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Lecture Outline & Notes Vocal Pedagogy, MUS 417 Dr. Tod Fitzpatrick Department of Music Studio: (702) 895-2540 University of Nevada, Las Vegas [email protected] Spring 2008 Office hours: By request Lecture Outline & Notes March 3, 2008 Teaching Singing (Clifton Ware) I. History of Vocal Pedagogy A. Pre-seventeenth Century B. Seventeenth and Eighteenth Centuries 1. Rise of the professional singer 2. bel canto 3. Stylistic vocal ornamentation C. Nineteenth Century 1. Larger performing halls 2. Larger orchestras 3. rise in concert pitch 4. Romantic expression and ideals D. Twentieth Century 1. Increased vocal experimentation 2. Technological advances 3. Increasing demands on operatic singers 4. Focus on historical accuracy II. Comparative Pedagogy A. Holistic Pedagogy B. Mechanistic Pedagogy C. Eclectic Pedagogy III. National Schools and Methodologies A. English B. French C. German D. Italian IV. Foundations of Effective Teaching A. Commitment to discipline B. Cultural value C. Altruism D. Lifestyle E. Status and Influence F. Self-improvement V. “Model” Voice Teacher Characteristics A. Personal Characteristics 1. Optimistic outlook 2. Self-disciplined 3. Socially aware 4. Well kempt appearance 5. Healthy lifestyle 6. A sense of humor B. Musico-dramatic Characteristics 1. Pleasant speaking and singing voice 2. Dependable and flexible technique 3. Secure musicianship and musicality 4. Scholarly attention to historical matters 5. Linguistic facility 6. Dramatic skills 7. Artistic coordination of all learning/teaching modes C. Teaching Characteristics 1. Sincere concern for student progress 2. Personal teaching style 3. Approaches students individually with respect 4. Addresses learning tasks by observing, diagnosing, and offering solutions 5. Gives honest, appropriate feedback 6. Is committed to professional development through continued learning, research and performance VI. Voice Teacher Roles A. Vocal artist B. Scholar C. Instructor D. Counselor E. Administrator F. Colleague G. Gatekeeper H. Exemplar VII. Categories of Teachers A. Considerations for categorization 1. Methodology 2. Technical approach 3. Types of students 4. Vocal technician of coach 5. Personality type 6. Teaching style B. Types of teachers 1. Singer-teacher 2. Teacher-singer 3. Vocal technician 4. Artist-teacher C. Metaphorical Images of Teachers 1. Teacher as guru (elitist) 2. Teacher as gatekeeper (purist) 3. Teacher as tour guide (populist) 4. Teacher as Sherpa (guide) VIII. The Teacher/Student Relationship (pg. 259) A. Teachers’ responsibilities B. Students’ responsibilities IX. Styles of Teching A. Didactic teaching model B. Critical thinking model X. Instructional Strategies, Techniques, and Tools XI. Communication in Teaching XII. Instructional Equipment and Materials A. Spectrographic software (sonograph) B. Computer C. Nasometer D. Aerophone E. Electroglottograph XIII. Recognizing and Diagnosing Vocal Problems XIV. Life-span Voice Teaching A. Vocal Development B. Teaching Children C. Teaching Adolescent Males D. Teaching Adolescent Females E. Teaching Aging Adults XV. Modes of Instruction A. Individual Instruction B. Group Instruction C. An Ideal Teaching Model The Teaching(and Learning) of Singing (David Mason) I. Basic Approaches II. The seventeenth century A. passaggi, gorgie, gorgheggi III. The eighteenth century A. Mancini: Practical Reflections on the Art of Florid Song B. Messa di voce IV. Nineteenth century voice training A. Manuel Garcia: Traité complet de l’art du chant (1842/47 1. coup de glotte 2. voix claire 3. voix somber V. Towards the twentieth century A. Helmholtz: On the Sensations of Tone (1863) VI. Schools of Singing Code of Ethics of theNational Association of Teachers of Singing, Inc. New Code of Ethics approved by the NATS Board of Directors in June, 2006, and accepted by the membership in December, 2006. This Code of Ethics is established by NATS in order that its members may understand more clearly their ethical duties and obligations to their students, other teachers, and the general public, as well as to promote cooperation and good fellowship among the members. I. Personal Ethical Standards A. Members will strive to teach with competence through study of voice pedagogy, musicianship, and performance skills. B. Members will present themselves honestly, in a dignified manner, and with documented qualifications: academic degrees, professional experience, or a combination of both. C. Members will faithfully support the Association and are encouraged to participate in its activities. II. Ethical Standards Relating to Students A.Members will respect the personal integrity and privacy of students unless the legal or academic system requires disclosure. B. Members will treat each student in a dignified and impartial manner. C. Members will clearly communicate all expectations of their studios including financial arrangements. D. Members will respect the student's right to obtain instruction from the teacher of his/her choice. E. Members will offer their best voice and music instruction and career advice to all students under their instruction. They will complete the full number of lessons and amount of time paid for by each student in accordance with studio policies. F. Members will not make false or misleading statements regarding a student's hopes for a career or guarantees of performances or favorable contracts. III. Ethical Standards Relating to Colleagues A. Members will refrain from making false claims regarding themselves or their students and from making false or malicious statements about colleagues or their students. B. Members will not, either by inducements, innuendoes, or other acts, proselytize students of other teachers. C. Members will render honest and impartial adjudication at NATS auditions and/or NATS competitions and students will not be requested to disclose names of present or former teachers until after the event. D. Members will disclose at NATS events the name of a student's previous voice teacher if the student has studied with the current teacher for less than eight months. When a member's expertise warrants collaboration, members will work collegially with other professionals (i.e., voice therapists, speech pathologists, and medical practitioners). Rules and regulations of any accredited academic institution take precedence over the NATS Code of Ethics, should there be a conflict. CODE OF ETHICS NYSTA is committed to preserving the highest standards of integrity and ethical principals among its members. To this end, we have established the following Code of Ethics, consisting of Principles of Ethics elaborated with specific Rules of Behavior advocated by NYSTA. All NYSTA membership applicants must agree to this Code of Ethics for acceptance into the organization Principles of Ethics form the underlying moral basis for the Code of Ethics. Rules of Behavior are specific guidelines for minimally acceptable professional conduct applicable to all individuals. PRINCIPLES OF ETHICS: NYSTA members shall honor their responsibility to hold paramount the welfare of persons they serve professionally. NYSTA members shall honor their responsibility to achieve and maintain the highest level of professional competence. NYSTA members shall honor their responsibility to the public by promoting public understanding of the profession, and providing accurate information in all communications involving any aspect of the profession. NYSTA members shall honor their responsibilities to the profession in their relationships with colleagues, students and members of allied professions by upholding the dignity of the profession, maintaining harmonious professional relationships, and accepting the organization's standards. RULES OF BEHAVIOR: 1. I pledge to provide competent professional service to all students and clients. 2. I pledge to continue professional development throughout my career, and to keep abreast of current developments in vocal pedagogy by reading current literature, subscribing to professional publications, and attending lectures and conferences. 3. I pledge to realistically advise my students, and to encourage realistic professional and or personal goals. 4. I pledge to use every resource, including referral when appropriate, to ensure that high quality service is provided to every student. 5. I pledge to represent my professional credentials honestly to students and to the public. 6. I pledge to refrain from any false claims regarding myself or my students. 7. I pledge to refrain from dishonesty, fraud, deceit, misrepresentation, abuse, sexual harassment, or any form of conduct that adversely reflects on the profession or on my ability to serve in the profession. 8. I pledge to refrain from disparaging the work of a fellow teacher, except in cases where violations of this Code can be proven. 9. I pledge to refrain from proselytizing the students of another teacher. 10. I pledge to uphold a student's right to study with any teacher he or she may desire. 11. As a Singing Teacher, I pledge to make no financial arrangements with a student based on future earnings, such as commissions or contingencies; nor shall I accept any fee for aid in securing an engagement. .
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