Acoustic Vocal Pedagogy: Online Course

As part of NEC's evolving response to the COVID-19 outbreak, NEC's campus is closed for on-campus events through August 31. Therefore, Acoustic Vocal Pedagogy will be moving online this summer.? For more information about the online program, please contact acoustic.ped@www.iankane.com.

July 22 - August 12, 2020

Fundamentals, Theory, & Application

-and/or-

Online Teaching Technology

Overview

"Advances in technology, understanding?and pedagogic application of acoustic vocal pedagogy have surged over the last twenty years, though dissemination and application lag behind. This course represents an honest annual attempt to help us all stay current in our understanding of concepts both established and emerging?and to enable us to incorporate the effective new strategies which these advances are yielding." - Ken Bozeman

Due to the COVID-19 Pandemic, we have adapted the in-person workshop material into an online course with a high-quality audio experience for you to advance through at your own pace. You will gain access to a private community forum to engage as you process the material. On the forum, faculty will be co-moderating discussions with other participants as questions emerge. Three live-video discussions will offer the opportunity to review and explore the material in a dynamic manner as a group.

The Online Course has two facets which can be taken together for the full course experience, or individually:

Fundamentals, Theory, & Application

The Acoustic Vocal Pedagogy Online Course is designed to accommodate those new to the concepts of formants and harmonics, or those who are returning to study the material for deeper understanding and methods of practical application. This course offers participants the chance to explore vocal acoustics, perception, affect and motivation, practical application, and other special topics. The main course content is enhanced with plenary lectures from industry-leading faculty. All lectures are pre-recorded to facilitate self-paced learning. The course content will be accessible to registrants until May 2021.

Course participants will gain access to a private discussion page to facilitate ongoing reflections and questions related to the course. Three live video conference discussion sessions will occur on July 29th (Fundamentals Discussion), August 5th (Theory Discussion), and August 12th (Application Discussion) at 5pm EDT.?These discussions will be recorded and archived in the course for future review. Voice and/or technology lessons are available to Fundamentals, Theory, & Application participants, July 29-August 12, subject to the discretion and availability of the faculty, at a reduced rate of $50/hr. Contact acoustic.ped@www.iankane.com for teacher referral information.

Course Outline (subject to change)

Fundamentals with Ken Bozeman

  • Perception, Respiration & Phonation
  • The Vocal Tract Filter
  • Vowel Perception
  • Chiaroscuro Balance
  • Acoustic Registration
  • Vowel Migration, & Vowel Modification
  • Implications of Acoustic Pedagogy

Theory with Ian Howell?

  • Introduction to Sound Waves and Tube Acoustics
  • Introduction? to Psychoacoustics
  • Pitch
  • Auditory Roughness
  • Absolute Spectral Tone Color??? ???

Application with Chadley Ballantyne

  • Vibrotactile Sensation
  • Acoustic Pedagogy for Belt and Rock
  • Auditory and Speech Targets
  • Adolescent Acoustic Vocal Pedagogy

Plenary Lectures

  • Evolving Time/Pressure Domain Models of Acoustic Pedagogy - Gautereaux/Howell
  • Hearing Health and the Voice Teacher - Yvonne Gonzales Redman
  • An Exploration of Singing Through Change: Women's Voices in Midlife, Menopause, and Beyond - Joanne Bozeman?
  • The Development of the Operatic Voice during the 20th Century: An Analysis of the Effect of Early Recording Technology - Joshua Glasner
  • VoceVista Video Pro: How to Get Started and Recent Updates - Bodo Maass?
  • Nasalance and Acoustic Navigation of the Tenor Passaggio - Nicholas Perna
  • Motor Learning in the Studio - Carol Krusemark

Ken Bozeman

  • Use of Chiaroscuro Whisper for Resonance Tuning
  • Non-treble Voice Passaggio
  • Treble Voice Passaggi
  • Madde Demonstrations
  • The Use of Affect to Facilitate Range
  • Exploring the Migrations of Range

Online Teaching Technology

Our goal with this new curriculum is to help you get your head around equipment, audio transmission, and the fundamental problems of latency to teach and make music optimally in an online setting. You will learn how to select and place a microphone, how to optimize a signal chain, what kinds of equipment is available to purchase at various price points, and how to maximize the quality of both real time and laggy online music transmission.

This pre-recorded class may be taken separately or added to the main workshop. Participants interested in VoceVista Video and Madde explorations and tutoring will find those opportunities in the Fundamentals, Theory, and Application course. Originally conceived of as an opportunity for collegiate voice teachers to get their hands dirty working with acoustic, electroglottographic, and airflow technology and software, we have reformed the 2020 technology portion in reaction to the COVID-19 pandemic. Please join us next summer for the originally scheduled Voice Lab Software and Instrumentation Intensive.?

Tuition and Registration

TUITION

Fundamentals, Theory & Application $585

Online Teaching Technology $200

Fundamentals, Theory & Application plus Online Teaching Technology: $745

registration

Registration fee $40.00

Fundamentals, Theory, & Application

Online Teaching Technology

Fundamentals, Theory, & Application + Online Teaching Technology

?

Faculty

  • Kenneth Bozeman, author of Practical Vocal Acoustics and Kinesthetic Voice Pedagogy, served as Professor of Music at Lawrence University in Appleton, Wisconsin for 42 years. He was awarded the Van Lawrence Fellowship by the Voice Foundation in 1994 for his interest in voice science and pedagogy and is the chair of the editorial board of the NATS Journal of Singing. His work explores the acoustic landscape that all voices inhabit. He describes the inherent relationships of its components and seeks ways to motivate efficient singing while respecting both acoustic reality and effective historic pedagogy.?
  • Ian Howell?is a member of the voice faculty and is the Vocal Pedagogy Director at the New England Conservatory.?His work explores the psychoacoustics of the singing voice. He believes that by asking how the hearing brain processes sound and reliably introduces perceptual qualities, we can come to understand what sounds the human voice can possibly make. This allows us to better notice, label?and anticipate these properties in the teaching studio.
  • Chadley Ballantyne?is an assistant professor of music, voice at Stetson University.?His work explores the application of voice acoustics across singing styles, voice pedagogy for adolescent singers, somatosensory awareness?and the use of speech sounds to leverage desired acoustic outcomes in singing. He believes that a deeper understanding of how we acquire and execute speech motor skills can demystify many of the challenges of singing and voice pedagogy.
  • Bodo Maass,?founder and main developer of Sygyt software, will offer sessions for those interested in exploring the latest features of Voce Vista Video Pro.
  • Yvonne Gonzales Redman?is one of the faculty at the University of Illinois Urbana-Champaign. In May and September of 2019, results of her?pilot study on the work environment of voice instructors was presented at The Voice Foundation Conference and The International Congress on Acoustics; a? presentation, "The Office," has been accepted for the 2020 NATS National Conference. She has also presented on cross-over singing at the International Congress of Voice Teachers and Central Florida NATS in 2017?and on performance anxiety at the Florida Music Education and Texas Music Education Association in 2019. She enjoyed an 18-year career as a main stage soprano at the Metropolitan Opera with nearly 200 onstage performances as a principal soloist, including live radio and television broadcasts that are still regularly broadcast?over Sirius XM radio. She also performed in many of the major opera houses and orchestras in the United States.
  • Dr. Nicholas Perna?is?Associate Professor of Voice and Voice Pedagogy at Mississippi College. He is a Presser Music Foundation awardee and currently a voice research associate at the University of Mississippi Medical Center. His primary research areas are Laryngeal Manipulation and Singing Voice Acoustics. Perna has presented research on three continents at notable events such as the International Congress of Voice Teachers, the Voice Foundation’s Annual Symposium on the Care of the Professional Voice?and the NATS National Conference. Publications include articles in Journal of Singing, Journal of Voice?and VOICEPrints. Perna was twice selected as a Santa Fe Opera Apprentice Artist singer. Additional Operatic credits include Rodolfo, The Duke, Nemorino, Alfred?and?Tamino. Symphonic appearances include Mahler’s Das Lied von der Erde, Beethoven’s Symphony no. 9, Messiah and?Carmina Burana. Along with Dr. Mandy Spivak, they created The Comprehensive Britten Song Database, an open source guide to Britten’s song output. Perna holds graduate degrees from the University of Miami & the University of Houston. He is the creator and co-host of the VocalFri podcast, your weekly dash of voice science, pedagogy?and nerd pop culture.
  • Kayla Gautereaux,?Assistant Vocal Pedagogy Director and Vocal Pedagogy Lab Manager at the New England Conservatory, lectures on vocal pedagogy and the acoustics of the singing voice and advises students through their voice-related research projects. Ms. Gautereaux’s research interests include exploring the detailed time and pressure domains within a pitch period, which led her to investigate a novel approach to the spectral analysis of the singing voice using wavelet decomposition. As a private voice teacher, Ms. Gautereaux specializes in teaching transgender students, partnering with professional choir directors?and working with medical professionals to restore singers in rehabilitative voice care. Ms. Gautereaux serves as President of the National Association of Teachers of Singing, Boston Chapter.
  • Dr. Joshua Glasner?is?a Visiting Assistant Professor of Music at Coastal Carolina University where he teaches voice lessons to students singing Musical Theatre, Western Classical?and Commercial (CCM) styles.? Prior to coming to Coastal, he taught at New York University, Westminster Choir College’s Summer Voice Pedagogy Institute, the University of Delaware?and the Borough of Manhattan Community College.? Singers in his private studio in NYC have performed in Equity and AGMA productions in the city and around the USA.? In addition to teaching voice, Dr. Glasner has presented his research on the singing voice nationally and internationally.? Most recently, he has presented at the Voice Foundation Symposium in Philadelphia and the International Congress of Voice Teachers in Sweden on topics ranging from historical recording technology and historical singing to spectral differences between contemporary and legit MT styles.? ?
  • Carol Krusemark?is a vocal pathologist/singing voice specialist at the Center for Laryngeal Surgery and Voice Rehabilitation at the Massachusetts General Hospital and adjunct faculty at the Massachusetts General Hospital Institute of Health Professions. She provides voice therapy treatment for a wide variety of adult voice disorders, including those of organic, functional, and neurogenic etiology, with clinical specializations in communicative rehabilitation of patients following laryngectomy and rehabilitation of the injured professional voice. In addition to her speech pathology duties, Krusemark maintained a private voice studio for two years. She has performed in semi-professional and professional staged and concert performances with NorthBay Opera in Fairfield, California, PfalzTheatre Oper in Kaiserslautern, Germany, and Opera Saratoga (formerly Lake George Opera Festival). In addition to her current professional duties, she continues to sing within her community.?
?

Who Should Register?

  • Voice Teachers?of any age or level of student who aim to enhance their teaching with a better understanding of acoustic pedagogy
  • Instructors?of college-level voice pedagogy classes, especially those interested in expanding their offerings in vocal acoustics, psychoacoustics and perception?and voice lab technology
  • Voice Students (18+)?who are performance or voice pedagogy majors
  • Choral Conductors?who incorporate voice training in their rehearsals
  • Voice Therapists?specializing in the rehabilitation of singers
  • Performers who want to understand and optimize the acoustic use of their instruments
  • Anyone?who wants to learn to hear a voice with specificity, acquire language to describe the sounds, correlate the sounds with the physiological choices of the singer?and guide acoustic results through affect and motivation.
?

Advance Preparation

Participants will be encouraged to purchase and read the following material prior to attending the Lab Intensive, Fundamentals Course, and/or Workshop:

  • Bozeman, Kenneth. Practical Vocal Acoustics:? Pedagogic Applications for Teachers and Singers, Pendragon Press.?

Purchase Book

Purchase eBook

  • Bozeman, Kenneth Kinesthetic Voice Pedagogy: Motivating Acoustic Efficiency , Inside View Press.

Purchase Book

  • Howell, Ian. “Necessary roughness in the voice pedagogy classroom: The special psychoacoustics of the singing voice.” VoicePrints: Journal of the New York Singing Teacher’s Association (May-June, 2017).?

View Article

  • Howell, Ian.? “Parsing the Spectral Envelope: Toward a General Theory of Vocal Tone Color.” DMA thesis, New England Conservatory of Music, 2016. Retrieved from:???????

View Article

?

Contact Us

Please contact us with questions.

Kenneth Bozeman

Ian Howell

Kayla Gautereaux

?