, no. 1, September--October 2018 © NYSTA experience of singing and crucial to securing a vocal technique. In the past, researchers have often eschewed investigations into these sensations. This is probably because the elements comprising the percept of “placement” are exceptionally difficult to measure. The descriptions in KVP are, in my opinion, the most accurate and useful to date.

The author has organized the chapters with concise, clearly marked subheadings under which each concept is intro- duced, explained, supported, and summarized. The subheadings relate to the overall argument of each chapter. Bozeman closes many of the chapters with an effective, bulleted summary of the primary concepts. This is especially true of chapter six, Comparison of Treble and Non-Treble Voice Training. There are helpful diagrams and illustrations throughout the text. “Accurately Mapping the Genioglossus” and “Epsilon and Capital C Images for Sensation of Acoustic Migration Across Range” are particularly useful illustrations that I often refer to in my own teaching.5 5 Bozeman, Kinesthetic Voice Pedagogy, 11, 48. The structure and brevity of KVP make this book easy to navigate. I have read it straight through and have also used the detailed table of contents to selectively review individual sub-headings. Two appendices are also helpful. Appendix I has a list of acoustic designations and abbreviations. Appendix II is a glossary of terms used in the text. The language and terminology are carefully considered for both scientific accur- acy and historical usage. Having heard Bozeman lecture several times, I can recognize and enjoy the way the author’s voice comes through in his writing.

KVP offers many useful tools and insights even for teachers who do not use acoustic pedagogy. However, I agree with Scott McCoy’s statement in a recent NATS Chat. He said that a teacher’s understanding of voice acoustics is more important than that of anatomy and physiology, “simply because there are more things that are under our direct, volitional control” in acoustics and resonance.6 6 “NATS Chat with Dr. Scott McCoy.” YouTube video, presented In Practical Vocal Acoustics, Kenneth Bozeman cracked the on February 16, 2017, https:// code of acoustic registration in Western classical singing. In youtu.be/kxggpJ_qCyY Kinesthetic Voice Pedagogy, he details a wide range of tools and (Accessed July 13, 2018). exercises for teaching acoustic voice pedagogy. I have applied these concepts in my own singing and in my teaching. It has provided my students with tools that are simple and easy to apply in the practice room and on stage. I have found them all to be effective and accurate, congruent with the author’s explanations. I believe that KVP is an important addition to the literature on voice pedagogy. It combines voice science with historical voice pedagogy in a celebration of the art of

21 Vol. 16, no. 1, September--October 2018 © NYSTA teaching and the emotional motivation of beautiful singing. I highly recommend this book to all voice teachers. I have had the pleasure of knowing and working with Kenneth Bozeman since 2015. We co-developed the study guide for PVA, which is available at www.kenbozeman.com. At his 2015 summer workshop, I led the nightly review sessions and gave a lecture on applying acoustic pedagogy to belting. In 2018, I was a co-instructor with Kenneth Bozeman and Ian Howell at the Acoustic Pedagogy Workshop at the New England Conservatory of Music.

Bass-baritone Chadley Ballantyne has performed with Opera Fort Collins, Fresco Opera Theatre, Union Avenue Opera Theatre, Light Opera Works, Opera for the Young, Utah Festival Opera Company, Main Street Opera, American Chamber Opera, and Theo Ubique. Ballantyne is a frequent guest speaker on the topic of applying vocal acoustic pedagogy for both classical and CCM techniques. He has presented at Chicago Chapter NATS, the 2017 and 2018 Pan-American Vocology Association Symposiums, the 2017 West Central and Central Region NATS Con- ferences, and at the 55th NATS National Conference in Las Vegas, Nevada. He was a co-instructor at the 2018 Acoustic Vocal Pedagogy Workshop at the New England Conservatory of Music and is a contributing author to The Evolving Singing Voice: Changes Across the Lifespan. Ballantyne is assistant professor of music, voice at Stetson University. He has previously served on the voice faculties of the Univer- sity of Northern Colorado, the Theatre Conservatory of the Chicago College of Performing Arts at Roosevelt University, and North Park University. He holds a bachelor of music degree from Drake University, and a master of music degree and doctor of musical arts degree from the University of Illinois.

Mary Alouette is a New York-based singer, songwriter, actress, and music producer. She has released four EPs of electronic jazz pop music and has headlined at venues including the Rainbow Room, the Kennedy Center’s Millennium Stage, and Blues Alley. She has performed at Carnegie Hall, competed in the Apollo Theater’s tour, sung with the Washington Opera, and performed the national anthem for major league baseball teams, including the Baltimore Orioles and the Washington Nationals. Mary wrote and recorded a Cuban jazz EP while living in Havana, Cuba, and has sung and played Gypsy jazz music internationally, most memorably with her Romani Gypsy friends’ caravans in France. Most recently, Mary was music director for a multi-lingual production of Shakespeare’s The Tempest at a Syrian refugee camp in Greece. She was an artist-in-residence at the Brooklyn Arts Council and Strathmore. Alouette is a graduate of the Schulich School of Music at McGill University, where she studied opera.

Mezzo-soprano Amalia Dobbins has performed extensively in opera, musical theater and oratorio. Favorite operatic and musical theater roles include The Mother in Amahl and the Night Visitors, Maud Dunlop in The Music Man, Bloody Mary in South Pacific, Nicklausse in The Tales of Hoffmann, Hansel in Hansel and Gretel, and Sarah Brown in Guys and Dolls. Her oratorio appearances include Pergolesi’s Stabat Mater, Verdi Requiem, Beetho- ven’s Mass in C Major, Mendelssohn’s Elijah, Saint-Saëns’s Requiem, Haydn’s Lord Nelson Mass, and Handel’s Messiah. After graduating from the San Francisco Conservatory of Music with a master’s degree in vocal performance, Ms. Dobbins was chosen by distinguished contemporary classical music composers to premiere several new works in the US. She is a founding member of “The Liberty Belles,” an Andrews Sisters-style jazz trio that performs nationally. Ms. Dobbins studies voice with Metro- politan Opera soprano Martile Rowland. She has been a voice mentor at The Colorado Springs Conservatory since 2014.

23 Vol. 16, no. 1, September--October 2018 © NYSTA Michelle Mallardi’s Broadway credits include Belle in Disney’s Beauty and the Beast, Chess, Internal Combustion, and Astronauts. She has been a soloist at Radio City Music Hall in the Christmas Show and with Liza Minelli. She has performed with national and European tours of Les Misèrables, Frank Wildhorn’s Jekyll and Hyde, A Chorus Line, and West Side Story. Regionally, she has played Evita Peron in Evita, Hodel in Fiddler on the Roof, Christine in Phantom of the Opera, Louisa in The Fantasticks, and Gina in the East Coast premiere of One Last Ride, now a feature film. She is on the faculty teaching voice at CW Post/Long Island University in the musical theater department. Check iTunes for her solo album Love In Time.

Playing the piano or singing, solo or with ensembles, nightclub entertainment or theater, Kathy Williams is an energetic performer. Early in her career she formed her own band and created a popular show featuring the music of Ella Fitzgerald, Billy Holiday, Judy Garland and Barbra Streisand. She returned to her music career in 2005 with the release of her children's CD Crocodiles and Rainbows. She also became a songwriter with her second CD Happily Ever After. Her latest recording, Embraceable You, features jazz standards. She loves to coach and encourage people of all ages in music. Kathy has created The Mindful Music Project to teach singing, songwriting, rhythm and movement to participants in community and senior centers to encourage brain health. She is also tailoring a program to serve at-risk kids, as she believes music encourages learning and develops lifelong skills for communication and performance.

A lover of the performing arts from childhood, Johnna Yates began her training in musical theater at the Orange County High School of the Arts. She went on to earn a bachelor of arts in drama at the University of CA, Irvine, where she received extensive training in acting, voice and dance. In 2011, she dis- covered her love for teaching and began offering private vocal lessons and coaching to children, teens and adults. From 2012- 2017, Johnna served as the program director of Christian Youth Theater NYC, where she taught a wide variety of musical theater classes for ages 5--18 and refined her expertise in training children and teens in the performing arts. In addition to private lessons, she also teaches youth theater arts classes with Paper Mill Playhouse in Millburn, NJ. She greatly enjoys working one- on-one with students of all ages, offering encouragement and challenging them to grow, but has a particular passion to train the next generation.