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12-2011 Contemporary Commercial Voice Pedagogy Applied to the Choral Ensemble: An Interview with Jeannette LoVetri Neal W. Woodruff Olivet Nazarene University, [email protected]

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Recommended Citation Woodruff, Neal W. "Contemporary Commercial Voice Pedagogy Applied to the Choral Ensemble: An Interview with Jeannette LoVetri." Choral Journal 52.5 (2011): 39-53.

This Article is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in Faculty Scholarship and Creative Work – Music by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. Contemporary Commercial Voice Pedagogy Applied to the Choral Ensemble: An Interview with Jeannette LoVetri

Compiled and edited by Neal W. Woodruff

Compiler’s note: Jeannette LoVetri is in the Department of Jazz and at the Univer- more complete biography, a description of Visiting-Artist-in-Residence at Shenandoah sity of Michigan at the medical center in the Somatic Voicework™ The LoVetri Method, Conservatory and the founder of the fi rst Department of Speech Language Pathology. and listing of published research may be program on Contemporary Commercial The program at the University of Michigan found at: http://www.thevoiceworkshop. Music (formerly called “non-classical”) at the is the only program of vocal pedagogy to be com/index.html. Conservatory, which is in Winchester, Vir- offered in a university hospital setting. ginia. The Contemporary Commercial Music LoVetri is in demand as one of the Vocal Pedagogy Institute at Shenandoah world’s top specialists in training singers for was created in 2003 to address the needs contemporary commercial music (CCM) of Contemporary of twenty-fi rst century singing and teaching. all styles. Her expertise has been recognized Commercial Music The three-level courses offered during the worldwide through invitations for lectures The most care-worn feud in the singing Institute are called Somatic Voicework® The at national and international symposia, world is the erroneous disconnect between LoVetri Method, and are required in both seminars, and professional congresses, and choral directors and teachers of singing. the master of music and doctoral programs for master classes at universities and con- However, current-day preferences, trends, at Shenandoah. The summer Institute has servatories. and practices have proffered a new and attracted 500 people from ten countries Jeannette LoVetri is a faculty member (needlessly) contentious debate: with the and almost all the United States and has at Drexel University College of Medicine, a meteoric rise to prominence of popular garnered accolades from speech language position awarded her by Robert T. Sataloff, musical styles, choral conductors and voice pathologists, choral conductors, music edu- making her one of the few singing teachers teachers must not only attend to the issue cators, singing teachers, and many profes- in the world on a medical college faculty. In of period performance practice, but also sional singers from Broadway, opera, rock, addition, she is a member of the Scientifi c negotiate the vocal requirements of Musical jazz, and other styles. The Level I program Advisory Board of The Voice Foundation in Theatre, jazz or show choir, and multi-ethnic of LoVetri’s work is also offered annually at Philadelphia. LoVetri is author of several ar- (non-Western) literature. the University of Massachusetts Dartmouth ticles of voice research published in the Jour- It has long been presumed and taught nal of Voice and pedagogy articles published that the classically-based voice techniques in the Journal of Singing. She is the author of of Western culture could adequately and a chapter in the book The Performer’s Voice thoroughly serve the divergent needs of the edited by Thomas Murry and Michael Ben- singing world. However, some voice peda- Neal Woodruff is professor of voice, and niger, published by Plural Publishing. gogues are now asserting—with corroborat- conductor of Concert Singers and the Those interested in pursuing greater ing scientifi c evidence—that the functional University Orchestra, at Olivet Nazarene depth on CCM styles may attend LoVetri’s requirements for contemporary singing are University. workshops at several major universities. A quite different from classical function.

CHORAL JOURNAL Volume 52 Number 5 39 If classical vocal training is good In 2000, I called for the elimination bounces back and forth between for every kind of vocal sound, why of the term “non-classical” with CCM and classical at the same time, don’t opera singers get hired to sing the idea that we needed to it isn’t unreasonable to say that at in Rent, or Hairspray or Suessical, acknowledge all the styles of some point in the future that might sounding like opera singers? Is American music that have arisen happen.6 everyone completely deaf? Don’t to take their rightful place, without they know the difference between apology, alongside the great classical Despite the burgeoning quantity of data the sounds of a classical singer and a music of the world. I created the and the enduring professional cultivation of 1 pop/rock singer? term “Contemporary Commercial CCM styles, the incorporation of CCM tech- Music” or CCM (with apologies niques in applied voice pedagogy remains a Our naïve colleagues who say, to Contemporary Christian controversial topic with many members of “Singing is singing. If you have a solid Music, Cincinnati Conservatory of the singing profession. Part of the basis for classical technique, you can sing Music, Connecticut Conference of this is the abiding myth that CCM singing is anything,” are inviting vocal disaster if Municipalities, Craftsman Custom fundamentally unhealthy, even injurious to Metals, Classic Construction Models they impose classical vocal technique the serious singer. In 1966, the American and sounds on the [contemporary] and about 45 other CCMs). The Academy of Teachers of Singing (AATS) style of singing.2 term “Contemporary,” in the USA published a statement that refl ected the at least, refers most often to classical opinions held during the middle part of the Vocal music is a large artistic fi eld music of this and the twentieth 7 where pop, rock, soul, world music, century, but in Europe, it can mean twentieth century: jazz occupy an important portion. either classical or not. “Commercial” The voice timbre varies widely music can mean anything, too. It In recent years, the extraordinary depending on style of singing.3 can refer to music technology or development of communications the music business or it can mean and the commercial manipulation of Non-classical music continues to fl ourish music for a TV or radio commercial, public taste by the mass media have posed new and serious problems within the culture at large. Popular singing so alone it could be confusing. for the singing teacher. No one will styles have been in common coin as profes- However, both terms together had deny the cultural benefi ts derived sional expectations for this century and the no other association, and the use of from radio, recordings, television, majority of the last. However, only in recent Contemporary Commercial Music as a generic term equal to “classical” and cinema, but the power of these years have some university programs begun media to shape preferences and to embrace styles (and their correspond- has been very successful both here and abroad. It has allowed all of behavior has also had a pejorative ing techniques) that lie outside the canon these styles to gain in credibility and infl uence. All who are directly or of Western classical operatic and art song those who teach them to be more indirectly concerned with education literature. As such, “Contemporary Com- validated in their search for new and in the performing arts and with the mercial Music” is still an emerging discipline established approaches.5 quality of aesthetic experience must within voice pedagogy. take these infl uences into account. Contemporary Commercial Music LoVetri is a stalwart and unapologetic (CCM) refers broadly to “non-classical” advocate for the applied understanding of This statement centers on the fi eld of so-called “popular singing.” Such musical genres: Musical Theatre, Jazz, Cabaret, voice function, regardless of style. Studied singing has altered drastically in the Pop, Rock, Country, Folk, Gospel, Rhythm & and fl uent with all vocal genres, she is per- last twenty-fi ve years. In the 1920s, Blues, Rap, and emerging styles. A number of haps currently best known for her scientifi c highly trained classical singers were highly publicized CCM-focused seminars and investigations of the CCM voice mechanism prominent among the popular artists resources have developed in response to the and the resulting pedagogy. She states: increasing demands for CCM training, mostly of the day. In the 1930s, the fi eld 4 expanded to include not only the outside the formal academic setting. One There is now enough scientific of the most touted methods, and one that traditional folk and classical singers, backing to state what generally but also the new radio crooners. has found improving acceptance in academic happens with the vocal mechanism in circles, is taught by Jeannette LoVetri under Their repertory, although tame CCM and why it is possible to learn by today’s standards, was publicly the title: Somatic Voicework™ The LoVetri to belt effectively in a healthy manner, attacked by the clergy for suggestive Method. As part of her research and advo- without necessarily losing the ability lyrics. Their manner of singing was cacy, Jeannette (Jeanie) developed the title: to sing classically. While no one has even questioned by organizations of Contemporary Commercial Music. yet successfully had a career that voice teachers and music educators.

40 CHORAL JOURNAL Volume 52 Number 5 Jazz, also derided then, is respected western music, in combination with until recently. Only in 2008, did AATS issue today and treated, quite rightly, as electronic instruments—which the following updated statement: a signifi cant cultural manifestation amplify sound to extremely high, in the historical perspective of overpowering levels—has developed Techniques for singing genres such as indigenous popular music. In in several generations of young folk, gospel, blues, jazz, pop, and rock, addition, it is recognized that people life styles, vocal preferences, which fall under a new heading called American popular song, emerging mannerisms and habits which “Contemporary Commercial Music” from Broadway, Tin Pan Alley and are highly detrimental to normal (CCM), have been neither clearly 8 the cinema, relied, by and large, on vocal development and longevity. defi ned nor seriously addressed in a vocal technique rooted in folk or (Emphasis added) traditional voice pedagogy texts. classical tradition. While it is true that all singers must Due to the misperception alleged in this breathe, phonate, resonate, and The advent of Rock, together with an 1966 proclamation, scarcely anything (if any) articulate, they do not necessarily admixture of such vocal antecedents has been offered in terms of CCM pedagogi- approach these technical elements as blues, gospel, soul, and country- cal training within formal, academic circles in the same manner. Recent acoustic,

CHORAL JOURNAL Volume 52 Number 5 41 physiologic, and pedagogic research a jazz vocalist in New Orleans, where the with the radio. I taught myself to sing with my challenges the widely-held belief that family is from, with Jack Teagarden’s band. idol, Connie Francis, although I couldn’t really classically-based voice techniques And I began piano at age ten, so music was make the sounds she made. (Connie was a alone can serve the world’s diversity always around. great belter, and I didn’t fi gure out how to 9 of singing styles. I had good music training in public school, do that until I was in my late teens.) including many years of music theory. For My fi rst teacher, Margaret Strong, was a Jeanie LoVetri was invited to the exclu- example, we studied Peter and the Wolf in traditionalist who lived in the next town. She sive membership of the American Academy third grade, Peer Gynt in fourth grade and gave me exercises to strengthen my stomach of Teachers of Singing. However, the fracas Amahl and the Night Visitors in fi fth. I sang in (like current day Pilates exercises) so that continues, with egregious and uninformed choirs at school from the time I was in third I would have good breath support. I had words still being exchanged. Despite a grade, and several teachers encouraged my decent posture from my dance training and palpable difference in attitude between the ability to sing. Additionally, I had a course school gymnastics, and I was coordinated, above 1966 and 2008 AATS publications, in music analysis in my senior year of high so we didn’t fuss too much with breathing many teachers and singers, and even exist- school taught by Kenneth Wendrich who after I got the hang of it. She didn’t talk about ing students, could mirror the narrative of was also teaching at Yale. He gave us the “placement” or “resonance” or a special LoVetri’s training and often “thorny” journey. same course materials that he used with laryngeal position, but she did tell me to the Yale students. We worked on La Boheme, open my mouth on high notes and modify Beethoven’s Eroica, Brandenburg No. 4 by the closed vowels. We worked with a “smi- Journey Bach, and Petruska, taking them apart in vari- ley” approach, something I still use, and we ous ways. When I attended the Manhattan worked on clear diction. Beyond that, I was Woodruff: What fostered your interest in School of Music (MSM), much of what I had on my own. It served me well enough to get music, and singing specifi cally? Who were learned in public school took me through all two leads in local productions of musicals some of your early musical infl uences? my freshman music courses. (The Music Man and Show Boat) and later to do another leading role as a belter in a LoVetri: Both of my parents had nice voices Woodruff: Who were your primary voice community dinner theatre (Bells Are Ringing). and sang. My mother actually sang a few instructors? By then, I had gotten into and quit MSM. I times on the radio and sang to me and with was very unhappy there; one year was all I me as a child at home. My mother had been LoVetri: My fi rst public performance was at could take. I should have been in a music a professional dancer so I started with dance age seven, but I didn’t begin voice training theatre degree program, but, of course, in training at age three. My mother’s sister was until I was fi fteen; I did sing a lot at home and 1967, there were no such degrees. It was either study classical singing or learn to be an actor in drama school. I chose music be- cause I loved to sing so much. My Wagnerian soprano teacher found me most uninterest- ing (being a light lyric coloratura with sticky high notes) and lacking in more ways than I could count.

I’m Gonna Sing Here. Woodruff: What were some of your forma- ImagineImagine singingsinging on the veryvery stagestage once occupiedocc tive choral experiences? by a great composer, or performing in the charming village where Mozart penned his first score. Our tour LoVetri: Growing up, I sang in my church venues will inspire you. The appreciative audiences will choir. I also played the organ for Catholic ignite your very soul. Mass, separately, from the age of twelve until I was twenty-three. I sang in school choruses right up until I graduated high school and then again at MSM under Kenneth Hickok, who had studied with Hindemith. In high school, I was in concert chorus All the world’s a stage - Let us put your choir on it. and madrigals, and the All-Connecticut CulturalTourConsultants.com • Toll Free 866.499.3799 Chorus. Our CC director was Gerry Mack (later Dr. Mack) whose doctoral project was

42 CHORAL JOURNAL Volume 52 Number 5 to present us at Teachers College Columbia Dan Marek, who still teaches at Mannes this conundrum out?” University singing an unaccompanied version College of Music in NYC. Marek had sung at Fortunately for me, in 1978, I blundered of a Monteverdi Mass (eight part motet). City Opera and The Met and had attended into the Voice Foundation Symposium: Care of We did the entire work from memory at the Mozartium in Augsburg. He was studying the Professional Voice, which was held at that the end of my junior year. at that time with Cornelius Reid and was time at Juilliard. It was a life changing experi- After I got to NYC, I did a few “ringer” the fi rst teacher to talk about the muscles ence for me, to see all the charts, graphs, and jobs. One was with the Philharmonic under in the throat and tell me that my sound was photos of the larynx and vocal folds. I knew I Zubin Mehta. I sang in several NYC church constricted. I was amazed to discover there had “come home” and spent the subsequent choirs including Riverside Church and were muscles involved with making sound year counting the days to when I could go Marble Collegiate Church. and wondered what kind of muscles they back. Now, of course, thirty-four years later, were and what they did. I am on the Scientifi c Advisory Board for the I read Reid’s books and felt very excited Voice Foundation. It was a wonderful eye Discovery that I was fi nally getting some kind of more opening experience way back when and has or less concrete information about my voice. continued to be a very enriching part of my Woodruff: When did you develop an inter- I was much encouraged to discover that life over the decades. est in Voice Pedagogy? In CCM? there were people who had studied singing objectively and had worked to put together LoVetri: After I quit MSM, I began com- an approach towards learning to sing that muting into NYC for voice lessons (I lived was based on how the voice worked. I also about an hour away). I had several teachers, read William Vennard’s book, Singing: The all classical, and all with big reputations, who Mechanism and the Technique. I read them more or less did not know what to do with both many times in the early 70s. It was the me, as I was not obviously a budding operatic beginning of my interest in vocal pedagogy, star, although I only did classical repertoire in and I would say that this has remained an lessons. My voice was too light for heavier unquenchable thirst of mine for over three FOR CHORAL PART STUDY Since 1995 decades. roles or repertoire ♯but I did not have the notes above High C that should have been Since my earliest professional experi- easy for my light voice. I did my best to ences were in music theatre, and since I sang adapt to their various philosophies, many of popular music from the 1920s and ’30s at home with my mother and later from the which I found confusing or frustrating, but withwith SSINGERSINGERS ddemonstratingemonstrating tthehe pparts!arts! frequently found it diffi cult to keep things ’50s and ’60s with the radio in my room, I organized in my mind. I sang everything, had a strong affi nity for commercial music NEW!! of all kinds. I had also been exposed to clas- all the time, and worked here and there in Vaughn Williams' sical music from an early age at school and classical music, but without much sense of DONA NOBIS PACEM & direction, and performed in whatever kind loved it, too. I really didn’t want to have to of music venue I could fi nd. Somehow, my choose one style of singing over another Beethoven's SYMPHONY No.9 natural passion for singing and my desire to but all of my classical vocal teachers (there Plus master works such as: express myself musically always managed to were eight teachers and six coaches) told Rutter's: Requiem, Gloria, Magnificat me that you could not successfully do both. Schubert Mass in G, Vivaldi Gloria, surface and help me survive. Nevertheless, I Faure Requiem, Handel's Messiah, felt frustrated and confused about singing a The “pop” styles were supposed to be ruin- Lauridsen Lux Aeterna and more! good deal of the time. ous to the voice. AND I got married when I was twenty-one, Perhaps my absolute refusal to sing only 100s of Octavos and Anthems for and, shortly after, I got a job singing on week- classically was what limited me but I sang Treble, TTBB, SATB and SAB Choirs ends in a local restaurant. It was a German decently enough to audition and be ac- Rathskellar, and I joined the other singer (a cepted at MSM, and I had also performed in Visit our website at tenor who sang in the Met Chorus and had other places with classical material and been www.partpredominant.com a fantastic voice), the pianist, the violinist, well received. Surely, I thought, there had to ORDER ONLINE! and a man who played the zither, singing be some explanation as to why what I did [email protected] operetta favorites and doing a variety of was so different in each of these kinds of 2617 39th St NW Gig Harbor WA 98335 other material every weekend. It was quite music, but no one had any answers for me. an experience! I was still seeking guidance. It I thought, “Why was it so diffi cult to fi nd was at this point that I began to study with information? Why hadn’t someone fi gured

CHORAL JOURNAL Volume 52 Number 5 43 * * * * * tion of writing a chapter in a recent medically and expand vocal response. Singers based book: The Performer’s Voice.10 Today, who performed in any style of music, Despite the indifference or warnings she continues to work diligently to dispel outside of theatre, were on their from her teachers, LoVetri continued to ex- age-old myths about the health of CCM sing- own as to developing their vocal plore the reality of the CCM concepts that ing styles, and to foster better awareness of skills. Singers who were in music were apparent in the professional world. For the fundamentals of vocal mechanics. theatre could take classical voice more than thirty years, she has researched lessons or speech training or both, or they might be good belters without the basics of voice function utilizing the same By simply ignoring belting and related any training who could also act. In scientifi c methodology as notable classical styles, training for singing continued all cases, if the singers were trained, voice scientists. This has garnered her signifi - to remain unchanged up through the end of the twentieth century. Formal the training was classical, and if they cant recognition in the fi eld of voice science, performed music in one of the “non” including exclusive AATS membership, The training programs in universities and conservatories relied upon tried styles, they were on their own to Van Lawrence Fellowship from NATS and fi gure out what of, and how, to apply The Voice Foundation, invitations to present and true classical techniques (from various approaches) to strengthen the ideas gained in their lessons to at prestigious conferences, and the distinc- their actual repertoire.11

The basic principles of vocal function in Somatic Voicework™ The LoVetri Method are very simple. They are: isolation, development, and combination of chest and head registers to create a balanced mix, undistorted vowels, and strong, aligned posture which facilitates deep and easy inhalation and exhalation. If you learned and understood only this about vocal production, and you applied these principles to a wide range of pitches and volumes, and added consonants, you wouldn’t need anything else to become a good vocal technician.

If you do not understand register function as an auditory phenomenon, and you do not understand that this is a vocal fold behavior as well, you can waste a lot of time on ‘resonance’ (something you can’t control until you have a good deal of skill and power), and you can confuse vocal quality with vowel sound quality (a very bad mistake) which will make you spin your wheels. If you believe that everything comes from the breathing, then you can waste a lot of time, years or maybe even decades, developing your ability to breath, but if you do not also work on your sound, all you will get from doing this is to be a really excellent breather. 12

44 CHORAL JOURNAL Volume 52 Number 5 Woodruff: What are the core technique You are expected to know the difference. you did not, you wore your voice out. You distinctions between classical and CCM If you do not, you run the risk of making can hear this sound in Mariachi, Flamenco, singing styles? yourself look foolish and not getting work. Balkan, and Middle Eastern music and in There are people who can sing in many many kinds of music from Africa and other LoVetri: CCM styles all have their own different qualities (legit, mix, belt) and those cultures. Belting does not fi t into the west- parameters but are linked by their com- that just do one (rock belter). Performers are ern modality of classical singing, but vocal mon roots in the speaking voice. Some expected to know what kind of a role they pedagogues would like it to, and often bring of the CCM styles don’t venture far from are auditioning for, either because the show to the teaching of belting the same ideas of speech in terms of range and volume and has been done before or because there is a resonance and breath support that they use all the CCM styles are amplifi ed electroni- description of it in the casting notice. in classical training. These ideas may or may cally—something that is not yet common in In all of the other Contemporary Com- not be useful. Although most singing teach- classical music styles. That one thing, in itself, mercial Music styles, you just sing as a “vocal- ers would say that formal training enhances is a huge difference that is generally ignored ist.” It’s up to the individual to decide what belting, no one has really done a controlled by vocal pedagogues. Classical singing can range and quality is most comfortable and study to ascertain whether or not this is true. diverge from speech quite a bit in several appropriate. In classical music, you might be parameters—it can be louder, it covers more a dramatic tenor or a lyrico spinto soprano * * * * * range, and is usually head register dominant or a basso cantante, or you might span two for women in most of their range. categories on certain roles, but you are Classical vocal training is many expected to know what kind of an instru- different things. Recognizing that is ment you have and what kinds of roles are * * * * * a fi rst step to organizing it into a appropriate for it. coherent philosophy that has defi ned One of the principal distinctions between One of the complaints of classical teach- ingredients. If you are singing early CCM and classical vocal music lies in the music (Pre-Baroque), the current ers is a misunderstanding of the profes- area of vocal quality. When singers change consensus about what is correct sional expectations of CCM auditions and the style in which they sing, they must also vocal production for those styles is singers, and misapplication of classical fach change the vocal production and quality for different than it was 35 years ago. terminology. each style. If you are singing contemporary Signifi cantly, all the styles we are discuss- classical music, written by living There is currently no authoritative ing arose from untrained singers in various or recently deceased composers, system of voice classifi cation in non- parts of the United States when the regions almost anything could be part classical music. The problem lies in were quite isolated from each other. Jazz of making the sounds required the fact that classical terms are used came from the south, blues from the south- in the various works. If you sing to describe not merely various vocal east. The origins of rock are disputed, but mainstream music from “standard” ranges, but specifi c vocal timbres some say it originated in the south and oth- repertoire (Mozart, Schubert, Fauré, each unique to those respective ers say it came from Chicago. Country music ranges, and produced by the classical training techniques with which most comes from Appalachia; folk music came popular singers are not intimately from several places, having links to Europe familiar and which even those that through the early settlers. African Americans are do not universally employ.13 had an infl uence on all styles except perhaps country and bluegrass. None of the early vocalists were trained to use breath support CHOIR ROBES Woodruff: What are additional distinctions EXPERT $ 95 between classical and CCM techniques? or resonance of any kind, but developed the TAILORING 35 &UP ability to be heard without fatigue through Finest fabrics including permanent LoVetri: Music theatre is the only genre that trial and error. The vocal quality associated press and wash & wear. Superior quality. Free color catalog and asks for specifi c vocal registers in auditions with belting specifi cally can be found in di- fabric swatches on request. and in roles. The audition notices typically verse multi-national music, because it arises GUARANTEED SATISFACTION state the singer “must sing ‘legit’ to A,” “must from speech (generally male speech), and Call Toll Free: 1-800-826-8612 belt to D, and mix to F,” or “must sing pop/ as such, does not belong to one culture or rock belt to B.” If you do not know what time. In order to be heard, in order for the these terms mean, what the vocal qualities voice to carry in a building, or across an open www.rcgown.com are, or what they sound like, when you arrive fi eld, you found, through trial and error the P.O. Box 8988-CJ Jacksonville, FL 32211 at your fi rst auditions, you fi nd out right away. sound that seemed to “project,” because if

CHORAL JOURNAL Volume 52 Number 5 45 Verdi, Puccini, Britten), the sounds formant cluster) and a good deal of volume nunciation that is generally not too precise. you need to make might vary by as needed; singers must sing with consistent In CCM, with the exception of Broadway/ vocal category (fach), by venue vibrato and be able to create a legato vocal Music Theatre, you sing whatever you want (concert hall, opera house, church, line while doing their best to pronounce to sing in any key with the “arrangement” recital stage), or by accompaniment consonants clearly. Classical singers must be of your choice. You can change the key of a (piano, small ensemble, orchestra, able to vary volume and vowel sound quality song or the speed or even the style (from electronic amplifi cation). Thoughts or timbre, and they need to know the dif- music theatre to jazz, for instance). If you about vibrato, mouth shape, vowel ferences in eras and styles (Mozart versus are hired to sing a pre-arranged song or sound colors, linguistic considerations Puccini, or bel canto versus verismo). They be in a group, you might have to adapt, but (separate from but related to will need to be comfortable singing in several not always. Most CCM singers have a demo spoken languages), legato, accuracy languages, and they will need to be able to CD with several songs for promotional of melismatic lines, and control over fi t their voices into existing roles or works purposes, something classical vocalists do volume for expressive purposes, depend on the most prevalent or with specifi c pitch ranges, as one cannot not usually have. predominant ideas about style as re-write the music to fi t one’s capacities but Music theatre singers do not learn entire accepted in the general classical must develop the voice to fi t the repertoire. roles just to know them. They have various musical marketplace.14 Classical singers generally do not transpose songs prepared in full versions and shorter roles (unless they are famous) but might excerpts (usually sixteen bars) for auditions. Woodruff: Can you further describe those adjust a key in an art song enough to make it Music theatre varies, but usually asks for discrete aspects of classical performance? more comfortable. They also learn roles and clearer pronunciation than might be found repertoire for their resume while they are in a concert venue or on a recording. Music LoVetri: Other differences are that classical young, in order to be ready for opportunities theatre often allows for variance of rhythm performers are asked to generate a specifi c to sing at a moment’s notice when they arise. and notes as long as it is not too exagger- set of resonance frequencies (the singer’s Most CCM styles ask for colloquial pro- ated. Some music theater productions are slightly “updated” when revived, with small changes in the orchestration and/or vocal numbers. In classical music, you must sing the notes and note values as written with a few exceptions [such as period ornamentation] and, generally, we do not re-write Mozart to make it “modern,” although stage produc- tions can be quite different from the ideas envisioned by the originators of the work. The most important difference between classical music and CCM styles is that we change vocal quality. There is nothing worse than hearing an opera singer bringing oper- atic vocal production into a rock, jazz, or pop song. Some artists think singing a song by the Beatles in a lofty head register, resonance- driven vocal production is perfectly fi ne but it really just makes singers look foolish and out of touch with reality.

* * * * *

If you have been taught that everything is “placement” and “breath support” and that breathing has something to do with inhaling into the diaphragm, (and who hasn’t been taught those things?) you can spend much too long trying to get a

46 CHORAL JOURNAL Volume 52 Number 5 person’s sound to improve, develop, both. You need to feel that you are Do you fi nd it easier to move from classical grow, adjust, or change to no avail. singing easily and freely and that the singing to CCM or vice versa? sound responds well and that you If you can get a good, strong, can feel emotional while singing and LoVetri: I have always found it easier to go undistorted, non-manipulated, and that the emotion is refl ected in the from classical to CCM, so I do the classical free open [a] (as in Father) on a low sound without you having to “make music fi rst. I take a break and give my throat note at a loud vowel, you can assume it emotional.” You need to be able a few minutes to “recalibrate” because I do that you have a healthy chest register to go very quickly or very slowly not want to manipulate the sound, but sing it response. If you can get a clear, light, without issue. You need to be able freely and authentically. Now that I am older, to sing in a variety of tone qualities easy undistorted [u] (true) on a high (as of this interview, I am sixty-two) it takes pitch at a moderate to loud volume, and colors in order to be effective in longer to switch gears. If I don’t rest for a you can assume that you have access various contrasting styles. You need few minutes, sometimes the gear shifting in to a healthy head register function to look and feel congruent with the the middle is unsettled and I can lose control (that doesn’t mean you can sing words and music while you sing. a whole song there, however). If Trying to control your diaphragm there. When I was younger, however, I could you can sing an [e] or an [æ] on a isn’t going to help you do any of more easily go back and forth. middle pitch at moderate volume, these things. I believe that people who sing “a little you probably have some kind of of each” are quite capable of doing so very balance or mix. “Probably” is the Somatic Voicework™ is functional easily and well. I also know from experience, operating word. training based on practical both as a vocalist and as a teacher for nearly application, one person at a time. forty years, that at some point, if one is seri- You have to know what kind of Everyone is the same and everyone ous about a career, specializing makes sense. sound is good in order to get a good is different. All voices are unique and Yes, you can be a high belter, but I do not sound. You have to know what you all people are distinctively themselves think that such a person would do a “legit” want before you open your mouth but everyone has two vocal folds or classical sound as well. It’s like being an and you have to know that you are and a larynx, a pair of lungs, ribs, and Olympic athlete—you don’t sprint and also going to get that sound before you abdominal muscles. Vocal function is do marathons. If you are a multiple styles try to make it. Being able to do that, the same for any human being but artist, as music theatre singers must be, you on demand, every time, is having vocal output is unique to the person, can be very good at the various styles, but “secure vocal technique.” If you the age, the background, the training, not as good as someone who only does one. do not know what “good” sounds the music, the interests, and many The muscles involved can only change with like, especially in yourself, you have other things. equilibrium if the demands made are not to learn. If you do not know what extreme. I think I am the only person who comfortable is, you have to learn There are a lot of people out says that and my reason is simple. I sing and that too. If you do not have control there calling themselves singers have always sung both CCM and classical over all the dimensions of your voice who have no clue about the above. music and am still doing so at 62. I have been (pitch, vowel, volume, consonants, Some of these people also teach. duration, pressure [volume] and (Unfortunately.) If you do not told that I do not sound “old” and that you vibrato [some/none]), you don’t understand what I have written cannot detect in either classifi cation that I do really have “vocal technique” at all, here, and you either sing or teach, the opposite one. That’s how it should be. and you just sing however you do. you have, in my opinion, a moral obligation to learn about these 15 * * * * * The purpose of training the voice is things. to give you skills you wouldn’t have if you didn’t seek them. That includes There are some pedagogues who allege CCM And Choirs expanding your range both up and that the simultaneous utilization of classical down, expanding your dynamic and CCM voice function techniques simply Traditional classical pedagogy has been expression (both louder and softer), is not healthy or practical. LoVetri, along applied to group voice instruction and cho- being able to lengthen the time you with other workshop faculty, demonstrates ral ensembles. Yet, many within the choral can easily exhale during a sustained the ability to navigate multiple styles at her community still assume a priori that applied phrase, and being able to control annual, summer CCM workshops. voice function has no place within the choral the volume while you extend it, ensemble experience. The incoherence and up to and including getting louder Woodruff: When you sing at your summer impracticality of this notion is evident in the at the end or when you go up or workshop you take a break between styles. renewed interest in performance practice,

CHORAL JOURNAL Volume 52 Number 5 47 and the current penchant for the inclusion their program Cross-Choral Training.™ Two LoVetri: The training is done as part of their of music of non-Western ethnic styles. In voice scientists, one in Florida and one in normal rehearsals. Dianne Berkun, artistic di- point of fact, attentiveness to voice function England, have studied the program, and both rector and founder of BYCA, uses exercises I is an essential ingredient to an accomplished authors have had their articles published in have formulated. She integrates musicianship choral sound, enhancing the ability of the the Journal of Voice.16 We train the children and vocal technique and I integrate voice sci- singer to intelligently and musically respond to sing in a pure, traditional head register ence and vocal health off and on throughout to the requirements of the period and style dominant production associated in many the school year. Some of the children who practice. In the same way, CCM function people’s minds with an “angelic sound” and have grown up singing with us end up with must be coherently addressed in the choral we also train them to sing in a chest mix an excellent capacity to sing classically and setting. Having sung in and coached a num- or speaking voice quality. The sound is very in other styles. They also frequently know a ber of choirs, LoVetri offers some unique different, depending on what they sing and great deal about vocal production and voice perspective on the ability of choristers to this is deliberate. Two years ago, the Concert science. It’s terrifi c to have one of the kids successfully navigate multiple styles. Chorus sang at Madison Square Garden come to tell me that something is going on with Elton John for his sixtieth birthday and with her voice and explain exactly what’s Woodruff: You have long-standing relation- within the same week with the New York wrong. They are always accurate and we are ships with choirs, including the Brooklyn Philharmonic at Carnegie Hall. As you can happy that they can self-monitor that way. Youth Chorus Academy. What are some imagine, both concerts were very different. practical tips for the application of CCM There is very little incidence of vocal health Woodruff: Many schools have only one pedagogy to the choral/group setting? problems and we do monitor them for such. ensemble to fulfi ll the roles of concert We’re proud of that. choir and show or jazz choir. What should LoVetri: I have been associated with the a choral director keep in mind with regard Brooklyn Youth Chorus Academy as its Sing- * * * * * to programming for multiple styles? ing Specialist since its inception in 1992. We use the ideas I have created in my method, LoVetri: A choral director should not expect ™ The Brooklyn Youth Chorus Somatic Voicework, but we have adapted Academy© is a uniquely positioned his or her choristers to sing different styles those principles to address the needs of organization, working with a large of music with the same vocal quality. The children’s voices and also include musician- number of international names vocal quality appropriate to the music, if it ship training into the approach. BYCA calls from both the CCM and classical is known, should always be respected. Sty- music worlds. The chorus regularly listic changes, like pronunciation, should also performs alongside artists as change but they do not make up for vocal disparate as Elton John and the New quality. The vocal quality needed should be York Philharmonic Orchestra. As taught on an on-going basis for some time such, the singers need to be able to before the director expects the chorus to adapt their vocal style according to deliver the specifi c sounds that are best the musical genre being performed. for any given song or arrangement. If the ® Cross-Choral Training (C-CT) is director is not familiar with vocal quality as BYCA’s program for developing a separate vocal function, s/he should take vocal and musicianship skills in a some voice science courses in order to choral setting. C-CT enables the make this clear. singers to perform intentionally in a “Taking chest register up” is the function variety of coordinated adjustments that causes the most confusion and diffi culty and vowel sound qualities so the because traditional vocal pedagogy has told chorus can easily respond to the us that this was harmful or wrong, but this musical and expressive demands is an old wives’ tale. Using the principles of diverse repertoire, including both CCM and classical styles of of voice science, it is quite possible to sing performance, and can sing any style well in any vocal quality, even chest register of music appropriately.17 carried up high, but one must absolutely understand how to create this vocal behav- Woodruff: What sort of training is utilized ior in a healthy and musically viable manner. by the staff of the Brooklyn Youth Chorus Many classically trained singers mistakenly Academy? think that belting (a quality found in many kinds of CCM styles) is just yelling or singing

48 CHORAL JOURNAL Volume 52 Number 5 in a nasal sound, but neither of these ideas is LoVetri: As mentioned, belting can be found Using “extended” techniques implies that correct. This has almost nothing to do with in many kinds of ethnic music. It must be the director understands healthy ways to resonance changes and very little to do with remembered that many of them are only make various kinds of sounds that may not special kinds of breath support, so it can be chest register driven and were not intended be found in English or in Western classical confusing to someone who has had only to be sung by trained voices with high ranges. music, including phonation on an inhalation, those concepts to use when dealing with If you are doing a choral arrangement of a growling, clicks, noises, and shouts. Many singing training. piece that was sung originally by Africans, or kinds of sounds that are not beautiful are With regard to programming, consider Native Americans, who did not have any for- perfectly healthy and viable, but it requires doing the lighter, headier pieces earlier in the mal musical or vocal training, you are already skill to negotiate them. Again, if the director program, as doing chesty songs will make it taking the music outside its original form of is not familiar with these kinds of techniques, more diffi cult to go back to singing heady expression. When approaching music from she should seek training before using them songs in all but the oldest and strongest any culture not our own, different criteria with her choir. vocalists. Further, fl atting can result if too would apply. The music of the Far East has much chest is introduced in singers who several unique parameters, depending upon do not have strong head-register-dominant the country, that are vocally and musically * * * * * technique to counter balance it, so waiting outside what our western ears recognize until the end of a program to put in chestier and understand. Directors should be sure songs will help intonation stay accurate. to study these differences and take them CCM and Children Also, recognize that having a show choir into consideration when adding songs from asks that you borrow some performance these countries to their programs. Taking There are a variety of opinions regarding practices from theater and dance. Move- care to know the context in which the music age-appropriate parameters for the voice ment will affect vocal production. is typically performed in a foreign culture and training of children. Some teachers will not If you are performing a jazz piece, rec- honoring that tradition in performance as even consider working with pre-pubescent ognize that jazz as a form is meant to be much as possible is just as important with children. This opinion is also slowly changing, freely varied—so if your choir is singing a non-Western music as it is with CCM styles. as evidenced in the various publications of set arrangement, many people would argue Vocal production is vocal production and notable pedagogues.18 In her CCM work- that it isn’t really jazz at all! All of these things vocal function is the same in all human be- shops, LoVetri specifi cally discusses age- matter when considering vocal style and the ings. The larynx houses the vocal folds that appropriate pedagogy concepts. fi nal output of a song or concert. close and vibrate when we make any voiced Choral conductors should understand sound. The lungs are the reservoir of air and In the past, many teachers believed that intonation will fl uctuate with register the abdominal muscles are the pressurizers. it was not wise to train a child who quality in beginners. That’s because we The throat and mouth, coupled together to had not reached puberty. Today, “tune the tube to itself” through what we form a tube above the vocal folds, create the however, things have changed, due, hear and, to a lesser extent, feel. The length vowel sound and the vocal timbre. The jaw in part, to the idea that training and thickness of the folds and the amount opening, tongue position, mouth and lip po- does not have to mean operatic or of pressure on them when they are making sition, face shape and activity, and alignment classical vocal training. It is still true sound, coupled with the vertical height of of the head over the torso all play a part in that a child cannot be handled like the larynx in the throat and the shapes made the overall output of the sound that we hear an adult, from the standpoint of vocal by the muscles in the back and front of the as “voice” and “resonance.” Gaining control function, but proper training can help mouth and tongue, all effect tuning. There- over all these variables takes time and is a child sing well in a school or church fore, register balance has a direct effect upon different for every person in application, choir or in a local musical. pitch control and overtones, which we hear although much can be learned in a group as intonation. Conductors must be patient situation. Therefore, vocalists, young and All children can benefi t from postural work, breath work, and head register and allow the students time to get adjusted old, should be encouraged to pay attention, development. They can learn to sing to these behaviors. As they become more develop awareness of feeling, movement, with undistorted vowels, in a clear comfortable, the pitch issues will resolve. or sensation and cultivate greater sensitivity tone, with articulate diction and easy over all of the sensory feedback mechanisms. production. They can learn music and Woodruff: Many choral concerts include It is also important to learn to listen with performance and they can be guided musical settings from non-Western coun- an objective ear for vocal quality and con- to develop as young vocalists who tries, often requiring “extended” vocal tech- sistency. Listening is the key component to appreciate all kinds of singing.19 niques. How may CCM pedagogy apply to vocal production, as the throat follows the these settings? mind (the ear).

CHORAL JOURNAL Volume 52 Number 5 49 The understanding of the singing school) learn to sing more deliberately in the “resonances” or the acoustic spectrum voice of children and adolescents is chest register, carrying it up a little higher will change. We do not teach the children to still in its infancy, and there is a lack than the younger voices and the oldest change what they feel or where the sound of a general developmental model singers (high school) are expected to be vibrates, we teach them to listen and to be of the young voice, in particular able to not only sing in chest, mix, and head aware of what is happening as the vocal qual- with relation to young singers. register dominant sounds in mid-range, but ities change. We get those changes through Available research has largely also to control and change vowel sound shaping specifi c vocal exercises which I developed been on ‘classically’ trained voices, independently in each quality without losing and which Dianne teaches. The mix emerges and contemporary commercial control over volume. This is very diffi cult and in response to the exercises, regardless of music (CCM) including pop/rock takes time, but they do all master it after a whether or not the child realizes it. and musical theatre has largely been certain amount of exposure to the exercises ignored.20 and explanations. Posture and breathing is * * * * * always emphasized and we work on physical Woodruff: Related to your experiences with coordination of the ribs (intercostals) and children’s choirs, at what age can/should abs (all four layers of them) continuously. Counsel you begin working on these principals with They sing many public performances and young singers? are in demand, especially since they won a One of the essential elements in the un- Grammy in 2002, with all the top musical and derstanding of classical and CCM pedagogy LoVetri: Our youngest [BYCA] choristers professional artists that come into New York. is the development of an aural catalog of are six and seven years old. They don’t get Dianne and the two associate conductors healthy singing. much development of anything beyond do a terrifi c job making sure the children head register and a little speaking voice sing well and I consult with all chorus divi- Woodruff: Do you have a suggested listening on the lowest notes and a little bit about sions to make sure the vocal training stays list of exemplary singers or choirs? posture and breathing. The slightly older in the Cross-Choral Training™ framework singers get some technical work, especially we developed. LoVetri: I had occasion to sit in very briefl y register-based training, so they understand I want to make sure that readers under- once on the Mormon Tabernacle Choir re- that there are these two kinds of sounds that stand that “mix” is a function of register bal- hearsal and was extremely impressed with we can “mix” in different ways in their middle ance, not a “resonance” response although the effi ciency with which they rehearsed. I range. The intermediate singers (junior high have always admired this choir, because it could easily be awful, since it is so big and its members are, as I understand it, not all pro- fessionals, but it sounded as good in person as it does on its recordings. I have heard many excellent professional Customized Performance Tours choirs here in New York at various concerts, Group Educational & Cultural Tours most of which were “ringer” choruses, that Cultural Tours for Individuals is, professional vocalists who were hired by an agent to sing the rehearsals and per- formances, meaning that they were not a choir before or after the professional “gig.” FAM tourNEW!! for conductors The idea that professionally trained classi- cal singers who use vibrato cannot blend fades here in New York City when you hear those choruses and also those at the Met and NY City Opera that are quite capable of blending. I have also heard transcendent performances in churches and at various concert venues. Recently, I heard a small Russian liturgical men’s chorus that was just www.concept-tours.com Concept Tours stunning. I admit being very prejudiced in 800-300-8841 A bridge to the world that I really like the Brooklyn Youth Chorus and its truly American sound.

50 CHORAL JOURNAL Volume 52 Number 5 My personal list of singers that I admire is Why didn’t young Johnny Farnham’s 3 Björkner, Eva. “Musical Theater and Opera very long. At the top is Luciano Pavarotti, fol- singing teacher tell him years ago Singing—Why So Different? A Study of lowed by Dame Joan Sutherland, Leontyne to stop fl ipping into falsetto? It gets Subglottal Pressure, Voice Source, and Price, and Marilyn Horne. I also admire many you nowhere if you want to use Formant Frequency Characteristics.” Journal of today’s classical vocalists including Renee your voice professionally. Can’t Kylie of Voice 22(5), September 2008: 533– 40. Fleming, Thomas Hampson, Bryn Terfel, Dimi- Minogue get rid of that white sound Doctoral Thesis, Royal Institute of Technology, tri Hvorotovsky, and Dianna Damrau. I have in her voice? A bit of decent vibrato Stockholm, Sweden, 2006: 37. 21 4 always been a big fan of Barbara Streisand, would improve her, wouldn’t it? Examples of recent CCM pedagogy seminars and Ella Fitzgerald, Arethra Franklin, Tony Bennett, resources include: LoVetri, Jeannette. http:// Rosemary Clooney, Brian Stokes Mitchell, At fi rst blush, it may appear that the pro- www.thevoiceworkshop.com/index.html and Audra McDonald. I loved the Beatles, fession of singing requires a singular, Western, Peckham, Anne. The Contemporary Singer: the Four Seasons, and the Beach Boys but classically-oriented pedagogy. However, that Elements of Vocal Technique. Berklee Press Publications, 2nd ed., 2010. Peckham, Anne. now I love Gnarls Barkley, Rascal Flatts, the perspective has become dubious with the Vocal Workouts for the Contemporary Singer. Dixie Chicks, and the Black-Eyed Peas. I like availability of comprehensive, verifiable Berklee Press Publications, 2005. Popeil, Lisa. Beyoncé, Christina Aquilera, Adam Lampert, voice research. Students and teachers alike Total Singer Workshop. http://www.popeil. and Adele. I like Dolly Parton, Reba McEn- have no further to look than Richard Miller’s classic text National Schools of Singing,22 or com/Shenandandoah CCM Institute. http:// tire, and Willie Nelson. It runs the gamut. I www.ccminstitute.com/ still love to listen to Connie Francis. I am a to note the tonal differences between Wag- 5 nerian and Lieder singers, to dispel the myth LoVetri, Jeannette. “Why We Are Here Today.” big fan of Jenny Burton, who is unknown Introductory remarks at Olivet Nazarene that classical singing is and has always been but shouldn’t be, and am blessed to also University CCM Seminar, November 16–17, a single, cohesive entity. And even a cursory have many wonderful professional students 2007. expedition through current, professional whose work I much admire. 6 Ibid. performances, let alone the corresponding 7 The American Academy of Teachers of Singing research, reveals the breadth of style and is a highly select group of nationally * * * * * technique variations demanded in the musi- recognized teachers of singing and voice cal marketplace. experts; membership is limited to only forty Conclusion Clearly, the professional demands on members at any one time. today’s choral and solo singers have ex- 8 “The “Pop” Singer and the Voice Teacher.” panded exponentially with the proliferation Stylistic devices that would have AATS 1986 reprint of 1966 NATS ‘classical’ singers running for cover of popular genres—in other words, the Journal September/October issue. are contemporary commercial canon has broadened. It is further evident Academy Publications. http://www. singers’ bread-and-butter. We can that the rising solo performer, chorister, edu- americanacademyofteachersofsinging.org/ cator, and church musician must be adept at assets/articles/popsingervoiceteacher.pdf either pronounce their work as ‘all 9 of the devil’ or provide technical, negotiating the techniques of multiple styles, “In Support of Contemporary Commercial physiological, and emotional support for solo and choral performance. The task of Music (non-classical) Voice Pedagogy.” AATS to those learning and working within the voice pedagogue, therefore, must be to 2008, Academy Publications http://www. these areas. Is constriction a sin? become fl uent in the pedagogy of multiple americanacademyofteachersofsinging.org/ articles/CCMVoicePedagogy.pdf (Yanagisawa, Estill et al., 1989). If styles, including the array of genres known 10 Elaine Strich’s singing teacher had as Contemporary Commercial Music. Jean- LoVetri, Jeannette. “Treatment of Injured Singers cured her of constriction, where nette LoVetri, along with her students and and Professional Speakers: The Singer/Actor, would that Broadway legend be CCM colleagues, stands as a proud witness Singer/Dancer, and Singer/Musician.” In The Performer’s Voice, Michael S. Benninger and now? She’s over 70, currently to the prospect of mastering multiple styles, Thomas Murry, 209–18. San Diego, CA, Plural performing a sell-out one-woman and the success of applied voice function. Publishing, 2006. show on Broadway, and belting safely 11 and brilliantly. Should we send Tom LoVetri, Jeannette. “Why We Are Here Today.” Introductory remarks at Olivet Nazarene Waits along to have a few drop-in NOTES lessons at the Conservatorium to get University CCM Seminar, November 16–17, 2007. rid of that awful vocal fry of his? Isn’t 1 12 breathy onset a vile vocal fault? It LoVetri Post. The Great Divide. http://lovetri-post. LoVetri Post. The Basics of Somatic Voicework™ hasn’t hurt George Benson’s career blogspot.com/2006_10_01_arvhice.html. The LoVetri Method. http://lovetri-post. October 24, 2006. blogspot.com/2011_02_01_archive.html. much, or the late and great Peggy 2 Edwin, Robert. “Belting 101: Part two.” Journal of February 26, 2011. Lee. What if a zealous vocal coach 13 fi xed Dolly Parton’s hypernasality? Singing 55(2), 1998: 61– 62. Peckham, Anne. Vocal Workouts for the

CHORAL JOURNAL Volume 52 Number 5 51 Contemporary Singer. Berklee Press of Voice, November 8, 2010. doi:10.1016/j. measures of girls singing ‘classical’ and Publications, 2005. jvoice.2010.07.003 ‘contemporary commercial’ styles. The 14 LoVetri Post. What is “Classical” Singing? http:// 17 Barlow, Christopher, Jeannette LoVetri, and Author (AEC) International Symposium on lovetri-post.blogspot.com/2011_02_01_ David Howard. “Voice source and acoustic Performance Science, 2007: 195–200. www. archive.html. February 14, 2011. measures of girls singing ‘classical’ and performancescience.org. 15 LoVetri Post. The Basics of Somatic Voicework™ ‘contemporary commercial’ styles. The 21 Wilson, Pat. “Sinful Modern Music: Science and The LoVetri Method. http://lovetri-post. Author (AEC) International Symposium on the Contemporary Commercial Singer.” blogspot.com/2011_02_01_archive.html. Performance Science, 2007: 195–200. www. Australian Voice 9, 2004: 12–16. February 26, 2011. performancescience.org. 22 Miller, Richard. English, French, German and Italian 16 The two studies of the BYCA are: Barlow, 18 Robert Edwin has published more than fi fteen Techniques of Singing: A Study in National Tonal Christopher, and Jeannette LoVetri. “Closed articles regarding voice pedagogy for children Preferences and How They Relate to Functional Quotient and Spectral Measures of Female in The Journal of Singing (NATS Journal); The Effi ciency. Maryland: Scarecrow Press, 1977. Adolescent Singers in Different Singing Styles, Journal of Voice; as a member of AATS; and Reissued 1997. 13 July 2009.” Journal of Voice 24(3), May 2010: contributing to several books. 314–18. Morris, Richard J., Sten Ternström, 19 LoVetri, Jeannette. “Age-appropriate Parameters.” Jeannette LoVetri, and Dianne Berkun. “Long- Shenandoah University CCM Institute Term Average Spectra From a Youth Choir Workshop Handbook. Section 4, pg 13; 2005. Singing in Three Vocal Registers and Two 20 Barlow, Christopher, Jeannette LoVetri, and Dynamic Levels.” Corrected Proof. Journal David Howard. “Voice source and acoustic

LoVetri Resources

Books

Melton, Joan, PhD. “Jeannette LoVetri.” In Singing in Musical Theatre: The Training of Singers and Actors, 37–53. New York: Allworth, 2007.

LoVetri, Jeannette. “Treatment of Injured Singers and Professional Speakers: The Singer/Actor, Singer/Dancer, and Singer/Musi- cian.” In The Performer’s Voice, Michael S. Benninger and Thomas Murry, 209–18. San Diego, CA: Plural Publishing, 2006.

LoVetri, Jeannette. “Preventing Vocal Abuse in Non-Classical Singers.” In Current Research in Arts Medicine: A Compendium of the Medart International 1992 World Congress on Arts and Medicine, ed. by Fadi J. Bejjani, M.D., 519–21. Chicago: ME- DArt International, Inc., 1993.

Book In Preparation

LoVetri, Jeannette. “Contemporary Commercial Music Vocal Pedagogy.” Somatic Voicework© The LoVetri Method.

Articles

Barlow, Christopher, and Jeannette LoVetri. “Closed Quotient and Spectral Measures of Female Adolescent Singers in Different Singing Styles, 13 July 2009.” Journal of Voice 24(3), May 2010: 314–18.

52 CHORAL JOURNAL Volume 52 Number 5 Barlow, Christopher, Jeannette LoVetri, and David Howard. “Voice source and acoustic measures of girls singing ‘classical’ and ‘contemporary commercial‘ styles. The Author (AEC) International Symposium on Performance Science, 2007: 195– 200. www.performancescience.org.

Barnes-Burroughs, Kathryn, Christopher Watts, Oren L. Brown, and Jeannette LoVetri. “The Visual/Kinesthetic Effects of Me- lodic Contour in Musical Notation as it Affects Vocal Timbre in Singers of Classical and Music Theatre Repertoire.” Journal of Voice 19(3), September 2005: 411– 19.

LoVetri, Jeannette. “Female Chest Voice.” Vocal Pedagogy Column of Richard Miller, Journal of Singing 60(2), 2003: 161– 64.

LoVetri, Jeannette. “Contemporary Commercial Music: More Than One Way to Use the Vocal Tract.” Journal of Singing, Jan/ Feb 2002.

LoVetri, Jeannette, and Edrie Means-Weekly. “Contemporary Commercial Music: Who’s Teaching What in Non-Classical Vocal Music.” Journal of Voice 12(2), 2003: 207– 16.

LoVetri, Jeannette. “Who’s Minding the Store?” Journal of Voice 59(4), March/April 2003: 345– 46.

Means-Weekly, Edrie, and Jeannette LoVetri. “ Follow-Up Contemporary Commercial Music (CCM) Survey: Who’s Teaching What in Nonclassical Music.” Journal of Voice 23(3), 2009: 367– 75.

Morris, Richard J., Sten Ternström, Jeannette LoVetri, and Dianne Berkun. “Long-Term Average Spectra From a Youth Choir Sing- ing in Three Vocal Registers and Two Dynamic Levels.” Corrected Proof. Journal of Voice, November 8, 2010. doi:10.1016/j. jvoice.2010.07.003.

Sundberg, Johan, Patricia Gramming, and Jeannette LoVetri. “Comparisons of Pharynx, Source, Formant and Pressure Char- acteristics in Operatic and Musical Theatre Singing.” Journal of Voice 7(4), December 1993: 301-310. Speech Transmission Laboratory, Quarterly Progress and Status Report, Royal Institute of Technology, Stockholm, Sweden, 32(2), October 15, 1991: 51– 62.

Surow, Jason B., and Jeannette LoVetri. “Alternative Medical Therapy: Use Among Singers: Prevalence and Implications for the Medical Care of the Singer.” Journal of Voice 14(3), 2000: 398– 409.

Surow, Jason B., Jeannette LoVetri, Susan Lesh, and Peak Woo. “Preliminary Study on the Ability of Trained Singers to Control the Intrinsic and Extrinsic Laryngeal Musculature.” Journal of Voice 13(2), 1999: 219– 26.

Titze, Ingo, Brad Story, Marshall Smith, and Russel Long. “A Refl ex Resonance Model of Vocal Vibrato.” Journal of the Acousti- cal Society of America 111 (5), May 2002: 2272-82. Jeannette LoVetri: research associate.

Video

LoVetri, Jeannette. Interview with Theo Bleckmann. NATS Convention, Minneapolis, June 2006. http://www.thevoicework- shop.com/videos.html.

Video interviews with Jeannette LoVetri may be found at the Shenandoah University CCM Institute Web site: http://ccminstitute. wordpress.com/video-jeannette-lovetri/.

CHORAL JOURNAL Volume 52 Number 5 53