Prof. Norma Enns, Hannover, Germany
Lecture presented at EVPW in Ljubljana, Slovenia, Feb. 2011
(Previously presented at ARIAM / Paris in January 2011 in a French/English version
We are here to address what must now be one of our common concerns as voice teachers. This is the story of my own approach to the subject matter. Our project .... is about building bridges and crossing boundaries in more ways than one. ....We will be dealing with and learning about many different kinds of technologies as they apply to singing and vocal pedagogy. Voice science and software developers have done their job: now it is up to us as voice teachers, to approach this subject from the pedagogical viewpoint. We need to build bridges between traditional methods, the knowledge of recent research and the use of technology. We have already left the boundaries of our own teaching studios and most of us – of our own countries. And for most of us, the boundary we are about to cross ..... brings us into very new territory.
Accompanying Files :
A review and overview of digital resources for the voice studio: websites, software and hardware presented in a joint power-point presentation at the European Vocal Pedagogy Week in Feb. 2011 in Ljubljana by Susan Yarnall and Ivor Flint, both of AOTOS.
Outline of Contents:
Spectographic software: Voce Vista and Sing and See
YouTube: a simple guide to use
IPhone, Android and APPS: a small but useful list
Spotify: free critical listening with downloading
e-Vocal: a resource for classical singers
VOIP: SKYPE: useful long distance teaching tool?
Recording devices: Zoom, Flip, Coomber, smart phones,
Music online: some free and where to find it, CPLD.org and Petrucci
Questionnaire for teachers to voice students about digital use and experiance
Using Voce Vista and Sing and See, recommendations
Constructive listening: suggestions, recommendations and tools
iRealbook: creative use of technology for jazz, improvisation and extemporisation
Blogging: as publicity
3.1.3. Developing a Methodology for the use of Digital Technology in Teaching Singing (PDF, 573 KB)
Prof. Norma Enns, Ljubljana, Feb. 2011
Two main goals motivated the examination of the usefulness of technology in teaching: to test the possibilities of applying various ways of representing the voice digitally in a singing lesson and to define some of the principles of methodology involved in using these tools. (.........)
Spectrographic software is central to the use of technology in the teaching studio. Digital audio and audio-video data such as lesson or concert recordings or the voice simulation software Madde are also easily available and practical in the teaching studio. This article will be limited to software and methods, which can be used efficiently and requiring programmes and equipment that are available with minimal investment..........
A German version of this presentation is available by clicking here.
Ivor Flint,Singing teacher, London College of Music, University of West London.
Paper read at the first “Thinking & Singing” one day conference at the Wellcome Gallery, 6th August 2011, London, organised by Opera Mint in association with the London College of Music, University of West London.
I am at the very start of my M.Phil PhD journey, my research title is “The learning outcomes and experiences of undergraduate classical singers using voice analysis spectrographic software”. I would very much welcome your comments and suggestions. This paper is an exploration of some of the ideas that will inform the content of my research.
When I think about thinking and singing I am immediately struck by the breadth of the topic. To me as a singer and teacher there are two key areas: technique, and text and communication, and three ways I see that thinking and singing arises. The first is thinking about the physical neuro-muscular actions involved in singing, the second is the use by singers and teachers of metaphor to anchor those actions and sensations and the third is the metaphor as a vehicle used to refine expressing text and music. In this paper, I will concentrate mainly on the first area: technique, starting with a very brief overview of the changes in voice research during the 20th Century. ............
3.1.6. Metaphors and Vocal Identity Report from a presentation at EVPW Helsinki, June 2012
Susan Yarnall, AOTOS/ EVTA
We use metaphors all the time, they help to make sense of our world and when it comes to something as wonderful and intangible as our singing voice we do it even more. But we are all multi talented and just like the man I watched on his mobile phone on the beach, we talk, we walk, we wave our arms, we listen ...as we try to communicate! For a hundred years now we have been able to look down, thanks to Garcia, and see one dimension of the singing voice in action and for the last twenty years we have had an explosion of technology that helps to give us other dimensions to explain how we sing.
God gave us ears, of course, but I wonder are we really using them effectively and have our students lost some auditory skills with the increase of sound that dominates our culture nowadays. I do believe that while the programmes we are exploring are visual ‘metaphors’ as Graham Welch (2005) describes them, we can and should link them to the auditory and kinaesthetic skills we need as singers.
Metaphors give us imaginative concepts which help to form our vocal identity – who we are as singers? My own research into vocal identity and the perception of the singing voice highlighted the way professional singers used metaphors that had elements of movement and space, and these programmes we are exploring enhance these important sensations for beginner singers, adults and children, choral singers, and our students. (..............)
EVTA Project Session Helsinki, June 2012 -- Dr. Susan Yarnall-Monks
This is not a comprehensive comparison of the programmes available, indeed in Helsinki people came with a variety of Real Time Visual Feedback which I have not been able to explore here. This is a report based on a brief presentation of my personal use of the programmes (Sing and See, Sygyt, Voce Vista) and the discoveries I made while exploring them with colleagues in Helsinki. (...........)
Filipa Lã, PhD, Dept. of Communication & Arts, University of Aviero, Portugal
An extensive Power-Point Presentation explaining basic scientific concepts behind the use of spectograhic software to analyse the voice. Excellent presentation touching on the basics for voice teachers with many photos, graphics and clear explanations.
Outline of presentation:
A. Contextualizing feedback in singing pedagogy
B. Different types of feedback which can be applied in singing lessons.
C. Possible applications of real-time feedback in the singing studio
- Subglottal Pressure
- Tension and Extension of the vocal folds
- Glottal adduction