Abstract: This is the second article of a two-part series in which associate editor Matthew Hoch explores the history of lyric diction pedagogy from its formal twentieth-century beginnings to the present day. Part I addressed the establishment of lyric diction courses in the academy through examination of the first textbooks, accreditation standards, revision of the International Phonetic Alphabet, and emergence of a three-line format for transcriptions and translations. Part II will explore twenty-first-century developments and highlight lingering challenges that persist for instructors and practitioners of lyric diction pedagogy. The article will conclude with thoughts on the future of the discipline.
Abstract: In the author’s recent survey, sixty-two singers and teachers were asked: “What percentage of a voice lesson should be comprised of student singing?” The average response was 75 percent of the lesson. Yet a separate IRB-approved pilot study found that students sang, on average, 25 percent of the time in observed lessons. This suggests that there is a disconnect between teachers’ beliefs and what actually occurs. Yet there was a positive, strong correlation between the amount of time students sang and teachers’ self-rated effectiveness. These results imply that when students sing more, teachers feel a greater sense of effectiveness.
Abstract: This inaugural article of the “Diverse Voices” column in the Journal of Singing begins with thoughts about how singing intersects with society and personal identities as a cultural artifact. An interview with NATS President Alexis Davis-Hazell exploring Inclusion, Diversity, Equity, and Anti-Racism (IDEA) efforts by NATS then contextualizes a brief exploration of current IDEA activities. The article concludes by outlining salient editorial biographical information and scholarly philosophies, goals for the column, teaching application ideas using IDEA resources, and a welcome message to the readership.
Abstract: In her final “Editor’s Commentary” as editor-in-chief of the Journal of Singing (JOS), Lynn Helding reflects on her long association with JOS beginning with the “Mindful Voice” column. She describes the many substantive changes that occurred at JOS under her leadership, both as a historic record for NATS and as a roadmap for the next editor-in-chief: the transition to the online workflow management system for scholarly journals, “ScholarOne”; the new JOS columns and associate editors; the expanded JOS editorial board; and initiatives such as the new Mentored Writing Initiative and the JOS Internship which reflect our journal’s ongoing commitment to high quality content and advance NATS’ commitment to mentorship.
Abstract: This article addresses the construct of control and the role it can have in a singer’s approach to day-to-day challenges. Acknowledging how control can be defined, observing where it lies, and how it can be shifted can be helpful for singers. Two comparable definitions of control are mentioned (“perceived control” and “locus of control”) and the interesting potential role of attention and reappraisal is discussed.
Abstract: Composer Reynaldo Hahn (1874–1947) was a musician and aesthete, a cultured man of refined tastes, with a significant interest in poetry and the visual arts. He believed a singer must be able to visualize an image of the words to create a successful performance. This article explores the compositional techniques Hahn employed to create images of the poetry in his music by analyzing four of Hahn’s melodies: “Les Cygnes,” “La Pêche,” “Tous Deux,” and “Adieu.”
Abstract: Voice acoustics examines resonances, formants, spectral slopes and many other factors. The beginnings of this science date to the writings of visionary physicist Hermann Helmholtz (1821–1894). His research predated high-tech computer analysis but his contributions to the science of singing are unparalleled. When examined with modern tools, his work is astonishingly accurate and relevant to our contemporary understanding of the singing voice. In this article the authors examine singing voice acoustics according to Helmholtz, provide a modern tutorial of source-filter theory, and analyze Helmholtz’s vowel data with current tools.
Abstract: Collaborative piano has emerged as an independent discipline and course of study in the last century. Books on the subject generally fall into the category of memoir or instructional manual, though the two categories are not mutually exclusive: a book in one category often contains elements of the other, and both offer an important perspective on the expected skills and evolution of performance practice for this comparatively young discipline. This article offers a survey of these texts on collaboration, noting that the publication of books runs parallel with the development of contemporary instruction in collaborative piano.
Abstract: Successful voice instruction is dependent upon the teacher-client relationship, which is fundamental for effective learning and client retention. This article identifies five key areas—Communicatory Procedures, Studio Environment, Establishing SMART Goals, Individualized Programming, and Professional Development—that are essential for cultivating a thriving voice studio. Through a detailed discussion of these principles, associate editor Justin John Moniz investigates how voice teachers can enhance their private practice and support long-term client success.
Abstract: Many singers play wind instruments. Wind instrumentalists use pharyngeal and laryngeal muscles extensively. If wind instrument playing and singing are done correctly, the activities should be complimentary. If either is accomplished with poor technique, that can cause adverse effects for both playing and singing. Singing teachers should be familiar with wind instrument techniques, and common problems associated especially with wind instrument instruction in secondary schools.
Three new music publications are featured, two by American publishers, and one by the venerable Italian publisher, Casa Ricordi. 40@40: Volume I is the latest release by NewMusicShelf, forty new songs by forty composers, curated and commissioned by American soprano Laura Strickling. Classical Vocal Reprints has published Phantaste, Opus 8, songs by Kenneth Mahy, American composer, with texts by nineteenth century British fantasy writer George MacDonald. Casa Ricordi has re-released songs by early twentieth century composer Ermanno Wolf-Ferrari, Canzoniere, Opus 17, for Voice and Piano: Soprano, Tenore, Baritono and Basso, all settings of Tuscan folk poetry.
Abstract: With this issue of the Journal of Singing , we bid a thankful and heartfelt farewell to our editor-in-chief, Lynn Helding. In May 2023, Helding assumed the mantle from Dick Sjoerdsma (editor-in-chief, 2001–2023), having spent the previous eight months onboarding as editor-in-chief-elect. NATS President Alexis Davis-Hazell expresses gratitude for the leadership and vision of Helding through acknowledgment of the challenges of academic editorial management, the importance of the journal itself, and Helding’s transformational accomplishments. As a result of Lynn Helding’s vision, our publication’s masthead reflects an expanded structure of four reviewers, twenty-three editorial board members, and twelve associate editors.
Abstract: In a video interview with Journal of Singing Associate Editor Melissa Treinkman on November 12, 2024, Jessie Mueller discussed her wide-ranging career on Broadway, film, and television. The Tony Award-winner emphasized the importance of protecting one’s vocal health, the value of imitation in learning to sing different styles, and her tips for auditioning. A QR code is included at the end of the article which contains the link to the recorded interview with Jessie Mueller, posted on the NATS YouTube channel.
Abstract: The American Academy of Teachers of Singing (AATS), founded in 1922, is comprised of internationally recognized singing voice experts. AATS periodically publishes position papers such as this one, an update of “In Support of Fact-Based Voice Pedagogy and Terminology” (2014). AATS recognizes the value of science-informed pedagogy, while acknowledging that facts evolve and urges a companion “Pedagogy-Informed Voice Science” in light of recent research in cognitive neuroscience. AATS encourages an integrated approach to voice pedagogy requiring both scientific research and voice practitioner insight. By fostering interdisciplinary collaboration, voice practitioners and researchers can mutually enhance both the validity and applicability of voice science.
Abstract: This article provides a four-part model for effective practice based on “The Four Rs”: Resolve, Repeat, Refine, and Reinforce. Each term in this memorable mnemonic represents a useful component of systematic practice, providing an outline for exploration of the voice. By understanding each step, singers will have an identifiable process to follow that, while specific, can also be tailored to fit individual goals.
Abstract: Eighteenth-century vocal literature abounds with trills, so approaching this skill methodically is advised. This article includes a literature review of four eighteenth-century vocal treatises (Tosi, Agricola, Mancini, Hiller), which agree about the importance of mastering the trill, but neglect practical suggestions about how to develop it. Four nineteenth-century vocal methods (Vaccai, Panofka, Lütgen, Marchesi) are discussed, including plans for how to practice the trill. Mozart's opera Così fan tutte is utilized as a case study in the synthesis of vocal treatises and vocal method books. Musical examples from each role are complemented with links to recordings of well-produced trills.
Abstract: The term "crossover" in classical vocal music has generally been used to refer to a classically-oriented artist's forays into non-classical styles or genres. In the singers' world, crossover not only exists, but is increasingly accepted as an important part of the twenty-first century singer's training and preparation. But what of the singer's partner, the pianist and/or coach who will work with them side-by-side? How are pianists and voice coaches affected by the new trends in vocal repertoire? The authors talked with coach-conductors Kathleen Kelly and Stephanie Rhodes Russell about navigating crossover trends as pianists and coaches.
Abstract: This column proposes a six-question framework to help the voice teacher critically appraise science-informed voice pedagogy publications. The evaluation framework addresses: (1) the Singing-Voice-Production-Chain (SVPC) describing the teacher's possibilities for affecting the student's voice production; (2) descriptive, correlational, and causal types of observations; (3) subjective versus objective information; (4) factual correctness; (5) describing how singing is or how it should be; and (6) usefulness of the information in a teaching situation. This framework will empower the reader to scrutinize the structure and quality of science-informed voice pedagogy texts more deeply, thus helping to move toward evidence-based information.
Abstract: This article details a voice training method that stems from a traditional Japanese budo ("way of war")" called Yoshokai Aikido . The method involves safely teaching the use of a bokken ("wooden sword") strike to overcome both the mental blocks that produce under-energized breath support in singing, and the fight-or-flight cascade that causes fear and choking. The article describes the physiology of the respiratory and cognitive mechanics affected by the proper use of a bokken strike, and the philosophy of Yoshokai Aikido that can benefit singers.
