One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by composers S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr, and Bongani Ndodana-Breen.
艺术歌曲是构成南非不同音乐的流派之一。通过其欧洲遗产的传入，这首艺术歌曲在整个二十世纪的南非作曲家的作品集中找到了一席之地。然而，在其复杂的历史背景下，南非的艺术歌曲似乎往往反映了流亡，内心斗争和怀旧的主题。本文思考这些主题如何在南非复杂的历史中产生共鸣，以及它们随后如何在艺术歌曲类型中得到反映，具体参考作曲家S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr和Bongani Ndodana-Breen的歌曲。
{"title":"On Migration, Exile, and Cosmopolitanism: A Brief Survey of South African Art Song","authors":"Nico de Villiers","doi":"10.53830/srri3101","DOIUrl":"https://doi.org/10.53830/srri3101","url":null,"abstract":"One of the genres that comprise the different musics of South Africa is that of the art song. Imported through its European heritage, the art song has found a place in the portfolios of South African composers throughout the twentieth century. However, against the backdrop of its complicated history, South Africa’s art songs often seem to reflect themes of exile, inner struggle and nostalgia. This article contemplates how these themes resonate through South Africa’s complex history, and how they have subsequently been reflected in the genre of art song, with specific reference to songs by composers S. le Roux Marais, Hubert du Plessis, Arnold van Wyk, Peter Klatzow, Hendrik Hofmeyr, and Bongani Ndodana-Breen.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"37 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Debra Greschner reviews four recent publications. In Reimaging Lyric Diction Courses: Leading Change in the Classroom and Beyond (CMS Emerging Fields in Music. New York: Routledge, 2023), vocal coach Timothy Cheek proposes an innovative approach to lyric diction pedagogy. A Young Person’s Guide to Vocal Health by Olivia Sparkhall (Oxford, UK: Compton Publishing, 2023) provides information about vocal health to young singers. The Heart of the Breath by Alison Mary Sutton is the first volume in the Vocal Health and Rehabilitation: Clinical Pathways and Practical Applications Series (Oxford, UK: Compton Publishing, 2022); it chronicles the rehabilitation of a rock singer’s voice. Marisa Lee Naismith, in Singing Contemporary Commercial Music Styles: A Pedagogical Framework (Oxford, UK: Compton Publishing, 2022) presents interviews with nine pedagogues who teach contemporary commercial music, and offers a framework for the discipline.
{"title":"Bookshelf","authors":"Debra Greschner","doi":"10.53830/hnsg3118","DOIUrl":"https://doi.org/10.53830/hnsg3118","url":null,"abstract":"Debra Greschner reviews four recent publications. In Reimaging Lyric Diction Courses: Leading Change in the Classroom and Beyond (CMS Emerging Fields in Music. New York: Routledge, 2023), vocal coach Timothy Cheek proposes an innovative approach to lyric diction pedagogy. A Young Person’s Guide to Vocal Health by Olivia Sparkhall (Oxford, UK: Compton Publishing, 2023) provides information about vocal health to young singers. The Heart of the Breath by Alison Mary Sutton is the first volume in the Vocal Health and Rehabilitation: Clinical Pathways and Practical Applications Series (Oxford, UK: Compton Publishing, 2022); it chronicles the rehabilitation of a rock singer’s voice. Marisa Lee Naismith, in Singing Contemporary Commercial Music Styles: A Pedagogical Framework (Oxford, UK: Compton Publishing, 2022) presents interviews with nine pedagogues who teach contemporary commercial music, and offers a framework for the discipline.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Physical touch as a teaching methodology for voice teachers is a subject that must be confronted. The issue is a timely one considering recent social movements that are shedding light on systems of power that lead to abusive practices within society. Furthermore, there is a lack of information and consensus in recently published vocal pedagogy and music education literature regarding the effectiveness of physical touch as a teaching modality. Some voice teachers feel physical touch is necessary for quickly correcting a technical problem, while others feel that physical touch is the only way to demonstrate certain technical concepts. Currently, voice pedagogy literature that advocates for the use of physical touch in a private voice lesson is predominately supported anecdotally rather than by research, and significantly lacks the perspective of the student. The field of motor learning research can be useful in informing voice pedagogy in specific areas of intersection. Additionally, when considering other factors (such as trauma and power dynamics in the voice studio), other equally viable teaching options must be considered. Given the current state of the field of voice pedagogy, it is of the opinion of the author that physical touch as a pedagogical technique in a voice lesson should be abandoned.
{"title":"Physical Touch in the Voice Studio: A Closer Look","authors":"Maria Maxfield","doi":"10.53830/lecu5371","DOIUrl":"https://doi.org/10.53830/lecu5371","url":null,"abstract":"Physical touch as a teaching methodology for voice teachers is a subject that must be confronted. The issue is a timely one considering recent social movements that are shedding light on systems of power that lead to abusive practices within society. Furthermore, there is a lack of information and consensus in recently published vocal pedagogy and music education literature regarding the effectiveness of physical touch as a teaching modality. Some voice teachers feel physical touch is necessary for quickly correcting a technical problem, while others feel that physical touch is the only way to demonstrate certain technical concepts. Currently, voice pedagogy literature that advocates for the use of physical touch in a private voice lesson is predominately supported anecdotally rather than by research, and significantly lacks the perspective of the student. The field of motor learning research can be useful in informing voice pedagogy in specific areas of intersection. Additionally, when considering other factors (such as trauma and power dynamics in the voice studio), other equally viable teaching options must be considered. Given the current state of the field of voice pedagogy, it is of the opinion of the author that physical touch as a pedagogical technique in a voice lesson should be abandoned.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"102 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”
{"title":"Music Reviews","authors":"Kathleen Roland-Silverstein","doi":"10.53830/vckz2369","DOIUrl":"https://doi.org/10.53830/vckz2369","url":null,"abstract":"Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"16 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to the American Psychological Association, anchoring bias is what occurs when we form perceptions or make judgments by giving excessive weight to information gathered during a first impression. We then subconsciously fail to modify that impression when contradictory information presents itself. This mindset can persist into the future, even after the person grows or changes in a way that makes the initial impression irrelevant. When voice teachers succumb to this form of cognitive bias, it can cause us to presume that certain technical inefficiencies, seen once in our students, continue to exist, even after they have resolved. In order to overcome this tendency, research studies have demonstrated the effectiveness of the “consider-the-opposite” strategy, which can help pull us out of this default way of thinking. When teachers challenge their own initial impressions and “argue against the anchor,” they are better able to respond authentically to what their students are displaying in any given moment.
{"title":"Anchors Aweigh: Anchoring Bias in the Voice Studio","authors":"Brian Manternach","doi":"10.53830/xplj7224","DOIUrl":"https://doi.org/10.53830/xplj7224","url":null,"abstract":"According to the American Psychological Association, anchoring bias is what occurs when we form perceptions or make judgments by giving excessive weight to information gathered during a first impression. We then subconsciously fail to modify that impression when contradictory information presents itself. This mindset can persist into the future, even after the person grows or changes in a way that makes the initial impression irrelevant. When voice teachers succumb to this form of cognitive bias, it can cause us to presume that certain technical inefficiencies, seen once in our students, continue to exist, even after they have resolved. In order to overcome this tendency, research studies have demonstrated the effectiveness of the “consider-the-opposite” strategy, which can help pull us out of this default way of thinking. When teachers challenge their own initial impressions and “argue against the anchor,” they are better able to respond authentically to what their students are displaying in any given moment.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For successful navigation of the five sub-genres of musical theatre: legit, contemporary legit, standard belt, contemporary belt, and pop/rock, the cisgender female must possess flexible registration strategies. Singers must cultivate technical awareness to negotiate between these styles with aesthetic and artistic integrity while maintaining functional efficiency. To achieve this, singers must explore and condition their voices with various adjustments to the breathing, phonation, articulation, and resonance systems. This article offers a toolbox of exercises to help singers with registration exploration, coordination, breath flow and resistance balance, articulator shaping, and variable aesthetic resonance qualities. The author suggests diagnostic and habilitative tools for using three distinct voice concepts: the Neutral Voice, the Binary Voice, and the Flexible Voice. In addition, the author suggests emotional simulation play to help students discover a wide variety of sounds and the effect of emotion on the subsystems of the singing voice. These suggested tools help cultivate a highly flexible voice ideal for a wide variety of musical theatre opportunities.
{"title":"Practical Approaches In Coordinating Registration for the Cis-Gender Female Musical Theatre Singer","authors":"Kevin Wilson","doi":"10.53830/wkdk2451","DOIUrl":"https://doi.org/10.53830/wkdk2451","url":null,"abstract":"For successful navigation of the five sub-genres of musical theatre: legit, contemporary legit, standard belt, contemporary belt, and pop/rock, the cisgender female must possess flexible registration strategies. Singers must cultivate technical awareness to negotiate between these styles with aesthetic and artistic integrity while maintaining functional efficiency. To achieve this, singers must explore and condition their voices with various adjustments to the breathing, phonation, articulation, and resonance systems. This article offers a toolbox of exercises to help singers with registration exploration, coordination, breath flow and resistance balance, articulator shaping, and variable aesthetic resonance qualities. The author suggests diagnostic and habilitative tools for using three distinct voice concepts: the Neutral Voice, the Binary Voice, and the Flexible Voice. In addition, the author suggests emotional simulation play to help students discover a wide variety of sounds and the effect of emotion on the subsystems of the singing voice. These suggested tools help cultivate a highly flexible voice ideal for a wide variety of musical theatre opportunities.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"31 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Voice pedagogy literature often draws a parallel between a doctor’s ability to diagnose illness and prescribe treatment and a voice teacher’s ability to identify vocal obstacles and design solutions. The core of these parallel procedures is an ability to utilize critical reasoning skills within highly specific contexts. Medical literature describes this as “clinical reasoning,” and students of medicine study it as a learned and systematic process. In contrast, voice pedagogy literature has traditionally described it as an innate process that is developed through studio experience. This article broadly examines the ways in which medical literature has broken down clinical reasoning into specific cognitive processes and proposes a model through which these processes can be adapted to the needs of developing voice teachers. An emphasis is given to the development of intuition and empathy from teacher to singer, as well as a reexamination of how voice teachers interact with voice literature and research.
{"title":"Clinical Reasoning in Voice Pedagogy: A Systematic Foundation for Developing Intuition in Novice Voice Teachers","authors":"Carlos Enrique Santelli","doi":"10.53830/xiap6179","DOIUrl":"https://doi.org/10.53830/xiap6179","url":null,"abstract":"Voice pedagogy literature often draws a parallel between a doctor’s ability to diagnose illness and prescribe treatment and a voice teacher’s ability to identify vocal obstacles and design solutions. The core of these parallel procedures is an ability to utilize critical reasoning skills within highly specific contexts. Medical literature describes this as “clinical reasoning,” and students of medicine study it as a learned and systematic process. In contrast, voice pedagogy literature has traditionally described it as an innate process that is developed through studio experience. This article broadly examines the ways in which medical literature has broken down clinical reasoning into specific cognitive processes and proposes a model through which these processes can be adapted to the needs of developing voice teachers. An emphasis is given to the development of intuition and empathy from teacher to singer, as well as a reexamination of how voice teachers interact with voice literature and research.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"46 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This column will help the voice teacher better understand and evaluate voice research publications. Three main topics are discussed: 1) the basic structure of a scientific paper, 2) a method for quickly reading and understanding scientific papers, and 3) a method for evaluating voice science publications. A fictious ChatGPT-generated study is critiqued with the authors’ method.
{"title":"Practical Voice Science: Reading and Evaluating Scientific Papers","authors":"David Meyer, Ron Scherer","doi":"10.53830/dxev2589","DOIUrl":"https://doi.org/10.53830/dxev2589","url":null,"abstract":"This column will help the voice teacher better understand and evaluate voice research publications. Three main topics are discussed: 1) the basic structure of a scientific paper, 2) a method for quickly reading and understanding scientific papers, and 3) a method for evaluating voice science publications. A fictious ChatGPT-generated study is critiqued with the authors’ method.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Classical voice pedagogy is rooted in the principles of bel canto technique. A specific and common aria form associated with the bel canto aesthetic in Italian opera of the first part of the 19th century (the primo ottocento), was the double aria, or cavatina/cabaletta. This form became known as la solita forma, a term defined as "the usual way" to describe a normative practice. This article considers the musical and dramatic structure of la solita forma as embodying the principles of bel canto style (the hallmarks of which are sostenuto and agility) and offers modern singers, teachers, and opera lovers a window into the conventions of primo ottocento opera.
{"title":"La solita forma: Examining the Musical and Dramatic Structure of bel canto Arias","authors":"David Dillard","doi":"10.53830/iesw8947","DOIUrl":"https://doi.org/10.53830/iesw8947","url":null,"abstract":"Abstract:Classical voice pedagogy is rooted in the principles of bel canto technique. A specific and common aria form associated with the bel canto aesthetic in Italian opera of the first part of the 19th century (the primo ottocento), was the double aria, or cavatina/cabaletta. This form became known as la solita forma, a term defined as \"the usual way\" to describe a normative practice. This article considers the musical and dramatic structure of la solita forma as embodying the principles of bel canto style (the hallmarks of which are sostenuto and agility) and offers modern singers, teachers, and opera lovers a window into the conventions of primo ottocento opera.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"5 1","pages":"23 - 34"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85613042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The first review in this installment of the Media Gallery is of an art song collection titled Force of Nature by soprano Emily Albrink that she created as a memorial to her mother, pianist Nancy Albrink. It features song cycles by Rene Orth, Nailah Nombeko, Steve Rouse and Jake Heggie. The second review is of Renée Fleming: Greatest Moments at the Met, which offers up excerpts from seventeen of the operas she has performed at the Met. The third and final review is an overview of offerings by the streaming service BroadwayHD.
{"title":"The Media Gallery","authors":"Gregory Berg","doi":"10.53830/zbcl3646","DOIUrl":"https://doi.org/10.53830/zbcl3646","url":null,"abstract":"Abstract:The first review in this installment of the Media Gallery is of an art song collection titled Force of Nature by soprano Emily Albrink that she created as a memorial to her mother, pianist Nancy Albrink. It features song cycles by Rene Orth, Nailah Nombeko, Steve Rouse and Jake Heggie. The second review is of Renée Fleming: Greatest Moments at the Met, which offers up excerpts from seventeen of the operas she has performed at the Met. The third and final review is an overview of offerings by the streaming service BroadwayHD.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"174 1","pages":"243 - 249"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73579161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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