Academic & Research Programme

Running alongside our main programme of events, we are delighted to welcome a large number of people working in the field of voice research to present their work.  From over 70 applications from around the world, these were chosen by a panel of AOTOS and EVTA academic representatives.

Workshops (45 minutes) Presentations

Malene Bichel (Denmark)

Voice and Creativity
Singing and speaking with an open mind towards time, style and culture.

In this workshop we will focus on the connection between musical meaning, use of voice and creativity. We will work with precultural, intercultural and transcultural voice-sounds. We will work with gibberish as a meta-language in communicative exercises. We will work with singing as relating – to yourself, to other persons, to the room, to the song, An underlying idea is that creativity and musicality depend on the singer’s ability to be present in a mindful way, present in a playful way and communicating in a natural way.

Biography

Singer and voice teacher. Lecturer in Music Pedagogy at Rhythmic Music Conservatory. Specialized in contemporary art music, voice improvisation, group creativity and in in education of music teachers and voice teachers.
Chair of EVTA- Denmark.
Founder and leader of the experimenting vocal group “Klangsaft” (juice of sound) in Copenhagen. Malene did presentations in Eurovox Riga 2015, ICVT Stockholm 2017, Eurovox Den Haag 2018, PEVoC 2019 and workshops in Iran, Egypt, Norway, Germany, Italy and Malta

Jean-Yves Bosse-Vidal (France)
The Role of Accentuation in French Lyric Diction

Although IPA is a very precious and accessible tool for lyric diction, its exclusive information and use are missing out the main musical aspect of the language: its prosody. By letting the text passing through the ordeal of music, accentuation remains as the major component of the prosody. It is very subtle in French and very often left aside. Several pieces of the French repertoire presented in this workshop will demonstrate how it actually rules all the particularities of the pronunciation of the language and how precious it can be for the musicality of the poem and the whole song.

Biography

Born in Paris, Jean-Yves studied the piano, graduated in languages and discovered singing whilst completing a Musicology Masters degree. He sang on stage, mainly in opera choruses, for 25 years under prestigious conductors. Observing the singers led him to coach them in French and take a Masters degree in phonetics of song at the Sorbonne. He specialized in the accentuation of texts set to music, main focus of the current teaching he provides all over Europe in four different languages.

Amelia Carr (UK)
Teaching Young Voices in Professional Musical Theatre: ACTING THROUGH SONG

What are the most important elements of singing for a child or teenager focused on a professional Musical Theatre career? You will hear all about what to expect in the audition process for professional shows, vocational school auditions and what to do when little voices start changing to bigger voices with some practical tips for helping little voices make theatrical sounds. Amelia shares her insights in this very practical demonstration, focusing on how to allow young singers to interpret the text: ‘Acting Through Song’.

Biography

Amelia is a freelance singing teacher in the West End, working with children in Musical Theatre, TV and Film. Amelia trained and performed professionally in Musical Theatre before setting up a successful performing arts school. Amelia has worked at many of the countries theatrical schools and has a private practice in the West End. Amelia combines her passion for performing, with industry knowledge and her understanding of children’s voices to deliver specialist coaching for young performers using a holistic approach rooted in sustainable vocal technique. Amelia gained a PGCert and MA in Vocal Pedagogy. Her studies were focussed on children in musical theatre. She lectures to teachers via a course in London.

Sanne Graulund (Denmark)
Connected Singing

Connected singing. Unfold your voice. Work less. Express more. At the Connected Singing workshop we work on the fascia in the body in order to provide a platform for the voice to unfold. Through stretching, movement and sound we dissolve old bodypatterns that no longer support us. From there we build up and strengthen the muscles that support the voice in order to perform and sing with airflow from the inside and out. The workshop is practical. You will get at chance to explore Connected Singing. Movement, exercises, pictures, videos, singing and hopefully a lot of inspiration.

Biography

Danish singer, composer and voice teacher. Educated at the Rhythmic Conservatory in Copenhagen. Has released several CD´s, written music for theatre and movies. Sanne works at the Royal Danish Academy of Music in Copenhagen. Has developed “Connected Singing” - a voice method connecting working with connective tissue, bodywork and traditional voice training. Has published the online voice training course www.21dayvocaltrainer.com, used by singers from 26 countries.

Eric van Grootel (Netherlands)
The energy-gestures of the sounds of language: towards a new paradigm for voice work.

Sounds, vowels and consonants correspond to specific gestures. Singers know they demand defined physical postures, mouth positions and breath flow; but they also work through the layers of our energy body. Here teachers need mindfulness: a combination of perception and awareness. Because this old knowledge speaks from the source of nature, stars and archetypes. The rewards? An expanded definition of life and sound; possibilities of interaction, open to the miracles of life, music and art. This is a basis for vocal training, for the work with voice, body and mind, for warm-ups or collaboration with other stage disciplines.

Biography

Teacher of singing, speech, presentation techniques and applied consciousness: Lamperti, Rhythmic Sound, Estill Voice Technique, Shakespearean Voice; Brech's and Michael Tsjechov's acting techniques; shamanic voice- and breathwork, inner voice dialogue and lucid dreaming, mantra, Sound Gesture. Professional education as a singer and a philosopher; international exchanges in shamanic, Buddhist and Christian traditions. Performer of improvisation concerts, text declamations, multimedia programs and theatre songs.
Stage director of musical, classical and modern theatre, opera, choir and multimedia performances; in theatres, theatre schools and theatre festivals of many countries. Author of theatre scripts, songs, choir compositions, poems, publications about art and science.

Sølvi Elise Halvorsen (Norway)
Let the body do the work! A workshop on improvisation and body work

Genre appropriate and liberating body work can often be an obstacle for performers. For many teachers, one of the true challenges can be "How do I teach the student to feel the right amount of body work". We are all different in our bodies, and what feels right for one person, might not always be so easy to teach, nor to learn. One common way of exploring body work is from the perspective of an ideal posture, or from the point of view of manual therapy, like Feldenkrais, Alexander technique or the likes. This active workshop, however, will rather have a focus upon how musical improvisation can be a tool for achieving desired body work for any style of music. With a fresh approach based upon new ideas about improvisation, body awareness, and with a theoretical plattform based on W. Timothy Gallwey´s ideas about The Inner Game, we will explore how we can reach for freedom in our voice, through freedom of the body and mind.

Biography

Sølvi Elise Halvorsen is a singer, choir conductor and voice teacher living in Oslo, Norway. Her extensive voice work, whether it is choir work, musical theatre, jazz or pop/rock, is firmly based on a plattform of feeling the music in the body as well as having fun exploring the voice.She has been teaching singing from entry level to University level for 15 years, and have over the years developed her own unique style of teaching voice and singing. She is currently running her own private studio,
conducting two choirs, giving talks and workshops, as well as performing herself. Sølvi Elise holds a masters degree in musicology from the University in Oslo and Uppsala University, and a post graduate degree in voice teaching from Barratt Dues Institute of Music. Sølvi Elise is the retiring president of the Norwegian branch of evta, Norsk Stemmepedagogisk Forum.

Nicola Harrison (UK)
The Geography of Song

Every song has its own geography and if singers feel a sense of place within their song – be that physical, emotional, historical, imaginative, this is the key to an embodied, energised vocal representation of not only the music and lyric, but also of the deep placement of the song within the body, manifest in stance, gaze and movement, ease of memorisation and physical and vocal certainty. A practical workshop sharing new techniques for experiencing emotion and place. Involves movement. Small workbook also available.

Biography

Nicola is Lecturer in Singing and Interpretation at Pembroke College Oxford and also teaches privately. A singer, vocal coach, author, performer and researcher specialising in words and music she authored the critically acclaimed Wordsmith’s Guide to English Song (Compton) in 2 volumes. The columnist of Text Appeal in the Singer magazine, she has written for BBC Radio 4, BBC History, Classical Music and British Music magazines. She co-authored The Singer’s Guide to the Larynx (2019) with Dr Alan Watson. She has further training in medicine, voice clinic, ENT and applied anatomy, which feeds into her research and her vocal training protocol, Embodima TM.

Michael Helbing (Germany)
The grip on the neck: When the voice breaks down Vocal Cord Dysfunction - Recognizing, Understanding and Therapy

The breath stops, fear rises, and there is no sound at all. Those affected are under immense suffering and often misdiagnosed until they finally receive the diagnosis Vocal Cord Dysfunction/VCD. Within voice therapy, it is important for the patient to relieve the anxiety and the feeling of powerlessness regarding the disorder. In the workshop, you will learn how to distinguish VCD from other vocal and breathing disorders and how to use the patients’ emotions as an indispensable resource in your therapy. Additionally, you will learn about the possibilities for vocal teachers to respond adequately to students with the diagnosis VCD.

Biography

Michael Helbing is a trained speech level therapist in accordance to the concept of Schlaffhorst-Andersen. He is an expert in respiratory, speech and voice therapy and training. In addition to coaching professional speakers, he teaches singing and voice training for choirs, ensembles, laymen and advanced singers. He works as a trainer in the field of respiratory and voice therapy, voice training and speech training in renowned specialist clinics and training institutes in Germany and in other European countries. Additionally, he trains academics in giving scientific presentations and workshops. As a professional speaker and singer, he participates in readings and concerts.

Linda Hutchison & Sara Harris (UK)
Getting there together

We, Linda Hutchison and Sara Harris have worked together for over 20 years, learning much from each other both in terms of techniques and from our different areas of expertise. This workshop will look at the advantages of working jointly with performers suffering from various vocal issues, such as muscle tension imbalance or rehabilitation after surgery. We will explain how and why we select techniques to meet their needs and work practically through our approach so that delegates can experience the effects for themselves.

Biographies

Linda Hutchison is a vocal Professor at Guildhall School of Music and Drama, London working with both singers and actors. She is part of the team in the Lewisham Voice Clinics, University Hospital Lewisham, London and runs a twice monthly NHS rehabilitation clinic there.
Sara Harris is a Voice Specialist Speech and Language Therapist. She was a founder member of the Sidcup Voice Clinic, (now the Lewisham Voice Clinic) and a co-founder of the British Voice Association. Sara is retired but continues to co-work with singing teacher/ rehabilitation coach, Linda Hutchison.

Martha Howe (Austria)
Countering Sliding Pitch, Wobble, and Vowel Dysphonia

We will be looking at different methods of inhalation and how they affect the force of tracheal pull, the lungs, larynx, and vocal tract, identifying culprits behind sliding pitch, lost top notes, and the dreaded wobble. We will experiment with integrated vocal and breath exercises that increase pulmonary function and help release throat and jaw tension, assisting singers to counter wobbling, lost top notes and sliding pitch. They are also designed to alleviate the vowel dysphonia, or ‘gravel’ in the no-man’s land in many women’s voices in the lower passaggio.

Biography

Martha Howe has an international studio with in-person and on-line lessons, focusing on breath, grounded vocal freedom, and role preparation. In July 2019 her collaborative book on how to keep your voice healthy for the long-haul, “A User’s Manual for the Aging Voice” was published by Compton Publishing, UK. After a 30-year solo career performing over a hundred opera and concert roles, she has studied the science of singing, completing “ProVox, a specialization course in Sciences of the Voice, Speech and Singing” taught by leading voice scientists. Her website is: marthahowe.com

Dr hab. Monika Kolasa-Hladíková (Poland)
Qigong and Tai Chi Movements Supported Vocal Training

Exercises presented during workshop influence posture, correct inappropriate ventilatory habits, change and strengthen the position of body parts such as neck, shoulders and hips. They can strengthen phonatory muscles, relax body, stretch tendons, correct posture and breathing during singing, stretch deep fascia and help the body to reestablish proper reflexes. The exercises are also helpful to control tension in singers, due to stage fright or due to being affected by negative emotions, during recovery from illness and for singers whose voices are affected by pregnancy and childbirth.

Biography

Monika graduated with honours from the Academy of Music in Łódź. She specialises in singing alto roles in chamber music and oratorios and has performed in Poland, the Czech Republic, Germany, Morocco, Switzerland, Denmark, the U.S.A., Ukraine, and Lithuania. She has also recently performed Gouda’s role in Fiddler on the Roof. In 2013 she received a postdoctoral degree in Music Arts. She teaches at the Karol Lipiński Academy of Music. For 23 years she has been practicing Tai Chi and Qigong. Monika is a Vice-President of the Polish Voice Teachers Association.

Nancy Litten (UK)
How to sight-sing; a teacher's guide

I start by exploring why singers in particular find sight singing hard. During a lifetime of teaching and accompanying I have analysed the main difficulties involved, and how to overcome them. There will be many examples for delegates to try, and new ideas/exercises which have proved effective in practice. This will equip us for providing effective teaching of sight singing to students from beginner to advanced, and also encourage us to embark on corporate sight singing training for choirs.

Biography

Nancy Litten entered the Royal Academy of Music, London, at age 16 on an open piano scholarship; also studying violin, singing, piano accompaniment and conducting. Since then she has enjoyed a variety of musical activities, performing in solo, chamber, and orchestral settings. She has a wealth of experience as an accompanist and choral conductor, having worked with singers of all ages and standards. Nancy is an ABRSM examiner, and an adjudicator for the British and International Federation of Festivals,  serving on the Adjudicators' Council. Alfred Music UK has published ten of her books.

Anita Morrison (UK)
From Babble to Babel; The Foundations of Articulation

From the moment a baby takes its first breath, innate survival mechanisms such as breathing, crying, coughing and sucking shape the infant’s first relationship with its own sound. As the infant engages with its environment these physical experiences form the building blocks for communication. In this workshop we shall turn back our personal clocks to infancy and through a series of playful movement experiments, inspired by The Feldenkrais Method, re-engage with the first steps on our vocal journey in order to re-examine our habits and identify new options and possibilities. The intention of this session is to increase our self-awareness in order to obtain new tools to assist us in nurturing our students in a non-judgemental environment. “If you know what you’re doing you can do what you want” Moshe Feldenkrais.

Biography

An Alumna of the GSMD and National Opera Studio, Anita’s performing career spanned opera, oratorio and lieder. She is particularly known for her teaching of trebles and was awarded an Honorary ARSCM in 2017 in recognition of her outstanding work in this area. She also teaches choral scholars at Cambridge University and is a vocal coach to The London Symphony Chorus. An intrinsic belief in the importance of good body use led Anita to train as a Feldenkrais Practitioner. She has given Feldenkrais workshops for singers at the GSMD, Leeds College of Music and for Voice Workshop and the BVA.

Rebecca Moseley-Morgan (UK)
Pedagogy for the mature female voice:

A research-based model designed to enable the mature female singer sustain vocal competency and health Medical science predicts that age-related problems will affect the voice. However, findings from Rebecca’s research have given statistically significant results suggesting that vocal functionality can be maintained and even improved as the singer gets older. This presentation will demonstrate the methods which have been used in this research and which form the basis of a teaching method for the mature voice. The research has shown that vocal functionality can be maintained providing that the singer is proactive in working on their vocal technique. The reward for this is the many benefits to be gained from singing.

Biography

Rebecca is currently Chair of Education for the British Voice Association and has a busy voice studio in Oxford. She works mainly with the mature female singer, and vocal rehabilitation. She has an MA in musicology and is currently nearing the end of her PhD research at UCL. This is leading to her current work on devising a new teaching method specifically for the mature voice and choral singers. In her early career, Rebecca won a foundation scholarship to the Royal College of Music and has sung professionally throughout the UK and Europe.

Ulla Munch (Denmark)
How to stay calm at auditions

Nervousness is a chemical reaction in the brain, and you feel it in the body. In the workshop How to stay calm at auditions, Ulla Munch will introduce you to Bodybased mental training. In the 45-minute session you will be guided step by step on how to ground the body and mind. You will learn how the vagus nerve is so essential for breath management and a free voice. You will also learn how visualization and storytelling are efficient performance skills, which will help you eliminate racing thoughts taking over.

Biography

Ulla Munch is a professional singer, voice coach and mental trainer, based in Copenhagen, Denmark. She has more than 25 years of experience as a soloist and ensemble singer. By travelling all over the world to perform under different conditions, Ulla knows what it takes to stay calm before and during any kind of performance. Young musicians at the Danish National Academy of Music has since 2015 worked with Ulla Munch as a mental trainer. Ulla Munch has a background from the Musical department at the University of Copenhagen and a master’s degree in Voice from Danish National Academy of Music.

Dr. Pirjo Nenonen (Finland/Austria)
Singing with natural body movements improve and facilitate the singing process and develops the vocal quality

The workshop is based on my research and the approach teaching singing with body movements, which I have developed in practice and from the need to help singing students. The aim of this workshop is to learn and to indicate how natural body movements can facilitate the singing process and improve the vocal quality. The workshop includes practical exercises combining singing and body movements. The participants will learn to use body movements consciously to achieve the expected singing quality. This approach can be used broadly in singing/vocal and music education and it suits all ages and all kinds of singing.

Biography

Dr. Pirjo Nenonen is a singing/ vocal teacher, music teacher, singer and author. She studied at the University of Jyväskylä, the Helsinki Music Conservatory and the University of Salzburg, Mozarteum. She has presented at conferences internationally. Pirjo Nenonen is a Commissioner for the ISME Forum for Instrumental and Vocal Teaching. Her previous teaching activities at schools, the Helsinki Music Conservatory, the Universities of Helsinki, Oulu and the Private Music University of Vienna. She has published several music books, worked as a choir choreographer and given workshops internationally. She lives in Vienna and teaches vocal/singing education in the Music School.

S. Rebeqa Rivers (USA)
“I’m no longer scared for my voice to be heard”: Connecting Voice and Identity in an Adult Voice Studio

Voice teachers of the 21st century encounter students from increasingly diverse backgrounds. How can voice teachers incorporate inclusivity in order to build connection between learners, their voices, and the music they study?

Voice teacher, S. Rebeqa Rivers, investigated these questions in her studio through a yearlong study of how students’ self-identity informed voice study. In this interactive workshop, attendees will: explore case studies from the study; collaborate to create a tailored pedagogical approach for different scenarios; and design their own student- centered questions.

Attendees will leave with the first steps of a plan to apply Essential Questions in their educational setting.

Biography

S. Rebeqa Rivers, (M.M.Ed., B.A. Voice) is an educator in the contemporary music industry and a music researcher studying the intersections of music and identity. She owns a private voice studio in Seattle, Washington. Her students include internationally recognized performing artists and a member of the Rock & Roll Hall of Fame. She works closely with Seattle’s Rain City Rock Camp, for which she designed an integrated Rock-singing and gender equity curriculum. Rebeqa has been published in the Journal of Singing, POP! the APME newsletter, and Inter Nos, the NATS national newsletter.

Bo Rosenkull (Sweden)
Get started with your singing

In this workshop I will introduce you to some of my songs/exercises from my new book; for solo, ensemble and choir. These exercises can be considered as the bridge between the usual exercises and the songs, a way of getting started, a way of connecting body and voice or just a way of challenge the singers with new things in a joyful way. During this session we will work with; classical singing, pop, rap, beat-boxing, tongue-twisters, folklore, body percussion, oriental song and rounds. So, Get Started with Your Singing!

Biography

Bo Rosenkull is a senior lecturer at the Royal College of Music in Stockholm and a senior lecturer at the Academy of Music and Drama in Gothenburg. He is also the president of Voice Teachers of Sweden. Bo is a much sought-after singing-teacher and has had masterclasses at music- and operaschools in; South Africa, Azerbadjan, Israel, Seychelles, Netherlands, Estonia, Latvia, Lithuania, Finland, Norway and Italy. He has sung as a principal artist for the Royal Opera House Stockholm, Folkoperan Stockholm, Gothenburg Opera, Malmö Opera, Svenska Riksteatern and Norrlandsoperan amongst others.

Erika Biavati (Italy)
Whistle Register Training

Whistle register, also known as Mode or Mechanism 3 (M3), can be achieved by two different laryngeal mechanisms: “reed whistle” and “stop-closure whistle”. Both mechanisms can be taught, developed and used for educational and expressive purposes by singers and actors.
Using the techniques that Erika Biavati has developed, workshop participants will experience how to produce both laryngeal and stop closure whistles without damaging their vocal chords, as well as learn how to connect whistle to M2 (Mechanism 2/head voice/falsetto/ soft register) for performing and register control. In addition, we will examine the roles of the cricopharyngeus muscles (aka the upper esophageal sphincter), glottal closure without constriction, and tongue action in whistle register production as well as resonator shaping and harmonic reinforcement to manage the M3-M2 passage.

Biography

Erika Biavati is a singer, singer-songwriter, singing and vocal technique teacher, artistic vocologist and expert in training methods for the whistle register.She has taken part in many important singer-songwriter festivals and her work has been highly commended. She has sung many different types of music including Pop, Soul, Rock and Rhythm and Blues, and has recorded in recording sessions for a variety of projects.
In 2010, Erika won the “Artistic Vocology International Prize” and since then has been a Singing and Extended Vocal Techniques Professor at Alma Mater Studiorum University. She has conducted extensive experimental studies relating to extreme vocals. She invented and teaches Biavati Training® and she founded the VoiceToTeach® Specialization Course for voice and singing teachers. As founder and Director of the Live Music School in Bologna, Italy, she uses a multifaceted and inter-methodological approach. At the beginning of 2019 she was involved in the making of the T.V. program “Sanremo Young” as a vocal coach to the contestants.

Eleonora Bruni (Italy)
M0 and Supraglottic Extreme Voice Workshop

Extreme and distorted vocal mechanisms can be used for educational and expressive purposes in singing and acting voice. As a singer, teacher, and researcher, I’ve developed specific training methods which teach the use of supraglottic structures, excluding or minimizing the role of the true vocal folds, thereby resulting in effective, safe and healthy vocal production. In this workshop, participants will experience supraglottal techniques for growls and screams, using false folds, arytenoid cartilages, and various supraglottic structures. We’ll also explore “distortions” and “scratched” sounds involving the true vocal folds with light and incomplete adduction. The use of these extreme sounds in singing styles such as rock, metal, pop, musical theater, gospel, R&B and in acting will also be discussed.

Biography

Professor Eleonora Bruni is a singer, singing and vocal technique teacher, artistic vocologist, expert in training methods for extreme vocals. She has been awarded the “Demetrio Stratos - International Prize for Experimental Music 1996” and the “Artistic Vocology International Prize 2009”. She sang in many productions of rock, jazz, musical theatre, experimental music. She is the leading voice of Iato Orchestra (radical improvisers ensemble conducted by Alvin Curran). Eleonora Bruni is a Singing and Extended Vocal Techniques Professor at Alma Mater Studiorum University. Within the academic environment she has conducted extensive experimental studies related to the Extreme Vocals, Supraglottic Voices and Extended Vocal Techniques field. She conceived and teaches the Bruni Training ®.She founded the VoiceToTeach Specialization Course for voice and singing teachers. Her multifaceted and inter-methodological approach allows her to teach and train many well-known cinema and theatre actors, singers and dubbers. She is also vocal coach for many artists in tour, tournée, disc recording, cinema and tv.

Ville Laaksonen (Finnish)
Moving voice - efficient warm-ups for voice and body

Singing lessons often begin with first warming up the body and then warming up the voice separately. Moving Voice warm-up exercises streamline the process by putting the two together. Movements inspired by various bodywork methods such as yoga, tai chi and pilates are combined with semi-occluded vocal tract exercises. With these exercises singers will achieve more dynamics, flexibility and range for both body and voice. In this workshop we will try Moving Voice exercises in practice. The purpose of warming up and how it affects the choice of exercises will be also discussed.

Biography

Ville Laaksonen (MMus) is a Finnish voice teacher, singer and composer. Having performed in musical theatre productions and released a couple of albums he now runs a private teaching studio in Helsinki and teaches workshops and master classes for theatres, schools and other institutions. Laaksonen is constantly developing new methods for practical applications of voice science.

Lisa Tustian (UK)
Improvisation - ways in for the classical and music theatre singer and teacher

Improvisation can sometimes be a daunting area for classical and MT teachers and their pupils to tackle, but it can also be richly rewarding and great fun.  An experienced teacher, Lisa has developed a method for exploring and working on improv both with individuals and in small groups and choirs.  This presentation will outline some of her tried and tested ideas, and give you some practical tools to try (and to take away), including some relevant to exam requirements, and will also explore the wider benefits of incorporating improvisation ideas in your teaching.

Biography

A graduate of the Royal Academy of Music, Lisa has enjoyed a busy and varied career in professional performance, conducting choirs, musically directing professional Music Theatre shows, and running workshops for all sorts of singers.  She also has a thriving peripatetic and private teaching practice with diverse pupils ranging from age 6 to 75, beginners to those embarking on professional training.

Lisa’s mission is to inspire and encourage all the singers, whatever their ability or future plans, allowing them to enjoy and express themselves fully and freely, whilst ensuring their voices stay lifelong healthy.

Lectures (30 minutes)

Andrea Asztalos drd. (Hungary)
Development of Children's Singing Voice

The purpose of this lecture is to present some different problems of children's singing voice production, to demonstrate ways to correct vocal problems, and how to develop the quality of children's singing voices in Hungarian primary schools. 100 children and 260 classroom music teachers participated in the study. The research methods used included observations, questionnaires, semi-structured interviews, and self-studies. This research identified four key vocal production problems: 1. singing exclusively in the chest register; 2. "compressed” singing voice; 3. "too airy” or "veiled” voice; 4. out-of-tune singing. The reasons for and the characteristics of several different kinds of vocal production issues and several remedial exercises for them are presented in this lecture.

Biography

Andrea Asztalos drd. received Bachelor’s and Master’s degrees in Music Education and Choral Conducting from the University of Szeged in Hungary. She is university lecturer at the Music Education Department of University of Szeged and teaches vocal training and singing at the Kodály Zoltán Choir School in Budapest. In 2019 she completed her doctoral studies at Eötvös Loránd University in Budapest. Her research interests include the problems of children's singing voice production; development of children's singing voice quality; development of children's musical abilities. She was presenter in several international conferences (ICVT; ICMPC; Symposium on Research in Choral Singing; IKS; EAS)

Dr Jorge Balça (UK)
Towards a Grammar of Opera Performance: concerted training efforts in music AND drama.

Robert Donnington defines opera as a threefold compatibility of words, music and staging (1990:13). This lecture tracks my search for a system of opera training and production that establishes the balance of these elements, whilst offering tools and empowering performers to become creative partners and auteurs, instead of mere ‘factory workers’. Referring to my research, teaching and opera directing, I introduce my constantly evolving method by sharing its basic principles, practical strategies, its structured curriculum, theoretical foundations and success stories. Holistic, rigorous, body-centred and always delivered by a vocal coach and an acting coach together, often resulting in 1+1=3.

Biography

Over the past two decades Jorge Balça has developed a strong portfolio of work and unique combination of skillsets – as stage director (of theatre, opera, and hybrid forms), teacher and workshop leader, presentation skills, creativity and drama coach, and practice-based researcher. Classically trained as an actor and singer, he has a Masters in Theatre Directing and a PhD on creativity strategies for opera training and production. Having taught at the Dutch National Opera Academy and been the Artistic Director of Bloomsbury Opera, he currently teaches at Morley College London, coaches/mentors a range of performers and directs theatre and opera internationally.

Dr Denise Borland and Ali Bell (Scotland)
Empowering singers and those who work with them, to maintain psychological health

A lecture on the importance of psychological education for those working in the industry. We believe building and maintaining personal and professional resources is an integral part of reaching optimal performance. In this way of working we focus on facilitating clients to create balance and structure. We will discuss points from Denise Borland’s thesis “The Singer’s Psyche” (2011) and introduce strategies for healthy sustainability and wellness.

Biographies

Ali Bell is a singing and voice teacher, Psychological coach, Breathwork trainer and an Embodied Singing specialist. With a wide range of overlapping multidisciplinary skills, it is fair to say that Ali is an experienced person to sit with in a room. Whether you are looking for support in managing anxiety, coaching towards a job interview or audition, or you are looking to build your vocal skills on any level, Ali will have a combination of techniques to facilitate the change you are looking for. She is a Professional Singer and Session Singer with a BMus(hons) in Classical singing and is a Vanguard Practitioner and Trainer of The Psyche Approach.

Denise Borland is the author of The Singer's Psyche and developed the Psyche Approach, a holistic multifaceted approach to vocal performance of all kinds. Denise is psychotherapist with a PhD in Psychology of Vocal Performance and a long history as a voice consultant, performance coach and breathworker offering bespoke packages to optimise performance and communication. She is also a Certified Transactional Analyst (CTA) specialising in communication and trauma understanding. As the designer of the Psyche Coaching programme, Denise brings a vast understanding of personal and professional development to her work and is always introducing cutting edge techniques. Denise is also a Singer-songwriter (Denise Bell) with decades of experience in many different genres.

Amelya Goldy-Plesence (UK)
The 20th Century’s British Early Music Revival and its Impact on the Evolution of Vocally Expressive Interpretation

The British Early Music Revival evolved the nation’s art-music landscape, with the singer central to the movement’s success. From Baroque to the early Romantic operas, composers left ‘space’ for expressive extemporisation skills, but by the 1830’s this mainstream performance practice had begun its decline. Now as the revivals’ contributions are evaluated and early-music performance authenticity debated, the interest in restoring mainstream extemporisation rapidly increases. However, after a century of omitting or replicating embellishments, can recordings from the revivals’ zenith illuminate the way for individually creative interpretations of the score? Using recordings as artefacts, this paper presents the project’s current findings.

Biography

Amelya is a PhD researcher at Guildhall School of Music & Drama, a singing teacher and performer. Her central focus is the artist behind the voice, emotional connectivity and interpretive creativity. Amelya studied singing at Chetham’s School of Music, Trinity College of Music and later become a Park Lane Group Young Concert Artist. Professionally, Amelya has collaborated with Louis Andreissen, Sir Harrison Birtwistle and under the direction of Sir Peter Hall at the National Theatre and the Hellenic Festival, Epidaurus. Amelya has a PGCE from the Institute of Education, an MA from Goldsmiths University and teaches singing at Epsom College.

Allen Henderson (USA)
Vocal Pedagogy for All

Improving the art and practice of teaching singing is a complicated proposition. People enter the profession with such a variety of backgrounds in performance and training. One way to ensure a better future for the teaching of singing is to ensure that a standardized set of criteria are set and guide faculty who teach voice pedagogy courses or sequences as well as those who offer post graduate professional development to voice teachers. In this lecture, Allen Henderson executive director of NATS presents the “voice pedagogy funnel” which helps asses and track where gaps exist in our training models at the undergraduate and post graduate levels and how we can plug the gaps so that we work for better outcomes and more consistent training for the next generation of voice teachers.

Biography

Versatile artist, teacher, arts administrator, and baritone Allen Henderson is Executive Director of the National Association of Teachers of Singing (NATS), the world’s largest professional association of voice teachers, supervising a talented staff in promoting continuing education for voice teachers; publishing a recognized scholarly journal, Journal of Singing; and promoting voice education among a wide array of constituencies, from recreational singers to voice educators and medical doctors. He also serves as administrator for the International Congress of Voice Teachers held every four years at locations around the world and is Professor of Music at Georgia Southern University where he teaches voice and foreign language diction.

S. Rebeqa Rivers (USA)
The Grieving Singer: When Psycho-Emotional States Set the Stage for Medical Issues of the Voice What happens when a singer’s psycho-emotional state leads to medical issues of the voice?

Specifically, what physical side effects might singers expect while grieving? Medical research into somatic grief – or physical manifestation of grief – has identified symptoms that grieving individuals are likely to experience. This session includes a review of medical literature and the results of a survey of seventeen singers who have experienced grief regarding their perceptions of how grief affected their singing. In this session, attendees will review potential implications of grief on the voice and identify ways to incorporate grief awareness and coping strategies into their practice.

Biography

S. Rebeqa Rivers, (M.M.Ed., B.A. Voice) is an educator in the contemporary music industry and a music researcher studying the intersections of music and identity. She owns a private voice studio in Seattle, Washington. Her students include internationally recognized performing artists and a member of the Rock & Roll Hall of Fame. She works closely with Seattle’s Rain City Rock Camp, for which she designed an integrated Rock-inging and gender equity curriculum. Rebeqa has been published in the Journal of Singing, POP! the APME newsletter, and Inter Nos, the NATS national newsletter.

Prof. John Yaffé, Ph.D. (UK)
Co-Course Director for Music, Coventry University
Performing the Yiddish Folk Song: A repertoire finally steps into the light

Only recently has the first body of finely crafted arrangements of Yiddish folk songs suitable for concert performance come to light. Previously, these had little exposure to the ‘outside’ world: no dissemination by way of song recitals performed by both students and professionals (unlike, e.g., the folksong treatments by Britten, Dvorák, Brahms, Canteloube, and Copland). The recent rediscovery of Robert De Cormier’s forty-four Yiddish folksong arrangements has resulted in the funded ‘Yiddish Folksong Project’ (YFSP). This lecture will address YFSP issues such as the dissemination of cultural history, authenticity and style in folksong arrangement performance, and the line between folk song and art song.

Biography

Prof. John Yaffé - UK-based conductor/pianist/arranger/scholar; Author: Arias, Ensembles, and Choruses (Rowman & Littlefield, 2012) and The Conductor, the Opera House, and the Making of a Maestro (Coventry, 2017); Musical Director, ‘The Yiddish Folksong Project’; Founder, Ipsilon Music Press/Services; Conductor: New York’s Carnegie Hall, Lincoln Center, Symphony Space, and 92nd Street Y, with the Stuttgart Chamber Orchestra, Colorado Springs Symphony, Warsaw Philharmonic, San Antonio Symphony, Chattanooga Symphony and Opera, Walla Walla Symphony, Turkish State Opera, Albanian State Opera, Encompass New Opera Theatre, Florida Philharmonic, Moravian Philharmonic, the German opera houses of Hagen, Münster, Osnabrück, Stuttgart, and the orchestras of Remscheid, Konstanz, and Munich.

Franco Fussi (Italy)
Relationship between laryngeal mechanisms and terminology of vocal registers 

The terminology of singing in relation to vocal registers, although pedagogically useful, is somewhat confusing because the terms used refer to perceptual differences due now to changes in source, now to vocal tract. Starting from the historical statements of Manuel Garcia Junior we will compare the perceptual aspects with the electroglottographic and laryngostroboscopic data, and we will relate, in the wake of the studies of Roubeau, Henrich and Castellengo, the registers intended in a pedagogical sense with the underlying laryngeal mechanisms: CQ, mass, involvement of the cover in the vibration, recruitment of other vibrating sources. The various laryngeal mechanisms underlying the didactically understood registers will therefore be examined in detail and exemplified: M0: vocal fry, pulse register and distorted voices (false-chordal and arytenoideal); M1: full register in consonance of chest and head, modal register, belting; The "mixed" register: M1 mix2, M2 mix1; M2: muscle and postural falsetto, falsettone, flute, falsetto stop-closure; M3: laryngeal whistle, stop-closure whistle

Biography

Otolaryngologist and Phoniatrician. Past Head of the Audiological and Phoniatric Center of the Local Health Authority of Ravenna. Scientific coordinator of the Advanced Training Course in Artistic Vocology of the University of Bologna, based in Ravenna. Lecturer at the Degree Course in Speech Therapy of the University of Bologna, based in Ravenna. Collaborator at the Teatro Comunale of Bologna, the Accademia d'Arte Lirica of Osimo, the Accademia Rossiniana in Pesaro, the Ravenna Festival, the Academy of Opera of the Maggio Fiorentino Foundation in Firenze. Member of the Collegium Medicorum Theatri. Scientific Director of the Congress “The Artistic Voice” in Ravenna (Italy, 1999-2019)

Papers (15 minutes)

Suzanne Chadwick (UK and Ireland)
Minding the Gap - Strategies for Managing Register Change in Upper Voices.

Achieving a homogenous tone throughout the entire range without any perceptible register break is a goal of classical singers, but many young singers find difficulties in achieving this. This paper presents the results of a small-scale study I carried out with the objective of developing a teaching strategy for addressing this problem area of technique. Drawing from a wide range of pedagogical literature, I constructed a series of exercises which were then tested on a group of student subjects. Observations in the teaching studio and feedback from the subjects confirmed a positive impact, particularly from those exercises using combinations of Semi-Occluded Vocal Tract techniques.

Biography

Soprano and singing teacher Suzanne Chadwick is based in Dublin where she combines a busy teaching schedule with accompanying and choral directing. Originally hailing from Leeds, Suzanne trained in St Andrews, London and in New York. Family life inevitably shifted the focus from performing to teaching and Suzanne has become a passionate educator of young singers with an ardent objective of ensuring that her teaching is underpinned by theoretical knowledge. She has just completed a Masters degree in Vocal Pedagogy with Voice Workshop UK and UWTSD.

Janine P Magnin (South Africa/UK)

Adolescent Female Vocal Identity: Interviews with adolescent girls on their personal perspectives of their vocal identities through lessons in comparison to Western societal silencing trends.

Much research has been conducted in how Western society silences girls. Other research examines the psychological importance of the voice and how integral it are to identity construction and personal well-being. However, there has been less research conducted on examining adolescent girls' opinions of their voices and vocal/self-identity within singing lessons and in relation or comparison to societal silencing trends. My pilot study seeks to examine responses given by adolescent female singers currently having singing lessons at the time of their interviews in order to try discern if lessons have any conscious or unconscious impact on the pupils.

Biography

Janine is a children’s singing teacher. Originally from South Africa, she now lives in the UK and has a Bmus (UCT) in Western Classical Singing Performance, a LTCL in Musical Theatre Performance, PGC in Education (UCT) and a MA in Music Education (UCL, London). As well as being a singing teacher and performer, her interests lie in researching children and their psychological development through singing lessons, their motivations for lessons and their personal opinions on those lessons. Such qualitative research may be a key to better understanding how lessons can have a more positive impact on pupils.

Dr. Pirjo Nenonen (Finland/Austria)
A holistic approach to singing education using natural body movements

The research aim was to develop an approach to singing education using body movements and qualitatively investigate how body movements can improve the singing process. The results of this study showed that singing with body movements involved the whole person and revealed qualitative singing/vocal results as well as psychological and physical results. The conclusion is that singing with body movements can serve as a valuable tool for singers in their learning process to improve singing, vocal quality and strengthen them holistically. This approach can be used broadly in singing and music education and it suits all ages and all kinds of singing.

Biography

Dr. Pirjo Nenonen is a singing/ vocal teacher, music teacher, singer and author. She studied at the University of Jyväskylä, the Helsinki Music Conservatory and the University of Salzburg, Mozarteum. She has presented at conferences internationally. Pirjo Nenonen is a Commissioner for the ISME Forum for Instrumental and Vocal Teaching. Her previous teaching activities at schools, the Helsinki Music Conservatory, the Universities of Helsinki, Oulu and the Private Music University of Vienna. She has published several music books, worked as a choir choreographer and given workshops internationally. She lives in Vienna and teaches vocal/singing education in the Music School

Rebecca Reid (UK)
How to help the ageing female classical singer.

This presentation will briefly look at the results of my 2018 research study ‘Menopause: The effects on the ageing female classical singer’, where broad findings suggested that physiological and psychological symptoms of Menopause affected a singer’s ability to perform and that vocal changes occurring during Menopause directly affected vocal quality. Considering these findings together with the results of my 2020 semi-structured interviews, this presentation will then explore the role and difficulties of singing teachers in assisting “mature” students in one to one singing lessons.

Biography

Rebecca Reid is a singing teacher based in York offering private one-to-one tuition to “mature” students from all backgrounds and levels of musical theatre, classical and opera. Through her teaching and research, Rebecca is dedicated to understanding the extent and effects of Menopause and ageing on the female classical singer. Her aim is to help singers develop healthy strategies and continue to sing for as long as possible.

Dr. Stavropoulou Sofia (Greece)
Acoustic perspectives of children’s singing voice in the Greek elementary classroom. Developing teaching strategies based on science and new technologies.

Acoustic measurements of child singing voice in the Greek Elementary school. Some important   notifications that have emerged from our research about the child singing voice in the Greek Elementary school. Methodology proposal for teaching singing at school with Real time visual feedback software.

Biography

Music Teacher in the Greek Elementary School. BA in Music science and art, University of Macedonia, Greece. Ma Thesis in Music Culture and Communication, Department of Music Studies, University of Athens. PhD ‘Visual Feedback technologies for pitch amelioration of the singing voice in Greek Elementary school’, Supervisor Professor Georgaki Anastasia, Department of Music Studies, University of Athens .

Dr Hannah Fahey (Ireland)
Stylistic Pluralism in Irish Voice Studios: The Experiences of Self-Defined, Classically Trained Teachers of Singing

With teachers of singing in Ireland now negotiating an ever-expanding and stylistically plural landscape, it is timely to question how they have experienced, perceived and adapted to such large changes, particularly within a cultural context where little pedagogical training or professional development has been readily accessible to singing teachers. This paper addresses these questions, presenting questionnaire and interview findings from recent research, and discusses the perceptions and negotiations of self-defined classically trained teachers of singing who work in the Republic of Ireland and who teach multiple styles of singing.

Biography

Dr Hannah Fahey is course director of the BA Voice at the University of Limerick, Ireland. She is an academic, singer and voice educator who has performed internationally as a soloist and ensemble singer in medieval, contemporary and Irish music. Her research interests lie in voice studies, vocal pedagogy and social singing for health and wellbeing.  She has worked in a variety of voice education and choral settings; teaching school children, lecturing in primary school music education and directing a postgraduate MA in Ritual Chant & Song. Hannah also composes music for film/radio and aerial dance theatre.

Vivien Munday (UK and Australia)
The singer’s own support act: investigating psychological skills use in the negotiation of operatic performance challenges.

Elite opera singers are exemplars of a multifaceted art-form that imposes complex and exacting demands. There has been much research into vocal function, but little of equally important performance skillsets. This study sought to identify these “unseen” skillsets and how they are cultivated and used at the elite level. Four internationally acclaimed singers took part, discussing areas such as role preparation, optimal performance states and onstage challenges. Interviews were anonymous to encourage open responses. Participants highlighted a surprising spectrum of activity, not just on stage, but across preparation and rehearsal, with systematically honed psychological skills used to achieve performance excellence.

Biography

Vivien is a researcher and performance coach, undertaking a PhD in opera-singer training at the Royal College of Music. She is a classically-trained singer with a career in opera, recital and oratorio, including more than a decade singing regularly with the English National Opera chorus. Performed roles include Mimi, Fiordiligi, Countess Almaviva, and Michaela, for companies touring the UK, Europe and Japan. Vivien holds bachelor and masters degrees in music performance, and in 2018 completed an MSc at the RCM's Centre for Performance Science. Her studies are funded by a London Arts & Humanities Partnership grant, supported by the RCM.

SOVT ‘Singposium’

‘SOVT(Semi Occluded Vocal Tract) exercises - where the mouth is partially closed - have become an essential part of vocal training and rehabilitation.  In this ‘singposium’, several presenters will demonstrate how they use SOVT techniques and exercises in their teaching and there will be an opportunity for discussion and questions at the end.’

Dr Kerry Boyle (UK) and Michelle Harris (UK)
Discover vocal freedom the Lax Vox© way

This session will introduce singers and singing students to the potential benefits of the Lax Vox©, a device developed for use in speech therapy by Marketta Sihvo, a Finnish voice therapist. Michelle and Kerry have worked with singers and singing students to explore the potential use of the Lax Vox© tube in the context of voice training. Their experience suggests that the use of this device can have immediate impact on breath control, support and tone for the majority of users. This practical session will explore exercises and techniques developed by Michelle and Kerry and will share the potential of the Lax Vox© to support technical development in singers of every age and ability.

Biographies

Kerry Boyle is a singing teacher, choral director, arranger, examiner, researcher and teaching consultant. She worked as a professional singer before specialising in education and her research interests include professional identity, careers in music and the nature of communication in instrumental and vocal teaching. As a teacher and choral director Kerry has worked with singers of every age and ability and she co-ordinates various international music projects and partnerships. Kerry currently works as a lecturer and singing teacher at Canterbury Christ Church University, and directs Canterbury Girls’ Choir, Canterbury Ladies Choir and The Canterbury Voices. After gaining a degree in Performing Arts and PGCE in Music from Middlesex University.

Michelle Harris studied Post Graduate singing at the Royal Academy of Music. As a professional mezzo soprano, Michelle has been engaged by companies in the UK and abroad singing leading operatic roles including Dorabella (Cosi), Azucena (Il Trovatore), Moglie del’orco (Henze’s Pollicino) and Sesto (Pompeo Magno), the latter a televised premiere in Croatia as well as major oratorio solos. Michelle has over 25 years’ experience as a class music and singing teacher. She currently teaches singing at CCCU, Senior and Junior Kings’ Schools, and in private practice.

Kate Cubley (UK)
Working with allergies in the singing classroom

My focus for the SOVT Singposium will be in relation to working with SOVT exercises in the singing classroom with allergy sufferers. I plan to discuss the advantages of using SOVT exercises with allergy suffering students and how they have proved beneficial both used as a warm-up and technical exercise during lessons. I will also describe how SOVT can be used in conjunction with other useful choices and habits to build awareness of how allergy suffers can help to maintain vocal comfort when allergies are bad.

Biography

Kate Cubley is a Voice Coach and Singing Teacher working predominantly from her private studios in Cheshire and London. She has a particular interest in encouraging singing for fun, whilst incorporating knowledge of voice pedagogy, vocal health, body alignment, phonetics, emotion and performance skills. Kate is a qualified Level 7 coach and mentor, certified CoreSinging® Teacher, and committed to regular CPD. She is an active member of the BVA, AOTOS, MU and EVTA. Kate holds a BA(Hons) in English Language and Linguistics from The University of Sheffield and an MA in Applied Professional Practice: Vocal Pedagogy from UWTSD, through Voice Workshop.

Allen Henderson (USA)
Demystifying SOVT

No matter where I go and speak about this topic there remains confusion about the efficacy of using SOVT. Recently there have been a variety of new products specifically designed for this purpose so it is important for teachers to understand the variety of products available and for what use they are appropriate. We will explore which methods may work best for certain situations we face in the studio with some data from recent research on the various tools we use. A complete resource list will be provided all attendees.

Biography

Versatile artist, teacher, arts administrator, and baritone Allen Henderson is Executive Director of the National Association of Teachers of Singing (NATS), the world’s largest professional association of voice teachers, supervising a talented staff in promoting continuing education for voice teachers; publishing a recognized scholarly journal, Journal of Singing; and promoting voice education among a wide array of constituencies, from recreational singers to voice educators and medical doctors. He also serves as administrator for the International Congress of Voice Teachers held every four years at locations around the world and is Professor of Music at Georgia Southern University where he teaches voice and foreign language diction.

John Nix (USA)
Varying Vowels and SOVTs:

Does it make a difference This presentation will explore which vowels should be used with those SOVTs that allow a vocalist to approximate vowels. Questions to be discussed include whether the same vowels should be used for straw phonation versus with a lip trill, bilabial fricative, singing into a cup, or a manually occluded vocal tract; should the same vowels be used for all genders; and, should different vowels be chosen for different pitch ranges? Drawing on a mixture of literature review, laboratory research, and voice studio experience, the author will attempt to answer these questions and provide practical guidance for the voice studio.

Biography

John Nix is Professor of Voice and Voice Pedagogy and chair of Vocal Studies at the University of Texas at San Antonio. His primary mentors have been Barbara Doscher and Ingo Titze. Current and former students have sung with the Santa Fe Opera, Opera Theatre of Saint Louis, Chautauqua Opera, Opera Omaha, Arizona Opera, Nevada Opera, the Mormon Tabernacle Choir, and the Metropolitan Opera Chorus, and two of his students have been NATS Intern Program Master Teachers. He was the 2006 Van Lawrence Award winner, has published more than 40 articles, and edited or contributed to 5 books, including the Oxford Handbook of Singing.

Erika Biavati and Eleonora Bruni (Italy)

This session will demonstrate the use of SOVTE in the singing lesson, also with the support of “tools”, but also with vocal exercises that exploit the benefits of the vocalization of semi-occluded vocal tract (finger kazoo, puffy cheeks, lax vox, ventilation mask).

Biographies

Erika Biavati is a singer, singer-songwriter, singing and vocal technique teacher, artistic vocologist and expert in training methods for the whistle register.
Erika has taken part in many important singer-songwriter festivals and her work has been highly commended. She has sung many different types of music including Pop, Soul, Rock and Rhythm and Blues, and has recorded in recording sessions for a variety of projects.
In 2010, Erika won the “Artistic Vocology International Prize” and since then has been a Singing and Extended Vocal Techniques Professor at Alma Mater Studiorum University. She has conducted extensive experimental studies relating to extreme vocals. She invented and teaches Biavati Training® and she founded the VoiceToTeach® Specialization Course for voice and singing teachers. As founder and Director of the Live Music School in Bologna, Italy, she uses a multifaceted and inter-methodological approach. At the beginning of 2019 she was involved in the making of the T.V. program “Sanremo Young” as a vocal coach to the contestants.

Professor Eleonora Bruni is a singer, singing and vocal technique teacher, artistic vocologist, expert in training methods for extreme vocals. She has been awarded the “Demetrio Stratos - International Prize for Experimental Music 1996” and the “Artistic Vocology International Prize 2009”. She sang in many productions of rock, jazz, musical theatre, experimental music. She is the leading voice of Iato Orchestra (radical improvisers ensemble conducted by Alvin Curran). Eleonora Bruni is a Singing and Extended Vocal Techniques Professor at Alma Mater Studiorum University. Within the academic environment she has conducted extensive experimental studies related to the Extreme Vocals, Supraglottic Voices and Extended Vocal Techniques field. She conceived and teaches the Bruni Training ®.She founded the VoiceToTeach Specialization Course for voice and singing teachers. Her multifaceted and inter-methodological approach allows her to teach and train many well-known cinema and theatre actors, singers and dubbers. She is also vocal coach for many artists in tour, tournée, disc recording, cinema and tv.

Lecture/Recital

Teaching ‘mélodie française’ with the music of French Swiss composers Lunchtime demonstration recital
Catherine Pillonel Bacchetta, mezzo-soprano Anthony Di Giantomasso, piano René Perler, bass baritone

« Mélodie française » - French Art Song is quite popular, and almost every singing student is confronted by Fauré, Debussy, Ravel at some point in his studies. But what about easier repertoire for beginners? We found some hidden and charming treasures from French Swiss composers that we would like to present, together with some basics of French diction. Émile Jaques-Dalcroze, Gustave Doret, Arthur Honegger and their friends – our students have and have had lots of joy singing their songs. A hand-out with a list of the songs and basic rules of French diction will be available. Let the French Swiss corner sing – from the Alps to Lake Geneva!

Catherine PILLONEL BACCHETTA, mezzo-soprano

After ending her study of singing as a prizewinner at the HEMU of Lausanne in 2001, Catherine Pillonel Bacchetta got opportunities to improve her skills attending master classes of teachers such as Laura Sarti, Christa Ludwig, Hugues Cuénod, James Bowman and Luisa Castellani. She was also invited to a special Lied class in Berlin by prof. D. Fischer-Dieskau. She now performs regularly as a soloist, in concerts, recitals, on stage or as an oratorio singer, in particular with the Ensemble Vocal de Lausanne, conducted by Michel Corboz. Now a recognized voice pedagogue, she teaches singing at the Conservatoire de Lausanne since 2007.

Anthony Di Giantomasso, piano

Studied piano, accompaniment and singing at the Victorian College of the Arts in Melbourne. He studied further in New York, London and Zurich. He gives concerts as both pianist and accompanist and his career has taken him through Europe, Australia, China, the United States and the Middle East… He has worked as a vocal coach at the operas of Melbourne, Zurich, Geneva and Fribourg, and is now a vocal coach and diction professor in the Music High School of Lausanne. He gives regular masterclasses and conferences on diction, language and vocal expression for the stage.

René Perler, baritone

Swiss bass baritone René Perler is born in the bilingual city of Fribourg/Freiburg. He studied with Cécile Zay, Jakob Stämpfli, Horst Günter, Rudolf Piernay, László Pólgar, and Margreet Honig. René has got a Master’s degree in musicology and history of the Universities of Fribourg and Berne.
He worked with conductors like William Christie, Martin Haselböck, Andrew Parrott, Livio Picotti, Dominique Vellard, and Michel Corboz, recitals e.g. for "Freunde des Liedes Zürich“, "Lied Rezital Berne“, at Villa Wahnfried, Bayreuth, and at Richard-Strauss-Institut in Garmisch-Partenkirchen.
René teaches at Musikakademie Basel, and is a board member of EVTA Switzerland. www.reneperler.net - www.besuchderlieder.net

Posters

We look forward to hosting Poster Presentations from the following researchers:

Sarah Algoet (Belgium)

  • Why I’m grateful to be officially declared handicapped to the voice

Evangelos Angelakis and Anastasia Georgaki (Greece)

  • Technology-assisted somatosensory practice: A method to facilitate current vocal pedagogy

Santisa Viljoen (Netherlands)

  • Rethinking vocal pedagogy: strategies for developing the embodiment of sound
  • Let the children sing: the ABC Motsepe Schools Eisteddfod in South Africa

Anne-Marie Czajkowski (UK)

  • Mindfulness for Singers: An 8-week intervention replication study on the effects of teaching mindfulness to university and conservatoire vocalists

Sean McCarther and Christopher Arneson (USA)

  • A Three-Phase Model for Effective Teaching and Practice and Organizing Your Method: A Systematic Approach To Teaching Vocal Technique

Philip Salmon (UK)

  • Towards the concept of the Embodied Voice